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Almost four years ago, the Wiphala Collective climbed the statue of Christopher Columbus in La Paz, Bolivia, and shattered its nose with a single blow. That same year, my sister underwent cosmetic surgery to change the nose she inherited from our father, but when she left the operating room, she no longer recognized herself in the mirror. In El Alto, Bolivia, a growing trend toward rhinoplasty seeks to alter what many call the “condor nose,” driven by clinics offering discounts and by an urban landscape saturated with billboards, mannequins, and advertisements displaying white faces, light hair, and upturned noses. The statue of Christopher Columbus comes to life after its nose is struck. Disoriented, it wanders through the streets of El Alto, revisiting its past and confronting the contrast between its colonial memory and the presence of the Indigenous bodies that inhabit the city. Throughout its journey, it explores its own fractured identity and that of the city, until it finds itself face to face with the bust of an Aymara man, bearer of a chola aesthetic and imaginary. This encounter symbolizes resistance to hegemonic beauty standards and the possibility of rewriting history from a decolonial perspective. The experience unfolds in virtual reality, allowing the viewer to accompany the statue’s transformation and the reconciliation with our own noses.

Viviana Mamani Cori is an Aymara, migrant, brown-skinned artist born in El Alto, Bolivia. Her practice emerges from a non-academic formation shaped by migration, the streets, and the popular aesthetics of the Andean plateau, where chola architecture and bootleg DVDs, molded her early sensibility toward glitch, noise, and clandestine images. She later pursued studies in architecture and cinematography, expanding her work into experimental film, photography, performance, and new media. Her practice intertwines intimate archives, territorial memory, and embodied gestures that confront colonial narratives around beauty, identity, and Indigenous representation. She has created works that have circulated in streets, community spaces, galleries, and festivals across Latin America and Europe. She was selected for Berlinale Talents Buenos Aires 2022 and took part in the DIP artistic residency in 2024, where she received creative guidance from prominent Latin American filmmakers such as Lucrecia Martel and Maite Alberdi. Her project Cristóbal Condori: Una nariz de ficción received multiple recognitions in photography, contemporary art, and experimental cinema. In 2025, she received the Prince Claus Seed Award for a trajectory that explores identity, migration, memory, and the body as a political territory of resistance. She currently lives and develops her artistic practice from El Alto, Bolivia.

5 ready media files by Vasile Carlova film by calin man a.k.a. reVoltaire duration: 11:27 min year: 2012 a project initiated by Ion Dumitrescu and Stefan Tiron based on unused soundtrack by Rodion and rare footage by reVoltaire and Zsiga Ioan. dedicated to the fabulous poet Vasile Carlova. track list: 1_ Trip departure. {Marșul oștirei române / Romanian Military March} 2_ La Debel A Gora. {Înserarea / Eventide} 3_ Carnival in Sanicolaul Mic. {Ruinurile Târgoviștii / Ruins of Târgoviște} 4_ Heroes: Jakob & Johann Schmeltzer and A Short Visit At The Shoe Factory "Libertatea" . {Rugăciune / Prayer} 5_kapet. {Păstorul întristat / The sad shepherd} * Vasile Carlova 1809 - 1831 - romanian poet. he wrote only 5 poems: 1. Romanian Military March; 2. Eventide; 3. Ruins of Târgoviște; 4. Prayer; 5 .The sad shepherd. * Rodion SA - experimental new wave band with no albums released (early 80`s). * Zsiga Ioan - amateur filmmaker from Sanicolaul Mic (late 60`s). * Mikalaka Aesotheric and Second Administration - part of Esoth Eric project (since 2000) by calin man * the term ready media was coined by reVoltaire / kinema ikon (1995)

calin man b.: 1961; place of residence: Arad, Romania. education: B.A. in literature, Timisoara University, Romania; chief-editor and designer of intermedia magazine; member of kinema ikon group. net.art work and interactive installations exhibited at: Venice Biennial, Centre Pompidou, Sao Paulo Biennial, FILE Sao Paulo, EMAF Osnabrueck, ISEA Liverpool and Paris, Rencontres internationales Paris/Berlin, Cornell University NY, d>art Sydney etc.

