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?Still Leben? is the fruit of a coproduction between the video artist Henrike Meyer and the choreographer Therese Nylén. The two artists are leaning on the cellar of an asparagus restaurant in Brandenburg. During the three months of the season, the restaurant offers lodging to 150 Polish workmen. The remainder of the year, the 30 rooms remains empty and abandoned. They produce the effect of a time capsule. Plastic flowers in large boxes, scribbled pages from the calendar, graffiti on the wall, cloths on the tables leaving many traces of the passing through of the workmen. Arrangements full of memories. The vision of these arrangements and the dancer is face to face in a 2-Channel-Projection, and are mutually motivated in their movements in a mimetic exchange.

Henrike Meyer was born in 1984 in Hoya in Weser. From 2003 to 2006, he studied theatre, the history of art and literature in Freie University of Berlin, followed on by visual communication at the University of Arts of Berlin up to 2008 and is currently working on experimental creation and media at the same university. He lives and works in Berlin. Therese Nylén was born in 1976 in Malmö, in Sweden. She obtained a degree in modern theatrical dance at the Higher School of Arts of Amsterdam in 2001. In 2005, she was chosen to reside in Scuol, in Switzerland, with the NAIRS Kuturzentrum, and again in 2007, this time with Werkbeitrag Tanz of the canton of Luzerne. From 2001 to 2007, she collaborated in projects with, Martin Butler (Netherlands), Suzanne Marx (Netherlands), Kyle Bukhari (Swiss), and Nina F.Schneider (Swiss) among others. She lives and works in Berlin.

Movies are not this projected image that dig fictitious depth into the wall's surface anymore, but truly a constituted surface that blends with the very event of the projection. That is how the beams of light cut out in Anthony McCall's smoke, developing the specifically plastic proprieties of the movie, cross the borders of the history of cinema to join the minimalist propositions of the sculptors of the 70's.

Born in 1961, art historian and critic Philippe-Alain Michaud has been curator and head of the cinema department at the National Museum of Modern Art (MNAM), where he has been supervising the exhibition "Le mouvement des images - Art et Cinéma", since 2003. The exhibition was an original presentation of the permanent exhibition at the MNAM, in which he proposed a rereading of the history of the twentieth century based on the history of cinema. His attention is aimed at the territories situated between plastic arts and the cinema, and he questions himself about the contemporary artistic forms and their history. In 2004 he was the instigator of "Hollywood Déconstruit : remontages, remises en scène, resucées", a cycle that witnesses the manner in which experimental filmmakers and artists have revisited the universe of Hollywood Cinema, at the MNAM cinema. As an author he has written numerous articles and books, including "Le peuple des images", and "Sketches. Histoire de l?art, cinéma". He is a member of the editing board of MNAM's books and is in charge of the "La littérature artistique" collection from Macula editions.

Dans une cave gelée, un homme travaille à la lueur d`une lampe. Il dégèle patiemment un grand bloc de terre qui renferme le corps intact d`un Mammouth.

Ariane Michel vit et travaille à Paris, ou elle est née en 1973. Depuis ses études à L`ENSAD, un passage au Fresnoy et une résidence au Pavillon - cellule de recherche au Palais de Tokyo, Ariane Michel réalise des travaux en vidéo qui s`inscrivent le plus souvent dans des dispositifs d`installation ou de performance. On a pu les voir à l`Atelier du Jeu de Paume à Paris, à la foire de Bâle, en centres d`art ou dans des festivals de cinéma (FRAC de Reims, CRAC de Sète, MoMA NY, Festival de Rotterdam). Si son long-métrage Les Hommes, (Grand Prix de la Compétition Française, FID Marseille 06), est sorti en salles de cinéma en France en 2008, il s`inscrit dans une même recherche : offrir au visiteur-spectateur une expérience perceptive. En 2010, on pourra voir le travail d`Ariane Michel dans des expositions personnelles à la Fondation d`Entreprise Ricard (Paris) et à l`Espace Croisé de Roubaix. Ariane Michel est représentée par la galerie Jousse Entreprise à Paris. Plus d`infos sur: www.ariane-michel.com

