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This is an experimental video work based on the premise of the introductory text: In a very far land, there exist some mythological creatures called SHICHAS. They combine the different gender alternatives and have the quality to absorb all negative energies keeping them inside. The whole piece has been built using a technique that links photograms together. It starts with a white screen where a set of black rectangles progressively spread on the surface of the image. Then, this image merges with another where some characters appear, who have their eyes covered with rectangles which hide their identities. This image represents the main hall of a geriatric, where we can see many residents whose memories are now defeated by their absence of identity. The work ends with a review of moments represented by souvenirs and the twist of those creatures that absorb the negative energy and stand for the globality, now sick and amnesic. The soundtrack is made with the sounds of corporal fluids.

FRANCIS NARANJO 1961, Santa María de Guía. Gran Canaria. España http://www.francisnaranjo.blogspot.com/ INDIVIDUAL PRESENTATIOS (SELECTION) 2014. Discordancias. Parque Cultural de Valparaíso. Chile. En un país lejano: utopos. Club Kitel Atacama. Bahía Inglesa. Copiapó. Chile. 2013. La paz armada. Centro de Arte Contemporáneo Wilfredo Lam. La Habana. Cuba. SAKER i LIVET . Galleri Lokomotiv. ÖKKV Kulturfabriken. Ömsköldsviks. Suecia. EUROPA (El continente triste). Centro Cultural de España. La Paz. Bolivia. 2012. La coleccionista de luces. Museo de Arte Contemporáneo. MAC. Santiago de Chile. Chile. White. Librería Fayad Jamís. XI Bienal de La Habana. Cuba. 2011. Personne n’est plus. Galería del Institut Français de Madrid. España. None is more. Instituto Cervantes de Rabat. Marruecos. ….agosto 2007…. Inauguración de Centro de Cultura Contemporánea San Martín. Cabildo de Gran Canaria. Las Palmas de Gran Canaria. España. Smile. Fundación Municipal de Cultura, Educación y Universidad Popular. Centro de Cultura Antiguo Instituto. Sala 1. Ayuntamiento de Gijón. España. GROUP PRESENTATIONS (SELECT) 2014. Cruces. Museo Nacional de Arte. La Paz. Bolivia. Festival de cine EL LUGAR SIN LÍMITES. Quito, Guayaquil, Manta, Cuenca. Ecuador. Cruce de colecciones (25 años del Centro Atlántico de Arte Moderno-CAAM).Centro Atlántico de Arte Moderno (CAAM). Las Palmas de Gran Canaria. España. Prohiviciones y Normatibas. Gabinete de Hygiene. Mercado de Tapineria. Valencia. España. 2013. SIART. Bienal de Arte Internacional de Bolivia. 8ª Versión. La Paz. Bolivia. V Semana de Vídeo Iberoamericano. Centro Cultural de España. La Paz. Bolivia. Cartografías de lo (im)posible. Centro de Arte Contemporáneo Wilfredo Lam. La Habana. Cuba. 12 fotos para 2013. S/t Espacio Cultural. Las Palmas de Gran Canaria. España. V Semana de Vídeo Iberoamericano. Filmoteca de Andalucía. Córdoba. España. 2012. Topographies virtuelles. Rencontres Internationales Paris/Berlin/Madrid. Palais de Tokyo. París. Francia. Reinventar la Isla 2. San Martín Centro de Cultura Contemporánea. Las Palmas de Gran Canaria. España. ALZHEIMER. Parque Cultural Ex Cárcel. Valparaíso. Chile. Identités. Recontres Internationales Paris/Berlin/Madrid. Haus der Kulturen der Welt. Berlín. Alemania. Olympic Fine Arts “OFA 2012”. Barbican Arts Centre. Londres. Reino Unido. Artistas de la Galería. Galería AFA. Santiago de Chile. Mulier-Mulieris. Museo de la Universidad de Alicante. Alicante. España. 11ª Bienal de la Habana. Prácticas artísticas e imaginarios sociales. La Habana. Cuba. A través del cristal. (Visiones fotográficas en la Colección del CAAM). Museo de Esculturas "Abraham Cárdenes". Tejeda. Gran Canaria. España. ArtBooks. Centro de Arte La Regenta. Las Palmas de Gran Canaria. España. 25 años de La Regenta. Centro de Arte La Regenta. Las Palmas de Gran Canaria. España. 2011. III Semana de vídeo Iberoamericano. Filmoteca de Andalucía. Córdoba. España. Revelaciones.Objetos, metáforas y ficciones en la colección del CAAM. CAAM - Sala San Antonio Abad. Centro Atlántico de Arte Moderno. Las Palmas de Gran Canaria. España. Identités. Recontres Internationales Paris/Berlin/Madrid. Centre Pompidou. París. Francia. Tesoros de los Museos del Cabildo de Gran Canaria. Colección del CAAM. Salón Noble del Edifici del Rellotge. Barcelona. España. Metamorphose. Recontres Internationales Paris/Berlin/Madrid. Auditórium del Ministerio de Cultura. Madrid. España. Creative Insomnia – Red night. Atelier Meta-morphic. Madrid. España. Longitudes de onda. Espacio de arte OTR. Madrid. España. Metamorphose. Recontres Internationales Paris/Berlin/Madrid. Haus der Kulturen der Welt. Berlín. Alemania.