Filmed between dusk and dawn, Liquid Skin was filmed with nine women, who all perform night-time labour, across a wide variety of professions, including a baker, pole dancer, care worker, nightclub owner, cleaner etc. These women take us on a tour of night-time working environments, linked by history, economics and events shaping the post-industrial landscape of the Ruhr region in Germany. Through this choice of locations, the work links the nocturnal with questions on the subterranean, which is so present across this region with its thousands of kilometres of quiet tunnels underneath. The video consists of long, mostly single shot sequences each guided by one protagonist. Filming in black & white Infrared gives both the locations and the people a slightly abstracted and ghostly appearance, calling into question the specificity of each situation. Sound is integral to this work as it references industrial, technological, subterranean sounds of coal mining histories. The soundtrack is constructed from field recordings captured in each location but used in a non-diegetic way that consciously avoids synch sound. Visually the work aims to cross the dreamlike counter-logic of Lynch with urban spaces that may evoke Tarkovsky, Lang’s Metropolis or drawings by Escher.

London-based artist/filmmaker Melanie Manchot employs photography, film, video and sound to form sustained enquiries into our individual and collective identities. The work interrogates and employs acts of care, resistance and communality to engage in discourses on social and political urgencies of our societies. Her films investigate innovative forms of storytelling with an acute understanding of the power of filmmaking to speak to urgent issues and have profound impact. Manchot’s first feature film, STEPHEN, commissioned by Liverpool Biennial, addresses gambling, substance misuse, recovery and mental health through narrative fiction and documentary. It had its cinematic release through Modern Film in 2024 and continues to be shown in exhibitions as a multi-channel installation. Manchot is working towards her second feature film: Mount Makalu. She is shortlisted for the Jarman Award, UK. Her work is held in many public collections and was presented in a major survey show at museum MAC/VAL, Paris 2018. Selected solo exhibitions: STEPHEN, The Exchange, Penzance, 2024; Alpine Diskomiks, Parafin, London, 2022; Black Snow White Out, Museum Lumen, Italy, 2021; Mountainworks (Montafon), InnSitu, Innsbruck, Austria (2019); Open Stage/Back Stage, Kunsthaus Pasquart, Switzerland (2019); She completed her MA in Photography at The Royal College of Art in London in 1992.

Filmed in a decommissioned telecommunications tower, which used to house secret military equipment, this work returns to my ongoing investigation of mountains and their architectures as spaces of human-nature entanglements. It also returns more specifically to the alpine village of Engelberg, where I have been making work since 2010. In Line of Sight the camera investigates a deserted structure, a space left behind. As if everyone had vacated in mid-action, the environments bear traces of past life, long gone. Both inside and out, the camera observes this perplexing architecture in long panning and tracking shots, culminating in a moment of flight that reveals the structure – as if floating in space. When it was in operation, the tower fulfilled a host of functions, amongst them serving as a space of refuge and shelter during storms. A room full of old mattresses bears witness to such moments of danger. The title ‘Line of Sight’ refers to these towers standing atop mountain peaks with sight of each other, facilitating older forms of communication. With the advances of technology, these towers are now dinosaurs, standing solitary and defunct and as such become symbols of endurance, resistance and older forms of exchange. In 2025, this tower is being reshaped into a space for “mountain entertainment” – acerbating the dichotomy of mountain industries continually expanding footfall onto summits and glacier, hence contributing to the speed of climate change.

London-based visual artist and filmmaker Melanie Manchot employs photography, film, video and sound to form sustained enquiries into our individual and collective identities. The work interrogates and employs acts of care, resistance and communality to engage in discourses on social and political urgencies of our societies. Her films investigate innovative forms of storytelling with an acute understanding of the power of filmmaking to speak to urgent issues and have profound impact. Location-based research informs all her films and mountainous landscapes are a recurrent theme to address fragile environments in our care. Manchot’s artwork has featured in museum and gallery exhibitions internationally and she is currently working towards a large solo show in the UK in early 2026. Her first feature film, STEPHEN, commissioned by Liverpool Biennial, addresses gambling, substance misuse, recovery and mental health through both narrative fiction and documentary. It had its cinematic release through Modern Film in 2024 and continues to be shown in exhibitions as a multi-channel installation. Manchot is currently working towards her second film, Self Storage, with another feature, a fiction/doc hybrid, called One Day As A Tiger, in development.

An empty 24 hour news network studio glows on the screen in silence. The background is still, but the news ticker continues, typing out haiku in the night.