A few years ago my elder brother was killed by two men. One of the murderers escaped punishment while the second, who alone took the blame for the crime, was later released from prison for an exemplary behaviour. This made me decide to start a socio-artistic research regarding what “exemplary behaviour” means in the case of a murderer, when and how killers behave exemplarily. In summer 2014 I started to develop feature-length creative documentary “Exemplary Behaviuor”. Logline of the documentary says: The documentary explores the paradox of exemplary behaviour in murderers currently serving life sentences in Vilnius’ Lukišk?s prison and hoping to return to society. “Exemplary Behaviour” is a journey of transformation for the author, the murderers, and society who are searching for tolerance among humans. Now the documentary developed into a big scale socio-artistic transmedia project. “Exemplary Behaviour” is a project that seeks to create an emotionally and visually strong, thoughts provoking spaces that are meant to encourage tolerance to murderers. Tolerantia in Latin means ability to bear hardship, to be patient. Today many Europeans still tend to lack tolerance towards other ethnicities, immigrants, prisoners, unorthodox thinking, etc. In this project, the prisoner becomes a metaphor for “the other”. The main goal is to encourage tolerance of “others”. Video installation “Exemplary Behaviour” is an extended format of the documentary of the same title. It concentrates on a film element called healing sequence. Film’s healing sequences are hypnotic episodes, that are meant to awaken viewers’ imagination and are related to scientific phenomenon called “Prisoner’s Cinema”. Prisoner’s cinema is mainly reported by prisoners kept in dark cells for long periods of time. It’s an experience of seeing light without light actually entering the eye. It is a visual hallucination of light created by human brain that tries to compensate for lack of stimuli and the resulting monotony

Audrius Mickevi?ius is a Lithuanian film director, interdisciplinary artist (video art, photography, architecture, installations, graphics, sound, writing), and a professor in the Department of Media Art at the Vilnius Academy of Fine Arts, a guest lecturer in European universities. He completed his architectural sudies in Vilnius (1988) and visual communication studies in Copenhagen (1996). Audrius became obsessed with cinema at a young age. In 1983 he made his first 8 mm film “Requiem for Quartet”. Since then Audrius has made 17 more films. In recent years he created several experimental, documentary, and fiction films, which were screened in various international film festivals and MoMA, New York. Since 2010 the film director has been a member of the Lithuanian Filmmakers Union. He works and lives in Vilnius, Lithuania.

Man and Nature. Man and Machine. When we cross realities, something new emerges. A voice from the future is announcing a new world.

Born in 1985. He studied scriptwritting and editing. Engine is his first film.

Rotes Kino ein Projekt von Aurelia Mihai  Die Arbeit ist als filmische Episode in zwei Szenen angelegt, sie baut auf einem Zeitsprung auf von 1610 zum 1969 und zurück. Konzipiert ist sie als filmische Schleife - (ein Loop in der Narration), je nachdem wo man in die Geschichte einsteigt, bekommt man sie chronologisch oder als Rückblende erzählt. In diesem Projekt benutze ich die Figur der Gräfin Elisabeth Báthory als bekannte Serienmörderin der Geschichte, und weibliches Pendant des transsilvanischen Mythos Dracula.  Der Legende nach hat Elisabeth Báthory in Jungfrauenblut gebadet, in dem Glauben dadurch jung und schön zu bleiben. Da es sich um eine Hybridfigur handelt (zwischen Mythologie und Historie) bleibt sie auch in meiner Arbeit eine rätselhafte Gestalt, was durch die Verschiebung in ein andere Zeit in der zweiten Szene verstärkt wird.  Hier sehen wir sie als Patientin in einer Psychiatrischen Anstalt 1969, in der Sozialistischen Republik Rumänien. Das Verhältnis von Täter und Opfer wird in Frage gestellt. Thematisiert wird hier die Problematik, die die Frauen unter dem Ceausescu Regime erlebt haben. Im Gegensatz zur sexuellen Befreiung im Westen, wurde 1966 in Rumänien per Gesetz die Einfuhr von Verhütungsmitteln verboten, um die Geburtenrate zu steigern, sowie die Abtreibung unter Strafe gestellt.