When Bird Songs are all that Abide Everything flows (?panta rehi?), as Heraclitus of Ephesus said some 2500 years ago. And Francis Naranjo, in his new video series, Iluminaciones urbanas (Urban illuminations), seems to be saying that we can?t see the same street twice, even when, as here, its his own street, because everything changes and nothing abides. The cars that animate the urban landscape aren?t the same cars; the sunlight which illuminates our everyday world varies in brightness and shines through distinct clouds; the neighbors we meet in the street look like mutants, they change clothes and moods, sometimes they greet us, at others they?re in a hurry?And us? How many ?I?s are there in ourselves? Moving images, like he world in Heraclitus? philosophy, seem to endlessly reprise themselves?being always different, the sound of bodily fluids accompany them, reinforcing the notion of bathing in a different river, though the river is always the same. Francis speaks of the continual internal and external flow, as though honing to the belief that there are some things which abide. But our biological fluids seem to always find a different path in the vascular labyrinth of our bodies, just as our human and automotive neighbors seem to create a city distinct from our own city with every passing day; just as we do from our own windows, and just as our neighbors do from theirs, always the same, always inert, always looking out on distinct scenes. In the past, it was thought that poor health came from the corruption or putrefaction of our bodily fluids. And bloody concoctions were created to eliminate them, to expel them from our body to flow toward the gutter. Through his videos Francis seems to puncture our idle everyday memory, drawing blood from our routine. But neither the blood flowing from our consciousness, nor we ourselves, would be the same?And maybe we have to repeat this conceptual bleeding forever in an eternal becoming, because everything flows? The Final Journey, by the Spanish poet Juan Ramón Jiménez (Nobel Prize, 1956) is one of the poems which best reflects this struggle/indecision/dichotomy between our ephemeral condition, our human desire for renewal, and our at times unavowed anxiety for permanence and transcendence: ?And I?ll depart. And the singing birds will abide; and my garden, with its green tree and white well, will abide. Every afternoon the sky will be calm and blue; And the church bells will ring in the belfry, Just like they?re ringing now. Those that loved me will pass away; and the village will renew itself each year; and in that whitewashed and florid corner of my garden my spirit will wander, nostalgic? And I?ll depart, and I?ll be alone, without a home, without my green tree, without the white well, without the calm, blue sky? But the singing birds will abide. And the videos of Francis Naranjo will remain to speak about becoming, about the guise of the false changes until the Final Change arrives.