Michael Mandiberg is a conceptual artist, computer programmer, and rogue economist who uses the Internet, Video, and performance to explore subjectivity, labour, and commerce. His current work employs Firefox plug-ins and open API platforms to highlight the real environmental costs of a global economy. His most recent projects are "Oil Standard", a browser plug-in that converts all prices on any web page into their equivalent value in barrels of oil, and "All Haiku, All The Time", a video of an empty 24 hour news studio with haiku running in the news ticker. In 2001 he distributed perfect copies of copies, and put all of his possessions up for sale on Shop Mandiberg. His work is exhibited and reviewed internationally. He lives and rides his purple bicycle around Brooklyn.

A sudden immersion into the mysterious and savage waters of the autonomous carnaval in Marseille. With the city center in a gentrification limbo, the carnaval troops occupy the streets, searching, intertwining. Limbs tear out a part of the present and the troops go on to attack the winter.

A forest. A cave. A woman and her bird skin. A body animated by past and future lives. Film Credits Actress: Liana Lessa Screenwriter and Director: Barbara Marcel Cinematographer: Rodrigo Levy Sound Mixing: João Polido

Barbara Marcel (Rio de Janeiro, 1985) is an artist and filmmaker, interested in the cultural roots of nature and the problematic heritage of colonial imagery. In her current artistic research PhD at the Bauhaus-University in Weimar, Marcel investigates the essayfilm as a historiographical tool for decolonial thinking with and through images, with the Botanical Garden Berlin-Dahlem and its tropical plants being her current material of study. Barbara Marcel is a scholarship holder of the Heinrich Böll Foundation and lives in Berlin.

Series of urban phenomenons.

Charlène Marchand was born in 1985 in Nancy, works and lives in Nancy (France). After a year of Applied Arts Upgrading Program, she decides to develop her artistic activity enrolling the Ecole des Beaux-Arts of Metz for five years, and earns her DNSEP. As her work includes notably scenes of everyday life, she directs herself afterwards to a Master of Cinema & Audiovisual titled "Filming the reality" at the IECA of Nancy. In parallel with it, since 2007, she works as a photo/video reporter for the association Monptidoi. "As Pierre Tilman wrote about Robert Filliou, I try to "give a load of sense to the acts of ordinary life." Thus, my work focuses on everyday life, its banality, its accidents and its blunders ; as a painting of the things surrouding us, treated with humour, irony and/or sensibility. Through mediums like photography, video and publication in particular, I develop a work where the idea of association is almost ubiquitous : association of images, of situations, of state of things... Starting from an observation, from a singular look on the everyday life, my images, coming from a collection, create sense by confronting themselves and suggest an unexpected dimension..."

A giant tiger mysteriously appears in a big city. It will reveal the hidden reality in an otherwise ordinary night.

Guilherme Marcondes was born in São Paulo, Brazil. He started working as an illustrator when he was still in Architecture school. In 2000 Guilherme went to the Brazilian animation studio Lobo where he worked for five years for clients such as Diesel, Cartoon Network, and Nickelodeon. After that he spent some time in London directing the build-up campaign for the Europe Music Awards 2005 for MTV Networks and then went back to São Paulo as a freelancer. Guilherme Marcondes is currently working at Motion Theory in California and directing short-films.

The work ?Seeds? explores the phenomenon of the buried mines that exist in Israel and the world over, exposing how these areas still carry the consequence of the war within their soil while supporting the new populations who must inhabit the conflict area. It examines the power of the present moment in these places where efforts are beginning to shift these death zones into places that consciously affirm life, embracing continuity in the very place where it once was blocked.