Aurelia Mihai Geboren 1968 in Bukarest, Rumänien, lebt und arbeitet in Hamburg. Studium an der Kunstakademie Bukarest, Kunstakademie Düsseldorf (DAAD Stipendium `94-`96), und an der Kunsthochschule für Medien Köln . Auszeichnungen, u.a. Villa Aurora Stipendium, Los Angeles (2001), E STAR Stipendium IEA, Alfred, N. Y. (2001), Spiridon-Never-DuMont Preis (2002), Euregio Kunstpreis / Germany / NL (2005), Hamburger Arbeitsstipendium für Bildende Kunst (2005), Deutsche Akadremie Rom - Villa Massimo (2007), Projektstipendium - Schloss Balmoral (2009). Einzelausstellungen u.a. im National Museum of Contemporary Art - MNAC, Bukarest, Rumänien (2009) Museum Goch (2007), Kunstverein Hildesheim, Marburger Kunstverein (2004), im Kunstraum Düsseldorf (2001) und in der Bremer Kunsthalle (1998). Gruppenausstellungen und Screening u.a. im Museo Nacional Centro de Arte Reina Sofia, Madrid (2005), PAN-Screening bei der 52. Biennale Venedig, Tryingtoland 2 im MACRO, Rom (beide 2007), Martin-Gropius-Bau, Berlin, Chelsea Art Museum, N. Y. und Wallraf-Richartz-Museum, Köln (alle 2006), Museum voor Moderne Kunst Arnhem, Niederlande (2005), Kunsthalle Hamburg (2004) Periferic 8 - Biennial for Contemporary Art, Iaşi, Rumänien/ RO, Robert Else Gallery, Sacramento, Californien/ USA
, CIAC - Centre International d`Art Contemporain de Pont Aven/ FR (2008), K21 Düsseldorf, Kunsthalle Hamburg, Centre of Contemporary Art and the Nature World, Plymouth/ UK
, Neue Gesellschaft für Bildende Kunst (NGBK), Berlin, Galerie Commune, Tourcoing, Frankreich und Städtische Galerie Ravensburg. (2009).

CENTO PIEDI (A Hundred Steps) deals with recent themes of the Romanian society: identity, image and immigration for work purposes. Immigration has become a widespread phenomenon in the last couple of years. The location of the movie centers around one of the kernels of the Romanian exodus ?Rome, the capital of Italy. The Eternal City, has played a crucial role in the history of the formation and establishment of the Romanian tongue and nation (through the conquest of Dacia in 105-106 the emperor Trajan has Latinized the Dacian people around the Danube river leading to the formation of the Romanian language). In Rome, on the site of Trajan?s Forum, we can nowadays find ?Trajan?s Column? who described through exceptional relieves the two Dacian wars. This monument is not only a masterpiece of ancient Rome but also the symbol of the birth of the Romanian people. The structure of the narrative in this movie unfolds on two parallel grounds of action through which two spaces will be defined: the Internal one (inside the column of Trajan) and the Exterior one (outside the column and on the forum).

