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Takeshi Murata continues to push the boundaries of digitally manipulated psychedelia. In Monster Movie Murata employs an exacting frame-by-frame technique to turn a bit of B-movie footage into a seething, fragmented morass of color and shape that decomposes and reconstitutes itself thirty times per second. Courtesy Electronic Arts Intermix

Takeshi Murata was born in 1974 in Chicago, IL. He graduated from the Rhode Island School of Design in 1997 with a B.F.A. in Film/Video/Animation. Takeshi Murata produces abstract digital works that refigure the experience of animation. Creating Rorschach-like fields of seething color, form and motion, Murata pushes the boundaries of digitally manipulated psychedelia. With a powerfully sensual force that is expressed in videos, loops, installations, and electronic music, Murata`s synaesthetic experiments in hypnotic perception appear at once seductively organic and totally digital. Murata has exhibited at Peres Projects, Los Angeles; Gavin Brown`s Enterprise, New York; Eyebeam, New York, FACT Centre, Liverpool, UK; the Contemporary Arts Center, Cincinatti (all 2004), New York Underground Film Festival (2005), and Smack Mellon. Murata lives and works in upstate New York.

Takeshi Murata employs precise digital processing to create astonishing hallucinatory visions. In "Untitled (Silver)", Murata subjects a snippet of footage from a vintage horror film (Mario Bava's 1960 "Mask of Satan", featuring Barbara Steele) - to his exacting yet almost violent digital manipulations. The seething black and white imagery constantly decomposes and reconstitutes itself, slipping seductively between abstraction and recognition.

In this charmingly self-referential cameo, the static camera zooms out slowly to reveal a section of Hadrian`s Wall. As it does so, we listen to a taped phone conversation between the artist and his father as they finalise their travel arrangements to go and see England play Scotland at rugby in Edinburgh; a journey that involves a stop-off en route to shoot the scene we are currently watching.

Even before attending the Royal College of Art in 2004, Matthew Murdoch`s work had be seen in a number of festivals and galleries around the world, as well as being shortlisted for the National Student Film Awards, and the Beck`s Futures Award for Film and Video. Since graduating with a distinction in 2006, he continues to exhibit in festivals internationally, and was recently selected as a finalist for the 2006 Adobe Design Achievement Award for the film and video live action category. Currently Matthew is pursuing a range of new projects concerning histories of social and economic issues of migration, displacement and identity.

Various reels of found 35mm movie film are pulled over a light box under the fixed gaze of video capture. Through veils of apparent motion, the movements of characters can be discerned and their motivations artfully speculated upon. An oblique tribute to Pere Portabella`s Vampir-Cuadecuc, narrative and plot in Untitled (time) are progressively subsumed in a switching and swaying abstraction to percussion rhythms crashed out on cymbals.

Julie Murray was born in Ireland and lives in the US. Her work has been included in many festivals including the New York Film Festival, Images, Rotterdam International Film Festival, and has been exhibited at the Whitney Biennial and more recently at Irish Film Institute/ AEMI Dublin. Her films are in the Academy of Motion Picture Arts and Sciences Film Archive, LA The Museum of Modern Art`s Film Archives, NY as well as the Whitney Museum of American Art. Prints of her 16mm films are also to be found in the Public Library`s Special Collections, New York. She likes this fact. Murray`s early super-8 films were selected for a National Film Preservation Foundation Award in 2014.

Untitled (earth)is a digital montage of found film material examined over a lightbox. Hazy figures in smudged pink and gold landscapes are pulled past the video lens unraveling the film image. A cinematic experience is reassembled in stop/start motion falling in and out of sync with the video frame rate. Ruined image detail in rhythmic incantation taps a remembrance of familiar forms in the brightly patterned tropes of cinema.

Born in Ireland and living in the US, Murray draws upon her background in art studies and practice to make moving image works in a range of experimental forms. Her films and videos have screened widely and her work is in a number of library and special collections. She is currently teaching at the University of Iowa.

"Beach Time" is inspired by a daily routine that was recorded from the fact that everyone can see. This work will challenge at least two different points of view. First, seen and understood from a modernist perspective, the appearance of swimming women who are wearing veils on a beach would be considered 'not functional' as they should have worn more efficient and practical swimsuits. Meanwhile, the beach is actually a public space that should consider public interest. For the swimming women, wearing veils while swimming is not at all a problem in enjoying the beach. Moreover, swimming at a beach is a new tradition for them. It seems that they translate the swimming habit with their own tradition, namely 'kungkum' (to inundate someone's body in water), which is indeed more spiritual.