Shahar Marcus (b. 1971) is an Israeli based artist who primary works in the medium of performance and video art. His initial works dealt with the exploration of his own body and its limitations‐ incorporating various perishable materials, such as dough, juice and ice. His body served as an instrument, a platform on which various ?experiments? took place: lying on the operating table, set on fire, dressed in a ?bread suit? and more. Food is also a major theme in Marcus?s works. For instance, his recurrent use of bread as a symbol of essentiality and survival is juxtaposed with military symbols. By working with food, a perishable, momentary substance and by turning it into a piece of clothing or a set, Marcus also flirts with art history; transforming arbitrary objects and materials into something immortal and everlasting. His early video‐performances feature himself along with other artists, with whom he had collaborated in the past. However, in his recent works, Marcus appears by himself, while embodying different roles and characters. ?The man with the suit? is a personage that was born from an intuitive desire to create a ?clean‐cut? version of an artist, juxtaposed to the common visual stereotype of the artist as a laborer. Drawing influence from Magritte?s familiar figure‐ the headless suit, a symbol of Petite bourgeoisie, Marcus embodies this man with a suit as an artist who is in charge, a director. His most recent works deal with local political issues, by approaching iconic Israeli landmarks with a critical and humorous point of view. Thus, Marcus reflects on his own heritage, environment and the creation of local historical narratives. His works are influenced by the visual language of cinematography along with familiar themes and tributes to art ? history and artists, such as Ives Klein, Paul McCarthy, Peter Greenway and Jackson Pollack. *Shahar Marcus is an active artist for over a decade and has exhibited at various art‐ institutions, both in Israel and around the world, including: The Tate Modern ,The Israel Museum, Tel Aviv Museum of Art, Petach Tikva Museum of Art , Charlottenburg, Copenhagen‐ Kunsthalle , Moscow Biennale, Poznan Biennale, Moscow Museum of Modern Art and at other art‐ venues in Poland, Italy, Germany, Georgia, Japan, the USA and Turkey. Many of his works are a part of various important collections, such as The Israel Museum, Tel Aviv Museum of Art, Petach Tikva Museum of Art as well as art‐ intuitions in Poland and Italy.

A film shot in Cuba. Not an anthropological film, nor a narrative documentary or a film essay, but certainly a film concerned with foreignness and difference. Mostly shot in the hilly communes of Yateras, searching for long disappeared clandestine settlements, so-called palenque, where African slaves, Taínos and Chinese forced laborers, freed themselves from colonial violence, the film narrates a sense of place, which is real and imaginary at the same time. It questions, if it possible to communicate something of the soul of a place, steeped in histories of revolution and dissidence, without relying on didacticism or storytelling, without taking recourse on hierarchical distinctions between the ordinary and the extraordinary, the animate and the inanimate, the macro and the micro? Wondering what heritage (colonial) anthropology leaves behind, or rather, if it is possible to escape from the systems of signification that constitute foreignness, without getting detached from the palpable realities of the world? What if there was a way to approach the foreign by relying on the affects of the world that pass through us, giving way to perceptive cartographies, mapping out nameless intensities and collective sensitivities, leaving space for the non-human, including vegetables and animals that colonized the New Land? In this film, Cuba does not appear as an “outside” to a “Western” inside, but as a sensible texture without anchor or vanishing point, where humans are a part of the composition rather than the principal element.

Elke Marhöfer, born in the year of the goat in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from Courtisane Festival Ghent, Images Film Festival Toronto, IASPIS Residency, Whitney Independent Study Program, Cité des Art International Paris. Art exhibitions include the Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, Museum für Gegenwartskunst Siegen and The Showroom, London.

In search of traces and imprints of an absence, this film examines the coexistence between nature and man-made structures or artifacts, to deliver a formal object of commemoration. An obscure celebration of the surface of a fractured and exhausted world, what could have been a city symphony evokes instead the feeling of a mausoleum for our present existence.

Pablo Marín is a filmmaker and writer. As an independent researcher and curator, he has presented programmes on Argentinean cinema in the United States, Canada, Spain, Austria, Finland and Switzerland. He has translated books by Jonas Mekas, Stan Brakhage and John Waters, among others, and his volume on Argentine experimental cinema, Una luz revelada. El cine experimental argentino, was published in both Argentina and Spain by La Vida Útil in 2022. His film Resistfilm (2014) won the best Avant-Garde Film at Filmadrid, and his latest, Trampa de luz (2021), was awarded the Principal Online Prize of the International Short Film Festival Oberhausen.