Aurelia Mihai is an artist and filmmaker born in Bucharest, Romania who lives and works in Bucharest and in Hamburg, Germany. She is professor at the Braunschweig University of Art, Germany since 2009. Aurelia Mihai?s video work has been the recipient of numerous prizes and scholarships that include the E STAR Scholarship from the Institut for Electronic Arts, Alfred, New York and the Villa Aurora Scholarship, Los Angeles, USA (2001), the EMARE Scholarship Hull Time Based Arts, UK (2004), Prize for young artists of Düsseldor (2001), Prix Spiridon-Never-DuMont (2002), Euregio Kunstpreis / Germany / NL (2005), Hamburger Arbeitsstipendium für Bildende Kunst, Scholarship Schloss Ringenberg (2005), Project scholarship for short films, BBRKM, Künstlerhaus Schloß Balmoral, Germany (2009) , German Academy in Rome, - Villa Massimo (2007), Italy, and IASPIS, International Artist Studio Programme Stockholm, Sweden (2010). Her works have been exhibited internationally at the Städtische Galerie Wolfsburg, K21 Düsseldorf, Kunsthalle Mainz, Martin Gropius Bau, Berlin, Hamburger Kunsthalle, Germany, at the Chelsea Art Museum, New York, The Cheekwood Art Museum, Nashville Tennessee, USA , Centre Pompidou, Paris, Centre International d`Art Contemporain de Pont Aven/ FR, Cobra Museum in Amstelveen, NL.

City of Bucur is a film about the foundation myth of Bucharest set in the present. Next to the hill which the legendary Bucur the Shepherd chose to settle down on, the People?s Palace now stands, the architectural embodiment of Ceausescu?s megalomaniac dictatorship and today the seat of the Romanian Parliament. In the ?making-of? format, the film tells the story of ?? a short movie production about the foundation myth in this historic location. The shepherd, the film director, and the flock of sheep all begin their parallel journeys towards the location, the place where the legend originated. The movie, which has not yet been shot, has actually been recounted indirectly before the film crew has even reached the set. We know about this projected film which will tell the tale of the city?s development in a single shot ? from its foundation myth to the present. One shot that transports a ?fiction? into contemporary reality.

Aurelia Mihai?s video work has been the recipient of numerous prizes and scholarships that include the Video Art Awards Bremen (1997), the E STAR Scholarship from the Institut for Electronic Arts, Alfred, New York and the Villa Aurora Scholarship, Los Angeles (2001) the EMARE Scholarship Hull Time Based Arts UK (2004) the Villa Massimo Rome Scholarship (2007) the Schloss Balmoral Scholarship (2009) and IASPIS, Stockholm, Sweden (2010). Her works have been exhibited internationally at the K21 Düsseldorf, Gropius Bau, Berlin, Hamburger Kunsthalle, Germany, at the Chelsea Art Museum, New York, USA , Centre International d`Art Contemporain de Pont Aven/ France, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spanien, Periferic 8 - Biennial for Contemporary Art, Iaºi, Romania and at the Centre of Contemporary Art and the Nature World, in Plymouth, UK

Divided Cities, 2013, 03:44 min, 8mm film transfer on Full HDV, camera / editing: Dan Mihaltianu A film based on fragmented views of Berlin and Bucharest, divided between east and west, past and present, left and right, centre and periphery, rich and poor, hip and precarious, in and off. The footage is covering the laps-time between 1992-2013 in the attempt to catch the rapid transformations of the two metropoles.

Dan Mihaltianu (born 1954 in Bucharest, Romania, based in Bucharest, Berlin and Bergen) has studied at the Institute of Fine Arts Bucharest (1975-1983). He was cofounder of subREAL, Bucharest (1990); Professor at Bergen Academy of Art and Design (2001-2007), Guest Professor at Université du Québec á Montréal (2008-2009); Editor / Associate Editor of Arta Magazine, Bucharest (1990-1993 / 2011- to present). Since the 1980s his work has been exhibited in major international art events, museums, art centres and galleries in Europe, Asia, North and South America.

In the Skin of a Stray Dog Of dogs and men, black and white film material shot between 1992-1994 and edited twenty years later, depicting the decay of the urban environment after the collapse of Communism in Bucharest and the alternative living in Berlin after the fall of the Wall.