1961, Santa María de Guía. Gran Canaria, España

Return is the way back. The journey in the reverse direction. An alternative approach to the beginning. Then, from there, to recover the choice of starting " the new" trip. To get back lucidity from obsolescence.

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. Among other places, his work has been exhibited in the in different cities of the world like Santiago de Chile, Berlín, New York, Göteborg, Miami, Uppsala, Madrid, París, Sevilla, Valencia, Casablanca, Tel Aviv, Montreal, South Korea, La Habana, etc.

A voice in of us warns before the slogan that is repeated constantly: HELP, in which a character with their backs to appears right next to a loudspeaker, from where presumably comes the slogan; the character tour in a fused one giving the round and running against the camera, here a smile is generated that it closes the work.

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. 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.

Tehran-Geles is a fictional vision of Tehran, set within the urban landscape of Los Angeles. Through an aerial journey, we discover an architectural transposition of the two cities. While flying over the LA boulevards, personal migrant testimonies echo the collective story of the Iranian capital. Downtown, the buildings are saturated with neon signs pulsating with voices that take us on a hallucinatory trip. Parallel to the science fictional genre – where the present is projected into the future – this short film projects the past of Tehran into the Western present. The production of this short film generated an audio-visual `migration`, where aerial shots of Los-Angeles merge with videos filmed in Tehran and later transported by plane, as well as interviews recorded via Skype in different cities around the world.

Born in 1986 in Tehran, Iran, Arash Nassiri works and lives in Paris, France. Arash graduated from the Ecole Nationale Supérieure des Arts-Décoratifs in 2012. He is also a 2014 graduate of Le Fresnoy, National Studio of Contemporary Arts . Arash’s academic achievements include courses at the Paris National School of Fine Arts (Ecole Nationale Supérieure des Beaux-Arts de Paris) in 2007, and at the University of the Arts in Berlin, where he lived in 2010. Arash has showcased his work in exhibitions, both in France and abroad, including the 2011 Galerie du Crous, the 2013 and 2014 Panorama exhibitions, the Venice Biennale of Architecture, and the "From the object to the city" exhibition organized by the National School of Arts in 2010. In July 2014, his work was featured in cultural magazine, Les Inrockuptibles. Arash has also been awarded the 2014 Cote Court Pantin Grand Prize for Video Art and the Les Amis du Fresnoy Prize. His video Tehran-Geles will be featured in the international film festival of Bucharest in Romania next Decembre.

Red Shoes est un rituel. Le vogueur Kendall Mugler (Paris) mets ses talons aiguille rouges, et remplit l’espace d’une énergie dite « dramatique » - c’est à dire : théâtrale, sauvage, hautement technique, audacieuse.

Frédéric Nauczyciel est un artiste visuel français. Il travaille entre la France et les Etats-Unis. Nourri par la danse et le cinéma, il réalise des photographies, des films et des performances. Il construit avec ses sujets des images collaboratives qui tendent vers une hybridation des formes. Il fait appel à l’expérience de la performance pour produire des « images vivantes » qui convient la présence. Depuis 2011, il déploie son travail entre les ghettos noirs de Baltimore et la périphérie parisienne, puisant dans la force des langages performatifs tel que le voguing. Il expose en France (Musée de la Chasse à Paris, Mac/Val, Eté Photographique de Lectoure, Rencontres Internationales de Photographie d’Arles, Festival d’Avignon, Centre Pompidou Paris), à Barcelone (Palau de la Virreina), ou aux Etats-Unis (Washington, Houston, Baltimore et New York). Il est lauréat en 2011 de la Villa Médicis Programme Hors les Murs pour les Etats-Unis (Institut Français), reçoit en 2013 l’Allocation de recherche du Centre National des Arts Plastiques et figure dans la collection du Fonds national d’Art Contemporain (Public # Ceux qui nous regardent, Le temps devant et The Fire Flies, Baltimore). Il est en résidence en Seine-Saint-Denis pour deux années, de 2014 à 2016.