"This poetic documentary, a powerful reflection about time and death, retraces the 5 last years of the life of a woman. We can see her in everyday-life situations, knitting, eating, sleeping." International Festival of Electronic Video Art, Brazil

Iván Marino, a video director and multimedia artist, was born in Argentina in 1968. In his professional activity he was a docent at different national and international universities. In 1997, he was invited to the Filminstitut (HDK - Hochshule der Künste, Berlin) as a Visiting Scholar, to study the documentary form. From 1997 to 1998 he was a Visiting Scholar at the University of California at Los Angeles (Film and TV Department), where he specialized in Digital Art. In 1999 he received a grant from the MECADMedia Centre of Art and Design (Escuela Superior de Diseño, Universidad Ramón Llull) for media art research and production. Since then he lives in Barcelona. At the present time he is in charge of several courses of Electronic Art and Digital Design (ESDIUniversidad Ramón LLull). He also gives classes in the International Master program of Interactive Design Systems, and carries out docent collaborations with the Pompeu Fabra University in Barcelona (IUA). Iván Marino has also been in charge of seminars and continuing education training sessions at universities in Argentina (Universidad Nacional 3 de Febrero, Universidad Blas Pascal), in Colombia (Universidad Nacional de Cali, Universidad de Caldas), as well as other academic centres. During his professional career, he has created work for cinema, video and for interactive mediums, such as the Web or internet in general. His work has been exhibited in different international events and received prizes in the festivals of Hanover (International Film Festival, Germany, 1997), BHZ Brazil (Belo Horizonte, Brazil, 1995), Videobrasil (San Pablo, Brazil, 1997), Buenos Aires Film Festival (Sueños Cortos, Argentina, 2003), among others. He has received funding from the Rockefeller foundation, MacArthur (USA), Fundación Antorchas (Argentina), Goethe Institute (Berlin), and received a grant from the ZKM (Centre for Art and Media, Karlsruhe, Germany) and the University of California, Los Angeles (UCLA). source: la Caixa

PLAY is a gallery and a showroom for artistic projects, revealing to what extent film, video, and art reciprocally influence one another. Far beyond classical gender distinctions, new narrative and visual languages form an alternative to the flood of images and their latent subliminal advertising divulgated by traditional mass media. The gallery's goal and main interest is primarily focused on the changing of the visitor's and contemplator's visual patterns as well as reception channels, in order to invite and fascinate him in a positive way. In order to do so, Play invites artists, directors, and cameramen to present their project ideas that will subsequently be realized for the space. Production know-how and theoretical background of the projects are considered equally important. This is why a particular emphasis is given to cooperation with universities and academies in order to elaborate such new conceptions during workshops with the participation of students and professors. In this very context, the best Offs coming from festivals are presented in screenings and moderated by experts.

Franco Marinotti founded Fine Arts Unternehmen Ag. in 1999. Fine Arts Unternehmen is a film production and artist books publishing company in Zug, Switzerland. In 2000 he Opened Artinprogress, an exhibition space in Berlin, and in 2002 he opened PLAY_gallery for still and motion pictures in Berlin to focus on video and film. In 2003 he started Fair Play yearly video and film festival in Berlin. In 2007 he started the project "Mera Coincidencia" in Lisbon with the artist Javier Penafiel.

Jenny MARKETOU (Author) Courtesy Anita Becker Gallery, Frankfurt, Germany DE_LETE (2006) /dv/color/2m.10" The border is an artificially constructed place that gets materialized by the crossing of people. We are used to seeing media images of the border that are violent and aggressive in nature, and which are used to manipulate the public opinion about illegal immigration and national security. DE_LETE was filmed along the border line between Tijuana and San Diego, US in the backdrop of the small fishing village Las Playas at the Gulf of Mexico. DE _LETE takes a look at the border from an alternate perspective. It is shot from a combination of formal, documentary and philosophical genres. The camera captures the human activity along the wired fence of the border in anticipation of the crime. To our surprise, the border materializes itself only when people of all ages come from both sides of the border to perform intimate human communication. By so doing, the fence is transformed into a meeting point, and no attempt to cross it is made. As this performance of everyday experience unfolds and repeats itself in slow motion, "the border" vanishes and suddenly becomes an ambivalent place at the fringe of two cultures; a new social space with discreet relationships. It is a remote space, controlled by invisible powers.

Short Biography Jenny Marketou, born in Athens, Greece, is a Brooklyn-based artist who works with video, video installations, internet performance, photography and public dialog. Her work is influenced by a varied amount of music, art, and new media. Her primary inspiration is in relationship with a multitude of readings]which can be viewed in a culture of landscape. Her work has been shown in museums and galleries nationally and internationally and has been awarded numerous grants and artists residencies worldwide. She holds a Master of Fine Arts from Pratt Institute in Brooklyn and she has been teaching as adjunct professor Photography and Interdisciplinary studio art at The Cooper Union School of Art and Science in New York City. She is the author of the book with photographs and interviews? The Great Longing: The Greek Immigrants of Astoria ,Queens. www.jennymarketou.com .