Dan Mihaltianu is a cross-media artist, born 1954 in Bucharest, Romania, based in Bucharest, Berlin and Bergen. His artistic approach is concern with social, political and trans cultural aspects related to the permanent changes occuring in our society, by developing long term process-oriented-projects, among others: Field Archive (1979-1989), Nature of Light (1980-1989), Official History / Personal History (1984-1994), Liquid Matter (1993-2014), Divided Files (2001-2014), Plaques tournantes (2004-20014), Celluloids (1992-2014). Since the 1980s his work has been exhibited internationally in various art events, biennials,, museums, art centres and galleries from Europe, Asia, North and South America.

Mikomikona experimentally investigates the dynamic transformability of sound into image, image into sound, and the effects of cross media interface. Devices that enable the connection and transformation of visual signals into acoustic signals and vice versa are developed and explored in different audio-visual set-ups creating a synaesthetical environment. The resulting performance modules all share the idea of new symbolic coding of media information and are also used for live VJ-ing. For the performances the artists work with analogue media like overhead projectors, super-8 film projectors, video projectors, and visual devices and sound. Mikomikona uses the simultaneity and speed of analogue electronic circuits. Their interest is more within the field of synthesizers (modulated), rather than the paradigm of sequencers (serial, clocked, and triggered, as used in digital environments). Theoretical approach: transformation noise. By transforming information into different media formats, snippets of transformation noise - bruit parasitaire - are received that reflect there shifted use of media technology. The transformation noise is media specific by revealing the media structure itself. In terms of acoustic-visual performances Mikomikona explores the dynamical transformability of technical image into sound and vice versa. By these means synaesthetic bypasses are compressed and media content is newly coded. Computer experience makes transparent the exchangeability of code: the use of binary coding to represent image, text, and sound. The binary code seems to be the omnipotent currency in which nearly all content may be saved and reproduced.

The Museum of Contemporary Art in Zagreb was established in December 1954 as the City Gallery of Contemporary Art , with the purpose of following, documenting, and promoting contemporary art events, styles, and phenomena. Throughout almost half a century of its existence, the Museum ? as it is now known ? has undergone a number of changes, from its name, the space available, the number of collections and their contents. Its fundamental commitments have remained constant however ? presentation of contemporary art and the creation of conditions favourable both to the understanding and enjoyment of Croatian and international art alike, as well as ensuring that the exchange between creative and interpretative experience be as dynamic as possible. The Museum's collections include holdings which show the beginnings and logical development of individual artistic tendencies, as well as their direct and indirect impacts on the production that followed chronologically. The collections simultaneously embody the reality of Croatian artistic production within a specific period in relation to the synchronous points of development of European or global art. The largest part of the Museum's contemporary art collection consists of works by both Croatian and foreign authors created after 1950, while a smaller part is comprised of pieces dating back to the first half of the 20th century and whose presence is essential for grasping the concept of both modern and contemporary art. The collections currently include some 9000 works of both modern and contemporary art, which shall finally become available to the general public in the new Museum building. Following long-standing attempts to situate the Museum in a suitable space, it was decided to build a brand new museum in the new part of Zagreb, and has been under construction since 2003. The building takes up a total surface area of some 14,500 square meters, of which 4,800 are foreseen for the exhibition spaces. This geometrically divided volume, with its five floors, is expected to become a recognizable emblem of the city in the near future.

Tihomir Milovac is a senior curator at the Museum of Contemporary Art in Zagreb, and is the head of the Experimental-Research Department at the Museum. As a curator and art critic he has curated many exhibitions and other visual arts projects in Croatia and abroad, most often engaged in new, contemporary phenomena in visual arts, especially new media, but also the phenomena of historical avant-garde. He had edited numerous publications and catalogues, and curated exhibitions like Kasimir Malevich, Retrospective, 1990; Ukrainian Avant-garde 1910?1930, 1990/91; Andres Serrano: Buapest/Morgue, 1996; Jan Fabre: Passage, 1997/98; The Future is Now ? Ukrainian Art in the Nineties, 1999?2000; The Baltic Times ? Contemporary Art from Latvia, Lithuania and Estonia, 2002; Misfits: Conceptual Strategies in Croatian Contemporary Art, 2002; Sanja Iveković: Women's House 1998-2002, 2002; System of Coordinate ? Russian Art Today, 2004; Zlatko Kopljar: Compassion +, 2005; Insert ? Retrospective of Croatian Video Art, 2005.