J’ai invité dans le studio des complices de plusieurs années, issus de la communauté noire transgenre des deux territoires, et d’autres artistes connus ou inconnus, engagés dans des pratiques performatives, masculines et féminines, urbaines et savantes, waaking, krump, art performance, slam... Tous sont reliés par un désir puissant d’inventer leur identité et par une appartenance revendiquée aux marges, réelles et symboliques. Je leur ai proposé de filmer eux-mêmes leurs tatouages, leurs scarifications, leur peau, face à la caméra ; et ce faisant, à échantillonner, une partie de leur histoire.

Frédéric Nauczyciel est artiste visuel. Il vit à Paris et travaille entre Paris et Baltimore. Depuis 2011, il déploie des installations vidéos, des photographies et des performances qui relient les ghettos noirs de Baltimore et la périphérie parisienne, puisant dans la force de langages performatifs tel que le Voguing, les fanfares déambulatoires ou la langue des signes. Ses projets en cours sont des récits mettant en jeu la langue, la trans-communauté, la traversée des lignes de partage. Il développe l’idée d’un “ endroit de confiance “, un espace libre d’assignation où la singularité de chacun existe sans labellisation. Il a exposé au Musée de la Chasse à Paris (2012), au Mac/Val (2012), au Festival d’Avignon (2013), au Palau de la Virreina, Barcelone (2010), au FotoFest International, Houston (2015) entre autres. Ses films ont été montrés aux Rencontres Internationales Paris / Berlin, au Festival Distrital à Mexico City, au Palace Festival à Chicago, etc.

In 1971, an innovative system of information management and transfer began developing in Chile during the government of President Salvador Allende; the CYBERSYN project, cybernetic synergy or SYNCO, information and control system. In Chilean State owned companies a system for capturing, processing and presenting economic information to be managed in ?quasi? real time, becoming an absolute pioneer in the application of a cybernetic model in mass socio-economic contexts, and based on a convergence of science, technology, politics and cybernetics. In 1972 was constructed a ?futuristic? CONTROL ROOM for to manage information an data. The scientific director of the project was the Britain?s Stafford Beer, father of global cybernetics, In this fictional mise en scène, Stafford Beer imagines in dreams -in a hotel room- how to construct and to implement its project in Chile, but all the time blurredly and apparently drunk, Beer very insistently tries to show a coherent structure of interaction, that nevertheless is not perfect nor correct for anybody more than he.

Mario Navarro (1970), Live and work in Santiago, Chile. He studied visual arts in the Universidad Católica de Chile. Has been invited, as an artist in residence, to Couvent des Récollets, Paris (2003) and recently has been invited to IASPIS, Stockholm. Mario Navarro has participated in numerous international exhibitions, such as Santiago Manifest?, Centro Cultural Matucana100, Santiago (2007), ?Sur Scene?, Chateau de Tours, France (2007), ?XXVII Bienal de São Paulo?, (2006), ?IV Liverpool Biennial ?(2006), ?Busan Biennial?,Korea (2006), ?Efecto Downey?, Espacio Telefónica, Buenos Aires, Argentina (2006). As solo shows it is important to mention: ?Red Diamond?, Salvador Allende Museum, Santiago, (2007), ?Not Like this, like this?, Lakeside Kunstraum, Klagenfurt, Austria (2006), ?Dignidad?, Die Ecke Gallery, Santiago, (2005), ?30 days with nothing?, Public intervention Canal Saint Martin, Paris (2003) As a curator has created the projects ?Daniel Lopez Show?, Withe Box and Roebling Hall, New York (2007), ?Transformer?, Centro Cultural Matucana 100, Santiago (2005) and ?Doméstico?, MAC, Valdivia, Chile (1999)

A woman exits from a lonesome house into the night. She follows a narrow path, walking into the woods. The darkness surrounds her. She pushes herself through the branches, deeper and deeper into the forest. Night resembles an excerpt from a suspense film, in which dream and reality intervene with each other.