An unnamed event starts; continues; has vague highlights; and quickly ends. The video documents this self-referential and explicit happening as an array of random cuts between random space and time orders. Layers of affirmation follow layers of affirmation. It is almost what it is: a workable portrait of an event.

Peter Müller has studied Visual Communication/Fine Arts. Consecutively, he held positions as visiting scholar and artistic researcher. At the moment he is scholarly and artistically pursuing a doctorate. His works, collaborations and projects deal with questions of narration, representation, creation of presence, as well with questions on modes of mass media realism and circles of production.

Time and again, the feature film places animal actors at the side of its human protagonists – sometimes as loyal companions, sometimes as fierce opponents. However, its stagings do not only instrumentalise animals to release emotions, but also raise a fundamental question of our anthropocentric self-image: how to deal with the experience of the otherness of the animal?

Christoph Girardet, born in 1966, and Matthias Mu?ller, born in 1961, have been collaborating in film, video, photography, and installation since 1999. They had solo exhibitions at institutions such as FACT, Liverpool, Kunstverein Hannover and West, The Hague. They have participated in group shows at the Palais de Tokyo, Paris, Hirshhorn Museum, Washington, and Eye Filmmuseum, Amsterdam, among others. Both have taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin, Toronto, Locarno, Oberhausen and Rotterdam. Their work is included in several public and private collections.

Kristall creates a melodrama inside seemingly claustrophobic mirrored cabinets. Like an anonymous viewer, the mirror observes scenes of intimacy. It creates an image within an image, providing a frame for the characters. At the same time it makes them appear disjointed and fragmented. This instrument for self-assurance and narcissistic presentation becomes a powerful opponent that increases the sense of fragility, doubt, and loss twofold.

Christophe Girardet was born in 1966 in Lagenhagen, Germany, and studied in Braunschweig. He has been working in the fields of video, cinema and installations since 1987. Matthias Müller was born in 1961 in Bielefeld, Germany, and studied in Bielefeld and Brunswick. He has been working as a movie theater director, video artist, photographer and independent art curator since 1981. He was also teaching at the Art and Audiovisual media Academy of Cologne.

In Cyrk we meet the Circus Arnardo and the people who work there. The film stylises the life of the circus and its main character. Through the interplay of fact and fiction, the film investigates the tricks and devices used in our various forms of media and our different ways of perceiving the world. Cyrk wishes to challenge our need to understand and find meaning in the things we are asked to take on trust. Exploring the relationship between subjectivity and objectivity, between body and mind, the film conveys both the physical and the emotive aspects of the main character’s story of grief and loss. Thematically, it revolves around the fear of meaninglessness as a human disposition, which we confront by seeking structure in the ideas of religion, ideology and culture. It also raises questions about the way this search for meaning, order and system – on both the private and the social level – can lead to the categorisation and stigmatisation of certain groups and individuals.

Jorunn Myklebust Syversen (b. 1978) graduated from Bergen National Academy of Art and Design in 2005. She lives in Oslo and is working in the field of film and videoart. She has participated in numerous international festivals, screenings and exhibitions and has received several national grants.

The video ? Violent Sorrow Seems a Modern Ecstasy? is sampled by different Shakespeare plays into a new manuscript. Syversen used sentences from Macbeth, Othello, Romeo and Juliet and Hamlet, cross clipped them and put them together to a new drama. Every reference of names and time is removed. No words are changed or added to the script except grammar in order to obtain a logical structure and coherency. The new story is a dialog between two unnamed young men. X is suicidal Y tries to pursue X that life is worth living. X cannot overcome and he decides to salve his friend from life and he therefore kills him. He thereafter stabs a knife into his own heart and dies. The composer Jan Erik Mikalsen wrote the music to the video.