The Melancholy of this Useless Afternoon, chapter 2 (2023, 11:25) explores the shared gestures between the fugitive and the smuggler, and their relationship to being seen. The melancholy of this useless afternoon researches the links between the fugitive and the smuggler, their shared gestures and relationships to being seen. By escape and flight, risking capture or death, the fugitive works to keep themself hidden. The smuggler, however, moves with stealth, using gestures to hide things, often close to their body.

Dina Mimi is a Palestinian visual artist and filmmaker who is based between Palestine and the Netherlands. Mimi works with experimental filmmaking and lecture performances that research the question of how and when bodies become sites of resistance. This question finds its material interest in moving images, especially found footage, that is discarded and therefore deemed invaluable. Understanding editing as a playground, Mimi plays with opacity in moving images by seeking to brush up against footage which desires to be ungraspable or is in the act of vanishing. This is a continuous attempt at non-linear narration as a way of disfiguring one’s.

Winter. A fifteen-year-old girl in a remote Georgian village tries to get closer to her older brother, just as he decides to leave home in search for work abroad.

Jaro Minne (b. 1992) is a Belgian writer/director who frequently works on the East-West crossover. He studied at KASK Ghent, Helsinki Film School before completing a master degree at LUCA School of Arts in Brussels in 2015. His work combines intimacy with distance, often exploring rootlessness and family dynamics.

"Reality TV", as its name suggests, confronts the spectator with the false reality concepts represented by the media which itself defines false reality concepts and behaviours as what is usually called 'real life'. This supposed reality is represented by small fragments of typical TV commercials and shows, each of them displaying just the moments of false ecstasy, out of their original context. For example, the sequence in which the model describes emphatically how a certain shampoo completely changed her life, or one in which the model holds a cardboard box (of cereal? washing machine soap? You may choose) in a quasi orgasmic posture. As opposed to these, we start to conceive the dimmed image of a typical bourgeois family sitting in front (or inside?) the TV set, an image which shows the only "real reality" present. But, what can we say; this reality of captive zombies sitting in front of the commercials doesn't look as glamorous... We still have the baby, who ? for the moment ? is the only one to demonstrate some kind of reaction. The structure of the movie supports the message both in the visual and musical way: each commercial fragment represents a module which can be displayed before or after any other module in a random way. Each of these modules contains its own specific music. A random sequence of these modules results in a monotonous white noise stream made of ecstatic fragments.

Ariel Mioduser was born in Buenos Aires, Argentina, and now lives in Jaffa, Israel. He earned a diploma at the Bezalel Academy of Art and Design, Jerusalem, and a M.A. at Alcala University, Spain. He teaches in the Digital Art Department and Visual Communication Department at the Technology Education College, Tel Aviv, Israel. After nearly two decades of commercial work, Ariel Mioduser started working on personal animation shorts - work that resides on the border between animation and art. Mioduser's work has focused on social subjects such as poverty and the culture of poverty, oppression of ethnic or gender groups, globalization, and environmentalism. In a world in which visual images serve manipulative goals, he creates from within this world and at the same time observes it with a critical eye.

Des hommes, envoyés sur la Lune pour la végétaliser, attendent l’arrivée des terriens. Au milieu de la forêt qu’ils ont fait grandir, ils racontent leurs souvenirs de leurs vies sur Terre et le monde dans lequel ils aimeraient pouvoir vivre. Mais qui sont ces hommes ? Sont-ils réels ? Ont-ils été oubliés ?

Originaire de Toulouse, Victor Missud se forme au cinéma à l’université Sorbonne Nouvelle de Paris et à la Escola Superior de Teatro e Cinema de Lisbonne, où il réalise des courts-métrages documentaires expérimentaux autoproduits. Son dernier film, À qui le monde (en production, co­réalisé avec Marina Russo Villani), est lauréat de la bourse Brouillon d’un rêve documentaire de la SCAM, de la Résidence d?écriture de Saint-Quirin et du nouvel Accompagnement aux VFX du CNC.