Elena Näsänen (b.1968 in Helsinki) is a visual artists who works with sound, film and video installations. She has studied in Academy of Fine Arts in Helsinki and The Slade School of Fine Art in London. Näsänen?s art lies somewhere between experimental cinema and video art. Her works are based on the simultaneous use of conventional cinematic narrative and its disruption. One defining characteristic of her work is their powerful dramatic soundscape. Elena Näsänen?s works has been shown in several exhibitions, screenings and film/video festivals. For example Museum of Contemporary Art Kiasma, Marco Museum Vigo, The Anna Akhmatova Museum, St. Petersburg, Kyoto Art Center, FACT Liverpool, Anthology Film Archives New York, La casa Ensendida Madrid, Tate Modern London, ZKM Karlsruhe, Rotterdam Film Festival.

Phnom Penh at night. Three young hip-hop dancers drive a single motorbike and stop on a muddy deserted road. Nick leaves the others to look for an iPhone he heard was lost in the area. Piseth and Thy discuss their hopes and doubts, and Piseth shows his best dance moves. They meet Leakhena, a young female street vendor whose cart is full of colors. 

Kavich NEANG (b. 1987, Phnom Penh, Cambodia) studied music and dance at a young age before graduating in professional design in 2013. In 2010, he directed his first short film, A Scale Boy, as part of a documentary film workshop led by Khmer-French filmmaker Rithy PANH, who also produced his 2013 mid-length documentary film Where I Go. In 2014, he co-founded the independent production company Anti-Archive along with Davy CHOU, Steve CHEN, and PARK Sungho. In 2015, he directed his first two short fictions, Three Wheels, which premiered at Busan, and Goodbye Phnom Penh. A third short fiction, New Land Broken Road, premiered at the 2018 Singapore International Film Festival and won prizes in Kyiv, Tacoma, and Kaohsiung. Kavich NEANG has also joined Busan’s Asian Film Academy, Locarno’s Summer Academy, Talents Tokyo, Docs by the Sea, Luang Prabang Talent Lab, and Cannes Cinéfondation’s Résidence. His 2019 documentary, Last Night I Saw You Smiling, won the NETPAC Award at IFF-Rotterdam, the Special Jury Prize at Jeonju, Best Image at Janela do Recife and two awards at Tokyo FilmEx. His impending first narrative feature, White Building, is now in post-production.

Jürgen Nefzger associe des projets filmiques à son oeuvre photographique centrée sur les rapports entre l’homme et son environnement dominés par les logiques économiques. Avec The Cloud Machine, il présente un film réalisé au sein d’une grande usine d’incinération. Celle-ci vient éclairer son propos, avec cette notion de recyclage, de cycle dans lequel s’inscrivent les sociétés contemporaines. Avec des pointes d’humour, il nous fait partager le quotidien de ces hommes alimentant cette machine à nuages. En dehors des fumées que rejette l’usine, il y a cette idée de boucle immuable induite par une logique consumériste portant les individus vers les centres commerciaux, achetant des produits qui nécessairement seront voués à la destruction. En découle ce constat: finalement, rien ne change malgré les aléas. La crise, mais quelle crise?

Né en 1968 à Fürth en Allemagne, Jürgen Nefzger vit et travaille en France depuis 1991, aujourd’hui entre Paris et Nice. Diplômé de l’école Nationale Supérieure de la Photographie à Arles, il est depuis 2008 artiste enseignant, à l’Ecole Supérieure d’Art de Clermont Métropole puis à l’Ecole Supérieure d’Art de Aix-en-Provence. Il est représenté par la galerie Françoise Paviot, Paris, depuis 2001. Jürgen Nefzger a obtenu le Prix Niépce pour l’ensemble de son travail en 2008. Il est également lauréat de la Villa Médicis Hors les Murs et du Prix Photo du Jeu de Paume. La publication “ Fluffy Clouds ” a reçu le prix du livre photographique en Allemagne. Dans une veine documentaire, Jürgen Nefzger aborde des sujets relevant d’une interrogation sur le paysage contemporain. Observateur critique d’une société consommatrice, il porte son regard sur des paysages marqués par les activités économiques, industrielles et de loisir. Son travail photographique se construit par série, à la chambre photographique, et associe des projets filmés en numérique présentés au sein de ses expositions ou indépendamment. Il édite aussi ses travaux sous formes de livres, en portant une grande attention aux question de narration et de positionnement.