Jorunn Myklebust Syversen was born in Gol, Norway 1978. She graduated from Bergen National Academy of the Arts in 2005. She lives in Oslo and is working in the field of experimental video, photography, and installations. She has participated in numerous international festivals, screenings and group exhibitions and has received several national grants. Last year her work was shown in Paris Photo, Caroussel du Louvre, Paris. Together with artists like Eija-Liisa Ahtila, Johanna Billing, and Miriam Bäckström she has been shown in Malmø, Berlin, and New York in the screening project UNCLASSIFIABLE. She participated in, produced, and curated the video screening ?Behind the Scene? at Frogner Kino in Oslo showing other artists like Miriam Bäckström, Per Teljer, Tova Mozard and Ane Lan.

Insignificant within the immensity of a snowy landscape, a handful of men oppose their physical resistance to the force of nature. United, close together, they tackle the hostility surrounding them by way of a strangely choreographed, hesitant ballet. A visual poem of furious beauty, Despair depicts the mechanisms of a world governed by crows.

Since 1993 Galina Myznikova and Sergey Provorov have created a large number of projects, which demonstrate a wide range of the artists` interests and their inclination to creative experiments in sphere cinema and of contemporary art. Among them there are experimental films which took part in numerous international festivals around the world (such as Rotterdam, Oberhausen, Clermont-Ferrand, Milan, Hamburg, Montreal, Moscow, Pesaro. Sao Paulo and others). Many of films have won several awards (including Tiger Award for Short Film of 38th International Film Festival Rotterdam and Gran Premio of Asolo International Art Film Festival ); and belong to the museum collections; a number of installations created as joint international projects and presented at some Biennale (such as Moscow Biennale of Contemporary Art /Moscow/, The young artist`s Biennial/Bucharest/, KunstFilmBiennale/Cologne/, Biennial of Moving Images/Geneva/. In 2005, Myznikova and Provorov /PROVMYZA/ represented Russia with innovative project ?Idiot Wind? at 51st Venice Biennial. In 2007 they became nominees of Main National Premiums of Contemporary Art ?Innovation? and ?Kandinsky Award?.

In this docu-fictional work, ‘Ocean Master’ a container vessel is anthropomorphized, and enters into a dialogue with several workers at the Gadani yards. The conversation moves between dreams and desire, places that can be called home, and the structural violence embedded in the act of dismembering a ship at Gadani. As the workers recall the homes and families they left behind, the long work days mesh indistinguishably into one another, the desperation that they carry with them like shackles rises to the forefront, and they are forced to confront the realities of their work in which they are faced with death every day. How may they survive and look towards the future?

Hira Nabi is a filmmaker and visual artist, based in Pakistan. Her work thinks through the value associated with labor, networked industrial practices, botanical migrations and their impact upon cultural identities, and notions of homemaking. She lives and works in Pakistan.

Ants and a crow in this work symbolize intermediaries between a big man, a small man, and a pregnant girl. It projects complexities of life and death in this living world. Through phantasmagoria, it reverses an ordinary image of life and death, and questions its human-centric view.

Nakamura Tomomichi (Male) Nationality: Japanese Birth: Jan. 10 1972

It consists of a video footage of a socializing event for people and their dogs in the central park in New York City and the voice over. The event includes activities such as the Best in Park dog show, games, contests, and agility tests, etc. The voice over is not directly related to the event itself, but written based on a conversation between two artists dealing with photography. The artists have photographed hunting scene, and they are looking at their pictures of dead animals. This work investigates how we relate to animal, and questions our industrialized world surrounded by animal imagery.

Born in Japan and based in the Netherlands since 1994, Mayumi graduated from Gerrit Rietveld Acadmy in 1999. She is an alumna of residency programs such as Rijksakademie van Beeldende Kunsten in Amsterdam (2000-2001), Location One in New York (2005-2006). Exhibitions/presentations include: Jamaica Center for Arts and learning in NY, Macy Art Gallery Colombia University New York/Art Basel Miami Verge Fair, Kunstpavilion Zagreb Croatia, Stedelijk Modern Art Museum Amsterdam, The Netherlands Institute for Media Art, and Viper International Film Video and New Media Festival, Basel. She has received awards and grants including the Japanese government overseas study program, Fonds bkvb NL, Rene Coelho Prize from Netherlands Institute for Media Art Amsterdam, among others.