In Benin, the water people, who once fought against colonisation, are now facing water hyacinth, a colonising plant that reproduces at breakneck speed, suffocating the lake. Realism and imagination intertwine, as if one were only understandable or tolerable because of the other.

Italian and a graduate in Art Economics from Bocconi University, Marina Russo Villani trained in cinema and screenwriting in France, at the Sorbonne Nouvelle and Paris Nanterre. A screenwriter and director of fiction and documentaries, she co-wrote ‘À qui le monde’ (To Whom Does the World Belong), a fantastical political fable that paints a fantastical and ironic portrait of how the world works. In parallel with her work as an author, she founded her production company, Filibusta, in 2023. Victor Missud's work takes a poetic interest in people marginalised from a territory and society, who become non-professional actors and actresses in his works. Blending documentary, fiction and genre cinema, his works have been presented and awarded prizes in France and abroad - Visions du Réel, IFF Rotterdam, Hors Pistes - Centre Pompidou, Rencontres Internationales Paris/Berlin, Etats Généraux du Documentaire de Lussas. In 2024, he joined Le Fresnoy - National Studio of Contemporary Arts.

Six millennials meet renowned writer Noel Riccardi at a former workers' holiday settlement in the Italian Alps. Intrigued by the younger generation, Noel invites them for an evening of food, drinks, and debate. But as political disagreements arise, a generational clash ensues, leading Noel to respond with a cowardly act of violence. The following morning, another friend of the group arrives and joins Maria, who has developed an affinity for the aging intellectual. Together, they pay him a visit.

Magdalena Mitterhofer (1994, Italy) is a director and artist living in Berlin. In her site-specific, narrative works, she explores the relationships between surrounding architectural, socio-political structures and their inhabitants. Magdalena received a Master's degree in Fine Arts from the class of Hito Steyerl at the University of the Arts Berlin and studied New Media at Tama University in Tokyo. 2021 she co-founded the nomadic performance project "lament.tv". Her work was shown, amongst others, at Volksbühne Berlin, Julia Stoschek Foundation, KW Institute for contemporary art Berlin, Tanzquartier Vienna.

GROTESKKBASILISKK! MINERAL MIXTAPE looks at online subcultures premised on rapid technological acceleration and imperialist nostalgia, and their weird affinities with anti-rationalist ideas in the public sphere.

Mochu (b. India, 1983) works with video and text arranged as installations, lectures and publications. Techno-scientific fictions feature prominently in his practice, often overlapping with instances or figures drawn from art history and philosophy. Recent projects have explored cyberpunk nostalgia, corporate horror, mad geologies, psychedelic subcultures and Indian modernist painting. He is the author of the books Bezoar Delinqxenz (Edith-Russ-Haus / Sternberg Press, 2023), and Nervous Fossils: Syndromes of the Synthetic Nether (Reliable Copy / KNMA, 2022). His works have been exhibited at Edith-Russ-Haus für Medienkunst, Home Works Forum, 9th Asia Pacific Triennial, Sharjah Biennial 13, 4th Kochi-Muziris Biennale and transmediale:BWPWAP.

Always upwards. Sometimes it goes slow, sometimes it stops. But it goes never down.

I was born in 1980 in Maribor, Slovenija. In 1999 i finished the school for Design and Photography in Ljubljana as Professional Photographer. Between the years 1999 and 2002 i worked for the SNG Maribor (Slovene National Theater) as a theater-photographer. In summer 2002 I attended at the artist in residence program Unidee, Cittadellarte-Fondazione Pistoletto in Italian city Biella. In June 2005 i finished my education in the Art and Digital Media Institute at the Academy of Fine Arts Vienna, with the Academic degree Magister Artium. In November 2005 i started the artist in residence program at AIRantwerp Antwerpen, Belgium.