Short Content Nation Estate is a 9-minute sci-fi short offering a clinically dystopian, yet humorous approach to the deadlock in the Middle East. The film explores a vertical solution to Palestinian statehood: One colossal skyscraper housing the entire Palestinian population ? now finally living the high life. Long Content In Sansour`s film, Palestinians have their state in the form of a single skyscraper: the Nation Estate. One colossal high-rise houses the entire Palestinian population ? now finally living the high life. With a glossy mixture of computer generated imagery, live actors and an arabesque electronica soundtrack, Nation Estate explores a vertical solution to Palestinian statehood. Each city has its own floor: Jerusalem on the third floor, Ramallah on the fourth floor, Sansour?s native Bethlehem on the fifth and so on. Intercity trips previously marred by checkpoints are now made by elevator. Aiming for a sense of belonging, the lobby of each floor reenacts iconic squares and landmarks. The story follows the female lead in a futuristic folklore suit returning home from a trip abroad and making her way through the lobby of the monstrous building ? sponsored and sanctioned by the international community. Having passed the security checks, she takes the elevator to the Bethlehem floor and crosses Manger Square and Church of the Nativity on her way to her apartment where she prepares a plate of sci-fi tabouleh.

Born in Jerusalem, Sansour studied Fine Art in Copenhagen, London and New York. Her work is interdisciplinary, immersed in the current political dialogue and utilises video art, photography, experimental documentary, the book form and the internet. Despite its stylised imagery, sterile futurism and high production value, sci-fi tends to allow for a specific kind of almost nostalgia framing of the topic at hand, even the situation in the Middle East. Sci-fi almost invariably carries within it a sense of retro, ideas of the future tend to appear standard and cliché at the same time as they come across as visionary. Sansour borrows heavily from the language of film and pop culture. By approximating the nature, reality and complexity of life in Palestine and the Middle East to visual forms normally associated with entertainment and televised pastime, her grandiose and often humorous schemes clash with the gravity expected from works commenting on the region. References and details ranging from sci-fi and spaghetti westerns to horror films converge with Middle East politics and social issues to create intricate parallel universes in which a new value system can be decoded. Sansour`s work features in galleries, museums, film festivals and art publications worldwide. Recent solo shows include exhibitions at Kulturhuset in Stockholm, Galerie La B.A.N.K in Paris, DEPO in Istanbul and Jack the Pelican in New York. She has participated in the biennials in Istanbul, Busan and Liverpool. Her work has appeared at the Third Guangzhou Triennial in China, LOOP in Seoul, South Korea, Institut du Monde Arabe in Paris and PhotoCairo4 in Egypt. Sansour`s graphic novel The Novel of Nonel and Vovel - a collaboration with Oreet Ashery - first appeared in Venice Biennale bookshops and was since launched at the Tate Modern, UK, the Brooklyn Museum, USA, and Nikolaj Copenhagen Contemporary Art Centre, Denmark. Her short film A Space Exodus was nominated in the Best Short category at the Dubai International Film Festival. Exhibitions in 2012 include the Centre for Photography in Copenhagen, Galerie Anne de Villepoix in Paris and Australian Centre for Photography in Sydney. She lives and works in London and Copenhagen.