An easily overlooked T-junction in Copenhagen`s Sydhavn district is the location of a dramatic statue. In the midst of everyday urban space rises a bronze sculpture of a young man who is about to tame two unruly horses. The essay film ?Breaker of Horses? delves into the bronze sculpture and follows the hidden stories that are contained in the cast. This leads us back to the genesis of the sculpture in an antique Greek myth, to a Belgian Africa museum and deep into Europe`s colonial past. With formal nods to contemporary video artists such as Camille Henrot and Hito Steyerl, ?Breaker of Horses? is an overheated information flow of images, digital productions and archive material. The visual abundance is coloured by a soundtrack that alternately seethes with synthetic sound effects and detached bits of songs about the statue and its history. The film traces the copper material in the bronze sculpture back to the Congo, where extraction of copper through forced labour and slavelike conditions for the Congolese comprised one of the economical foundations for the Belgian King Leopold?s empire. Solidly placed in the era of today, ?Breaker of Horses? is a video work that turns to the past.

Nanna Rebekka is an independent filmmaker based in Copenhagen. Her work lies within the realm of hybrid fiction, documentary and video art. She has studied filmmaking at Center for Digital Arts and Experimental Media, University of Washington and at School of the Arts, Media, Performance & Design, York University. She is currently pursuing a masters degree in Visual Culture at University of Copenhagen. She is a former member of Copenhagen LGBTQ Film Festival. Pernille Lystlund Matzen (b. 1986) is an independent writer and filmmaker currently living in Copenhagen. Her work concentrates on new documentary forms, video art and essayistic modes of filmmaking. She holds a masters degree in Art History and Modern Culture from Columbia University, Universitat der Kunste, Berlin, and Copenhagen University. She currently works as an art critic at the Danish newspaper Information. Together, Nanna and Pernille have directed the short film `Breaker of Horses`.

In this piece, five dice are thrown. No matter when they are thrown, they show the same spots. It hints that hundreds, thousands even, of failed miracles definitely exist, that is to say in "daily-life". (Actually, dice were thrown every day for two months.)

The Japanese artist duo Mai Yamashita (born 1976) and Naoto Kobayashi (born 1974) work in the field of multi-media. Both of them studied at MFA Tokyo National University of Fine Arts and Music. Since their arrival in Europe in 2004, they have been living and working in Europe. They have participated in major international exhibitions and festivals: Philip Morris K.K. Art Award 2002 "The First Move", Tokyo International Forum, Japan; transmediale.06, Akademie der Künste, Berlin, Germany; ARS 06, The Museum of Contemporary Art KIASMA, Helsinki; LichtRouten Lüdenscheid, Lüdenscheid, Germany; etc.

Bottles of German mineral water, "Tonissteiner", were bought from a package store in Japan and taken to their source, the Eifel region in Germany, where they were released.

The Japanese artist duo Mai Yamashita (born 1976) and Naoto Kobayashi (born 1974) work in the field of multi-media. Both of them studied at MFA Tokyo National University of Fine Arts and Music. Since they came to Europe in 2004, they have been living and working in Germany. They have participated in major international exhibitions and festivals: Philip Morris K.K. Art Award 2002 "The First Move", Tokyo International Forum, Japan; transmediale.06, Akademie der Künste, Berlin, Germany; ARS 06, The Museum of Contemporary Art KIASMA, Helsinki; LichtRouten Lüdenscheid, Lüdenscheid, Germany. etc.

?August 2007? (Francis Naranjo, video made in 2008, Spain, in Spanish with English subtitles, based on a poetic text; duration 18 minutes, PAL) This video is the result of the collaboration between three creative disciplines: image, Francis Naranjo; music, Jose Manuel López López; poetry, Dionisio Cañas. The video ?August 2007? is a beam of light, an encounter, of visual, acoustic and poetic information. Three elements, image, music and word, are combined in the virgin screen. Risky and a looked for encounter of three nomadic planets that floated in the uncertain space of pre-creation, of a future event: a video (Francis N), a musical composition (Jose Manuel L L), a poem (Dionisio C). The narrative resources of image, music and poetry are synchronized by the aesthetic and existential emotion. The three spaces, image, music and poetry, are interlaced creating a spider web in which the glance, the ear and the subconscious mind, that ?is waked up? by the poetic word, catch the spectator in a mortal trap: the one to see himself reflected in the video. The three different concepts of time, image, music and poetry, are a unique labyrinth which only the spectator who does not have a heart leaves undamaged, but the sensible spectator slides tenderly to the exit of the video-labyrinth, a flowery precipice, a creative emptiness, the overwhelming end of a white screen that is not a end but a beginning.