Ultrasocial Pop is Filip Markiewicz’s latest experimental audio visual project. Creating a performative dialogue between his visual and filmic work and his musical compositions as Raftside. The live performance is always a unique experience that includes a comment on actual social events. The idea is to question the link between pop culture and populism and to create a videographic moving painting. The work in progress of Ultrasocial Pop will lead to the release of a visual book with vinyl Lp (Label Grzegorzki Records) in the frame of his solo show at Haus am Lützowplatz in Berlin (D) in May 2021. Ultrasocial Pop is supported by the Bourse Bert-Theis.

Filip Markiewicz was born in Esch-sur-Alzette (L) in 1980. His solo shows have been hosted by institutions such as the MNAC National Museum of Contemporary Art in Bucharest (RO), NN Contemporay Art in Northampton (UK), Kunsthalle Osnabrück in Osnabrück (D), CCA Derry -Londonderry (UK) an the Casino Luxembourg - Forum d'Art Contemporain (L). He represented Luxembourg at the 56th Biennial in Venice. Markiewicz follows a theatrical and musical performance route, which has led him to create shows at the Staatstheater Cottbus for the Lausitz Festival (D), Theater Basel in Basel (CH) and the Expo in Shanghai (CHN), to his work in the visual arts field. He lives and works in Hamburg (D) and Luxembourg (L)

Fake Fiction is initially a theater play that became a film produced in 2017 by the Theater Basel. Filip Markiewicz wrote the dialogues in reference to the events that happened during the period of time, the terror attacks, the European mirgant crisis and the rise of populist movements and fake news...

Filip Markiewicz (born in 1980) is a multidisciplinary Luxembourg artist of Polish origin, who expresses himself through different mediums, including drawing, video and installation. Always seeking explanations for our daily lives, he explores the omnipresence of images and puts into perspective the message they convey. He submits current issues to a critical and political approach, and thus emphasizes the emptiness of our world submerged by visual overproduction where information becomes reality rather than the opposite. In 2015, Markiewicz represented Luxembourg at the 56th Venice Biennale with Paradiso Lussemburgo.

Celebration Club (2017) is a film made over the course of one week in Northampton following the Brexit referendum.The film captures musicians of different generations and origins talking about the changing society and making music, including punk scholar Roy Wallace, rapper Phundo Art, avant-garde black metal band Denigrata and the Northampton Male Voice Choir performing Robbie William’s Angels in a local church.

Luxembourger of Polish origin, Filip Markiewicz (born in 1980) is a multidisciplinary artist expressing himself through drawing, video, music, theatre and installations thereby creating a visual body of work using diversified media. His work is not intending to be a kind of political activism, but rather to develop an almost surreal language consolidating different expressions. In 2015 Filip Markiewicz represented the Grand Duchy of Luxembourg at the 56th Venice Biennale with his project "Paradiso Lussemburgo". In 2017 he produced his first theater play "Fake Fiction" at the Theater Basel. In 2018, he will present his monographic exhibition "Celebration Factory" at the Casino Luxembourg - Forum d`Art Contemporain.

Euro Hamlet is the latest project of theatrical creation directed by Filip Markiewicz in August 2021 in the immense Hall of the Telux site in Weisswasser in Germany, in collaboration with playwright Katrin Michaels, Working from the original text of Hamlet, Shakespeare's most popular and disturbing play, Filip Markiewicz creates a sort of concept with Euro Hamlet. He subverts the established rules of classic theatre and combines them with different artistic forms. The result proves to be a veritable performance, both in terms of the artists appropriating the original text and the visual and audio presentation of its content in space. In this contemporary tableau, Filip Markiewicz reflects certain references from the history of art and uses the concept of the «Play Within the Play» to engage with issues in the social and political realities of today's Europe, It raises the question: how to communicate the truths of everydav life in a context that is subject to codes of appearance? The preparation for the staging of Euro Hamlet included a shooting in July 2021 with the actors Leila Lallali, Marie Jung, Luc Feit and Joran Yonis in the region of East Germany and in Zgorzelec in Poland. A "mise en abyme" of Shakespeare's text in an organic setting that bears witness to European history, where the artist adresses the notion of territory beyond the experimental nature of this reading.