We have now entered into a new era some have called the post-truth society characterized by a deluge of fictive mediated stories dubbed Fake News. One of these stories, Pizzagate concerns the conspiracy theory, circulated at the end of the Trump-Clinton presidential election, that accused Hillary Clinton and other members of her Democratic election committee of running a childhood sex ring in the basement of Comet Ping Pong pizza restaurant. As preposterous as this is, many people believed it and the story went viral. My PIZZAGATE: FROM RUMOR TO DELUSION as an experimental documentary which uses non-linear video editing techniques to collage extracted You Tube clips with real video taped footage collected on site at the Comet Ping Pong pizzeria investigates the conditions of our now planetary network existence to understand this event and its implications. I utilize the story of the delusional behavior of James Welch who drove up from North Carolina, shotgun in hand, to free the girls as an example of a generalized societal condition addicted to social media. I speculate that we have transitioned from Guy Debord’s Society of the Spectacle to what I am calling The Society of the Neuron in the Attention Economy.

- Theorist, film maker, composer and installation artist, Warren Neidich, who works between Los Angeles and Berlin, brings to any discussion platform a unique interdisciplinary position that he calls “trans-thinking”. The model explores the way cognition is mediated and acted upon by co-extensive cultural inputs consisting of an evolving socio-cultural-political milieu wherein various unequally distributed and contested discursive fields gather and entangle themselves with the plastic brain. The result being what Gilles Deleuze referred to as the image of thought. His works of art have been exhibited internationally including the Ludwig Museum, Cologne, The Whitney Museum, New York City, PS1 MOMA, Long Island City, The ICA London, LACMA, Los Angeles and many others. His one-person exhibition, Rumor to Delusion, premiered at the Zuecca Project Space, during the Venice Biennale, 2019. He is founder and director of the Saas-Fee Summer Institute of Art and is a recipient of the Vilem Flusser Theory Award, Transmediale, AHRB/ACE Arts and Science Research Fellowship, Bristol and The Fulbright Scholarship. Additionally he was former tutor in the departments of visual art, computer science and cultural studies at Goldsmith College London as well as recently serving at Professor of Art at the Weissensee Kunsthochschule, Berlin.

MY BBY 8L3W Synopsis The thirty track installation MY BBY 8L3W is a video collage about women who present their pets on the internet. The women simultaneously speak the same lines about their love for the animals.

NEOZOON Biography NEOZOON, founded 2009 is a female art collective based in Germany and France. Among others the work and films of the group has been shown at the Centre Pompidou in Paris, at the Transmediale in Berlin, at the Internationale Kurzfilmtage in Oberhausen, at the IFFR in Rotterdam, at the Videonale in Bonn and at the ZKM in Karlsruhe.

LAKE OF FIRE deals with religious filter bubbles in the social network Youtube and thematizes the fear of death and hell as a place of eternal damnation. Old and new iconographies of religious presenters are interwoven with pagan customs and the consequences of dualistic religions and anthropocentrism become visible.

NEOZOON is a female art collective founded 2009 in Berlin and Paris. Their work is based on the principle of collage and investigate sociological questions that deal with speciesism in the Anthropocene. In their video films, the de-and recontextualization of Found Footage / Youtube material is a recurring element. Amongst others NEOZOON´s work was exhibited at Centre Pompidou in Paris, at ZKM in Karlsruhe, at Kunstwerke Berlin and has been shown at national and international film festivals in Oberhausen, Rotterdam, Locarno and New York.

The restless history of the XXth century in the North of Italy is one « point of seing » which feeds the work, major, of the writer Mario Rigoni Stern. In this ultimate testimony (he died in June, 2008), he accompanies our progress in the imagination of the mountain dwellers of Asiago. The place of the man in the heart of the nature as much as in the heart of the war gets involved in the voice of the writer. Here the territory is a border, the fascism is the present past, the war is registered under a peace of snow? And the man is there.

A walker takes a rough walk through the winter landscapes around Asiago where everything evokes the experiences, the landscapes, and the men narrated by the writer Mario Rigoni Stern. There, the monologue against the war from the one who began writing "A Sergeant in the snow" on the Russian front, gives the walk its entire metaphorical dimension.