FRANCIS NARANJO 1961, Santa María de Guía. Gran Canaria, España EXPOSICIONES INDIVIDUALES 2008 Re:move. Final Release. Intervenciones en la fachada del Recinto Ferial de A Coruña, EXPOCoruña. España. Mente de adentro. La Nave Espacial. Sevilla. España. 2007 La condición humana / La condition humaine. Instituto Cervantes. París. Francia. Tell me more. Galería AFA. Santiago de Chile. 2006 La línea. (Trama/La línea, junto a Juan Castillo). Galería Gabriela Mistral. Santiago de Chile. Trazo continuo visible o imaginario. Espai d?Art ?La Llotgeta? (CAM). Valencia. España. 2005 illuminazioni urbane. Ecoteca. Pescara. Italia. Red home. Intervención permanente en el edificio de Canarias Cultura en Red (Gobierno de Canarias). Las Palmas de Gran Canaria. España. 2004 IN/OUT. Centro de Arte Juan Ismael. Cabildo de Fuerteventura. España. Iluminaciones. Inauguración de la Casa de la Cultura de Santa María de Guía. Gran Canaria. España. Red time. Kulturprojekt Röda Sten. Göteborg. Suecia. Terapia entrópica. Biblioteca del Gabinete Literario. Las Palmas de Gran Canaria. España. 2003 Terapia entrópica. 108 Contemporary Art. Miami. USA. Tráfico (TRÁFICO). Museo de Arte Contemporáneo (MAC), Santiago de Chile. 2002 White time. Centro de Arte La Regenta. Las Palmas de Gran Canaria. España. White time. Centro de Arte La Granja. Santa Cruz de Tenerife. España. Bakom Ansiktet (Detrás del Rostro). Ekeby Qvarn Art Space. Uppsala. Suecia. 2001 Orden cuántico. Foto-Ars. Lanzarote. España. 2000 The new world border. Galería Por Amor A Arte. Oporto. Portugal 1999 Toponimias. Horno de La Ciudadela. Pamplona. España. 1998 In a Faraway Country, u-topos. (EVENTA 4). Ekeby Qvarn Art Space. Uppsala. Suecia. EXPOSICIONES COLECTIVAS 2008 Ideas y propuestas para el arte en España. Arco?08. Stand del Ministerio de Cultura español. Recinto Ferial Juan Carlos I. Madrid. España. A ras de suelo. Galería Rosa Santos. Valencia. España. Hyper Cinema. (Rencontres Internationales Paris/Berlin/Madrid). Complejo El Aguila. Comunidad de Madrid. Opening. (Rencontres Internationales Paris/Berlin/Madrid). Museo Nacional Centro de Arte Reina Sofía. Madrid. ArteBA? 08. 17 Feria de Arte Contemporáneo. Galería AFA (Santiago de Chile) Buenos Aires. Argentina. Prohiviciones y Normatibas. Off Limits. Madrid. Eröffnungsveranstaltung. (Rencontres Internationales Paris/Berlin/Madrid). Haus der Kulturen der Welt. Berlin. Alemania. Colección de invierno. Galería AFA. Santiago de Chile. Parejas. Colección Antonio P. Martín. Centro de Iniciativas de La Caja de Canarias. CICCA. Las Palmas de Gran Canaria. España. Rastros. Casa de Los Coroneles. La Oliva. Fuerteventura. España. ArtBo?08. Galería AFA (Santiago de Chile). Feria Internacional de Arte de Bogotá. Colombia. Buenos Aires Photo 2008. Galería AFA (Santiago de Chile). Palais de Glace. Buenos Aires. Argentina. 2007 7.1 Distorciones. Documentos. Naderías y Relatos. Centro Atlántico de Arte Moderno (CAAM). Las Palmas de Gran Canaria. España. Arco?07. Galería Pack (Milán). Recinto Ferial Juan Carlos I. Madrid. España. Deambulatorios de una jornada, en el principio y el proyecto Tindaya. Intervención en el Malpaís de la Oliva. Cabildo de Fuerteventura. España. I Encuentro entre dos Mares.Bienal São Paulo ? Valencia. La Nave, Puerto de Sagunto. Valencia. España. From the Vault. Galleria Pack. Milano. Italia. Signos de la Ciudad. Centro Andaluz de Arte Contemporáneo (CAAC), Sevilla. España. Iberoamérica Glocal: Entre la Globalización y el Localismo. Casa de América. Madrid. 8ª Bienal de Vídeo y Nuevos Medios de Santiago de Chile. Chile. Rescate. Centro Cultural Matucana 100. Santiago de Chile. Signos de la Ciudad. Centro de Cultura Antiguo Instituto. Ayuntamiento de Gijón. Rencontres Internationales Paris/Berlin/Madrid. Centre Georges Pompidou. Cinema L? Entrepot. Instituto Cervantes. París. 2006 Arco?06. Galería Pack (Milán) y Galería Punto (Valencia). Recinto Ferial Juan Carlos I. Madrid. España En español - spanish as a global language - an arts festival. Instituto Cervantes. Nueva York. USA. Sin miramiento alguno [arte iberoamericano actual], 9ª bienal de la Habana, La Habana, Cuba. Las ciudades invisibles. V Festival Internacional de Cortometrajes-Almería en corto. Patio de Luces de la Diputación Provincial de Almería. España. Pabellón dd, versión final. Centro de Arte Juan Ismael, Cabildo de Fuerteventura. España. En el país de los ciegos. [video art screening]. Instituto de América / Centro Damián Bayón, Santa Fe, Granada, España. New Mystics. Sala de Exposiciones Cabrera Pinto, La Laguna, Tenerife. España. Vigilancia. AYN Centro de Arte. Madrid. España. CITÉINVISIBLE/INVISIBLE CITY. Bienal MIVEAM. New National Library of the Quebec. Montreal. Canadá. PULSAR. International event. The Caracas Contemporary Art Museum. Venezuela. XIX BIENNAL IBIZAGRAFIC?06. Museu d?Art Contemporani d?Eivissa. Islas Baleares. España.