Filip Markiewicz (born in 1980, Esch / Alzette, Luxembourg) is a visual artist who expresses himself through various media such as drawing, painting, music, video and installation. Filip Markiewicz represented Luxembourg at the 56th Venice Biennale 2015 with the Paradiso Lussemburgo project. His long-term project Celebration Factory on contemporary Europe began in 2016 at the NN Contemporary Art Northampton and at the Theater Basel before it was continued in 2018 at the Casino Luxembourg - Forum d'Art Contemporain and in 2019 at the Center for Contemporary Art Derry-Londonderry and the Kunsthalle Osnabrück. In 2017 Markiewicz staged his performance Fake Fiction with diary texts by Oskar Schlemmer (publication Hyde Éditions) at Theater Basel for the official Art Basel program. Markiewicz received the Art Prize Bourse Bert-Theis in 2019 for his art music project Ultrasocial Pop. In 2020 Markiewicz shows his monographic exhibition Ultraplastik Rhapsody at the National Museum of Contemporary Art in Bucharest. For the Lausitz Festival 2020, Markiewicz directed, created the scenography and composed the music for the play ANTIGONE NEUROPA (Sophocles) in collaboration with the Staatstheater Cottbus. In february 2021 Filip Markiewicz presented the performance Ultrasocial Pop in the frame of the Rencontres Internationales Paris / Berlin. In August 2021 Markiewicz directed, created the scenography and composed the music for the installation and theater performance Euro Hamlet at the Lausitz Festival. Filip Markiewicz has been composing music for film, theater and installation under the name RAFTSIDE since 1999, with which he has also appeared in several international festivals.

Like a glass vault that contains traces and gifts from distant countries, the headquarters of Energoprojekt, the former Yugoslavian construction company merges geographically distant places. Walls are pannelled with faded photographs of Energoprojekt’s conscturctions in fellow Non-Aligned countries, from 1960's until late 1980’s. Across Africa, South America, the Middle East and South Asia, the distinctive modernist constructions built by Energoprojekt formed an independent post-colonial architectural identity, beyond the Eastern and Western Bloc polarity. Abundant plants and trees, different species brought from afar 50 years ago, still grow together under the glass roof. The space is gradually revealed in choreographed sequences of the people who take care of the plants, forming an inseparable sense of belonging.

In his films, photography and video works, Ivan Markovi? observes space and the relationship between labour, architecture and ideology. With Linfeng Wu, he co-directed the short film “White Bird”, that had its premiere at Berlinale 2016. His experimental documentary “Centar” had its premiere at Doclisboa in 2018, won the “Best Newcomer” award at Dokufest. “From Tomorrow on, I Will”, a feature he co-directed with Linfeng Wu, had its premiere at Berlinale Forum 2019. The film received the Grand Prize at 2019 Jeonju IFF. It was shown in numerous festivals, including Belfort, Viennale, Zinebi and Mar del Plata. As a cinematographer collaborated on several feature films including “You Have the Night” by Ivan Salatic (Venice Film Festival), “Landscapes of Resistance” by Marta Popivoda (IFF Rotterdam) and “I Was at Home, But...” and “Music” by Angela Schanelec (Berlinale). His work was shown in numerous solo or group exhibitions internationally, in institutions including Institute of Contemporary Arts London, Bethanien in Berlin, Austrian Kulturforum Berlin, Museum of Contemporary arts Belgrade. Since 2020, a member of the European Film Academy.

The camera enters an office. The receptionist answers the telephone, her co-workers drink coffee during their break and talk about their plans. Later, there is a meeting. The stiffness of the situation reveals a hidden story. What exactly took place from June 2015 to September 2016 in the government building in Amsterdam?

Born 1987, Casablanca, works and lives in Paris. As a Fine Arts graduate from the University in Tetouan, Angers and Le Fresnoy, Randa Maroufi belongs to this generation that grew up in an era dominated by images. She collects them with as much eagerness as suspicion, and ceaselessly questions their veracity. The field of her ambiguous fiction and experimentation encompasses the occupation of public space and gender issues in a continuous search to highlight its founding mechanisms. Randa Maroufi's work has been presented at art events and film festivals such as The Marrakech Biennale, the Arab World Institute in Paris, the International Film Festival Rotterdam, the MOMA, etc.