Elisa Zurlo studied theatre, cinema, and semiology of the language of visual art in the faculty of arts and philosophy at the University of Bologne under the direction of Umberto Eco. At the Ipotesi Cinema Institute of Padoue, under the tutelage of director Ermanno Olmi, she herself specialized as a director in audiovisual communication in the area of cinema and television. At the same time in Bologne she founded the cooperative 'Les Machines Célibataires' with a group of researchers, for the experimentation and diffusion of new technologies in contemporary art. She has created an impressive amount of work and participated in several exhibitions. A select few include: 1993 - Realization, Giannina Censi, Aérodanseuse Futuriste; 1996 - Realization, Chant végétal à Pachamama coca; 1997-2002 - Assistant to trilogy filmmaker Gianni Toti; 2000 - Installation, "Salitudine", a pyramid of salt and projection of images, for the city of Bologne, European Cultural Capital 2000; 2002-2003 - Multimdeia Installation "Flying Cities", European project with the CICV Montbéliard-Belfort. Elisa Zurlo currently lives in Italy, between the cities of Bologne and Padoue. Jean-François Neplaz holds a degree from IDHEC. His works and exhibitions include: "La Blanche", 1986; International Film Festival of Autrans, "Guide et sa voie", 1987, was awarded; Festival of Epinay 88, "Ante Inferno"; Semaine vidéo des "cahiers du Cinéma", Rue de Montreuil, 1990; Etats généraux du documentaire français Lussas... "Tu", a Polish film, 1990; 6th M. I. V. TV. Montbéliard competition; Forum des images de Valence, 1992, awarded, "Cancer"; Etats généraux du documentaire de Lussas, 1993... "Vivants et nus", 1994, "Signe ascendant", Poème documentaire, 1996, "Besoin de rien", 2000, musical film; and Festival Paris-Berlin 2003. Collaborations: "Abondance", feature length fiction film, 2005, and "Terre d?un homme", feature length documentary project devoted to Mario Rigoni Stern, 2006.

"FUH2" pays tribute to the participatory website, www.fuh2.com, home of the official Hummer salute. Jammed with image submissions, the site documents a subculture of resistance to Hummerization. Inter-cutting website images with Hummer commercials, this video is a 30-second cathartic rant against the (sub)urban assault vehicle.

Diane Nerwen is a video artist and media arts educator. She has shown her work internationally, including screenings at the Berlin Film Festival, the New York Video Festival, the Guggenheim Museum, NY and Viper International Festival of Film Video and New Media, Basel, Switzerland. She has received a number of grants and awards, including a DAAD Artist in Residence Fellowship in Berlin in 2001. Nerwen was born in Montreal and lives in Brooklyn, NY. Her work is distributed by Video Data Bank, Chicago; Women Make Movies, NY; and Vtape, Toronto.

The Sexorcist: Revirginize is a psycho-sexual horror thriller starring Britney Spears as a teenager tormented by sexual anxiety and Ellen Burstyn as her frightened, desperate mother. This funny but chilling account of possession, teen angst and moral panic interweaves images and sounds from such films as The Exorcist, Crossroads and Buffy the Vampire Slayer, exposing and satirizing the ideological agenda behind abstinence-based sex education.

Diane Nerwen is a video artist and media arts educator. She has shown her videos internationally, including screenings at the Berlin Film Festival, the New York Video Festival and the Guggenheim Museum, NY. She has received a number of grants and awards, including a DAAD Artist in Residence Fellowship in Berlin in 2001. Nerwen was born in Montreal, and lives in Brooklyn, NY. "Diane Nerwen is a video artist living in New York. Her work explores the intersection of media, politics and everyday life. Her recent tapes include Under the Skin Game, an experimental documentary about the use and abuse of contraceptive technologies and their relation to the politics of race, class and gender. Spank is a digital manipulation of a very short Hollywood film clip. Her tapes have been screened internationally and are distributed by Women Make Movies and Video Data Bank."