Behind always remind this part of everything, this part that everyone knows, this part that none see and that is so because a prohibition, it is because we can?t remember the way to look at things lacking by force of such a habit in force the principle the rule for hiding origins and roots keeping ourselves thinking that we come from nowhere, from nothing and more if we talk of art; for too many people a subject that only depends on creativity or equally depending on alien forces, like the smile of the trapeze artist that hides his effort to keep in balance, or like the cry of the clown that hides the origins of his laugh. It is always that way and we are used to accept that things happen without a reason, that when things show you the inner part, what is behind, to refuse to any kind of understanding and this is your aim toward what is moving in front of you and them you look for a judgement that you will never get because your luck of habit, as I have said before. And moreover in the slippery slope this Christmas present that we use to call art. Although there are a few artists, and I will not give now that uncertain list, that keep on trying to show the hidden efforts that is behind the trapeze artist?s smile or the clown´s sorrow; Like Francis Naranjo, and I can hardly remember the first time he fixed the cables over one of his characteristic environments, that in the beginning were mere installations and today have become really heteroclite worlds. Those cables where there in order to aloud you in seeing things in the family tree, moreover in such extreme cases like Francis Naranjo´s first works always in the border of the unbelievable. Judge it by yourself and say that if this little environment of absolute reality could not seem a fake without the inclusion of the inner part of the scene, if it would not be consider in a different and colder way without the drama you have seen disentangled on stage, as you can see in the length of the curtains and number of the stalls. In front of such evidences, you just can think the main actor is no so important because in the middle of the inner part he becomes our equal, like the drag queen who undresses herself showing the set of fake attributes that conform her appearance. It is like our own life that runs in front of us without a certain reason. A reason that you ignore just because never have been aloud for looking behind and therefore you luck of such a habit. Nilo Casares. 2007

FRANCIS NARANJO 1961, Santa María de Guía. Gran Canaria, España individual exhibitions (selection) 2007 La condición humana / La condition humaine. Instituto Cervantes. París. Francia. Tell me more. Galería AFA. Santiago de Chile. 2006 La línea. (Trama/La línea, junto a Juan Castillo). Galería Gabriela Mistral. Santiago de Chile. Trazo continuo visible o imaginario. Espai d?Art ?La Llotgeta? (CAM). Valencia. España. 2005 illuminazioni urbane. Ecoteca. Pescara. Italia. 2004 IN/OUT. Centro de Arte Juan Ismael. Cabildo de Fuerteventura. España. Red time. Kulturprojekt Röda Sten. Göteborg. Suecia. 2003 Terapia entrópica. 108 Contemporary Art. Miami. USA. Tráfico (TRÁFICO). Museo de Arte Contemporáneo (MAC), Santiago de Chile. collective exhibitions (selection) 2007 Arco?07. Galería Pack (Milán). Recinto Ferial Juan Carlos I. Madrid. España. Deambulatorios de una jornada, en el principio y el proyecto Tindaya. Intervención en el Malpaís de la Oliva. Cabildo de Fuerteventura. España. I Encuentro entre dos Mares.Bienal São Paulo ? Valencia. La Nave, Puerto de Sagunto. Valencia. España. From the Vault. Galleria Pack. Milano. Italia. Signos de la Ciudad. Centro Andaluz de Arte Contemporáneo (CAAC), Sevilla. España. Iberoamérica Glocal: Entre la Globalización y el Localismo. Casa de América. Madrid. 8ª Bienal de Vídeo y Nuevos Medios de Santiago de Chile. Chile. Rescate. Centro Cultural Matucana 100. Santiago de Chile. 2006 Arco?06. Galería Pack (Milán) y Galería Punto (Valencia). Recinto Ferial Juan Carlos I. Madrid. España En español - spanish as a global language - an arts festival. Instituto Cervantes. Nueva York. USA. Sin miramiento alguno [arte iberoamericano actual], 9ª bienal de la Habana, La Habana, Cuba. New Mystics. Sala de Exposiciones Cabrera Pinto, La Laguna, Tenerife. España. Vigilancia. AYN Centro de Arte. Madrid. España. CITÉINVISIBLE/INVISIBLE CITY. Bienal MIVEAM. New National Library of the Quebec. Montreal. Canadá. PULSAR. International event. The Caracas Contemporary Art Museum. Venezuela. XIX BIENNAL IBIZAGRAFIC?06. Museu d?Art Contemporani d?Eivissa. Islas Baleares. España. 2005 Art Miami. Galería 108 Contemporary Art. Miami. USA. Arco?05. Galería Pack (Milán). Recinto Ferial Juan Carlos I. Madrid. España. Art Cologne. Galería Punto (Valencia). Köln. Alemania. Rencontres Internationales Paris/Berlin. Cinema L? Entrepot. París. 2004 Art Philadelphia 04. Gallery 108 Contemporary Art. Pennsylvania Convention Center. USA. Unidad mínima de habitación. Espai D`art La Llotgeta. CAM. Valencia. España. Seducciones y Pasiones. Espacio C. Camargo. España. _to the other side_ in the context of _unzipping codes_ at Nabi Center in Seoul. South Korea. 2003 Paralelo [3] Meridiano [3]. (Terry Berkowitz, Juan Castillo, Francis Naranjo). El Almacén, Cabildo de Lanzarote, Arrecife. España. Las tentaciones de San Antonio. Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria. España. Pieles. Centro de Arte La Regenta. Las Palmas de Gran Canaria y Colegio de Arquitectos, Santa Cruz de Tenerife. España. Konstens Axel. Konceptkonstmuseum, Rydboholm, Suecia. Observatori?03. Laboratorio internacional de investigación artística. Museo de las Ciencias Príncipe Felipe. Valencia. España. Fotonoviembre. La Recova. Santa Cruz de Tenerife. España.

The protagonist of the video is located on a white, sterilized stage without any possibility for us to be distracted from the speech: a person defined as transgender tells us, opened heart, but concealing his/her identity, his/her experience for defending being himself/herself, far from the placements of gender and sex. After all sex is biological, but gender is a social construct and as such is built and is changed. The content of his speech, also by the concealment of his/her identity, can be extrapolated to other areas of a binary and Manichean society that feels more secure to pigeonholing people. Therefore, Dystopia in the binary system is presented more as a space of visibility of diversity.

Francis Naranjo is a Spanish artist born in Santa María de Guia, in the Canary Islands, in 1961. He has produced videos and installation pieces. His work develops problem areas pertaining to the society of information, highly technological, in which we are being controlled or in which we control, as well as globalization and the general use of new technologies and the human condition. Among other places, his work has been exhibited in the in different cities of the world like Santiago de Chile, Berlín, Nueva York, Göteborg, Miami, Uppsala, Madrid, París, Sevilla, Valencia, Casablanca, Tel Aviv, Montreal, South Korea, etc.