Catalogue 2023-2024

Une volée d'étourneaux m'a survolé aujourd'hui. Dans mon esprit, je répète ce son encore et encore, tout en regardant les images du film. Le cinéaste capte son environnement avec la caméra, craignant de le perdre de plus en plus. Des règles strictes concernant l'utilisation de la longueur totale du clip et de sa piste audio originale guident le processus de montage. Les tableaux et leur insistance sur la durée créent une attraction vers un état de plus en plus isolé, où l'on perçoit le monde extérieur dans son intensité peu spectaculaire mais étrangement peu familière.

Born 1989 in Bern, Switzerland. Filmmaker, sound artist and photographer. His work includes several films and video installations, as well as collaborative work as a filmmaker and musician with a variety of artists. Yannick Mosimann's work focuses on intuitive processes and sensory experiences. He deals with themes such as the Anthropocene, nature and human perception. He lives and works in Bern.

An essay film on an unplanned city, Dhaka, from the point of view of an off-screen architect. The architect travels from the loud city to the silence of the remote village, encounters people, incidents and landscapes. The film is a meditation on the nostalgia for the rural past jutted against the urban chaos and a reflection on finding home in the urbanized present.

Born in Bangladesh, Mehedi Mostafa studied architecture in Dhaka before joining a Mumbai based film school Whistling Woods Int. in India. He finished his diploma in filmmaking with direction specialization in 2017. Currently he?s working on a feature documentary project called “Making Places” and developing a fiction feature. He attended Docedge Kolkata, Uniondocs summer documentary lab and Locarno south Asia industry academy. His latest short documentary FANTASY IN A CONCRETE JUNGLE (2022) was selected at Clermont-Ferrand international short film festival and won the Lab student prize.

Il m’a dit. Les hommes sont loin.?Les lampes sont loin. Les acteurs sont partis depuis longtemps déjà.  Les arbres, les fleurs, les nuages sont loin.  Je crois, sentinelle, à l’heure où tous font la sieste, que ma mission est là : permettre aux hommes de dormir sur leurs deux oreilles. Aux portes du désert, Samir garde un décor de cinéma abandonné.?Il déambule à travers Jérusalem, se prend au piège des images factices. 

Pierrick Mouton est artiste et vidéaste. Son travail explore l’imaginaire collectif des croyances humaines à travers des films, des œuvres sonores ou des objets. Cette démarche est associée à une approche documentaire immersive avec différents groupes et communautées. Son travail a pu être présenté notamment au 65e Salon de Montrouge (Paris), Institut français (New Delhi), Clark House Initiative (Mumbai), Villa Belleville (Paris), Nunnery Gallery (London), Rencontres internationales (Paris – Berlin),... Ses créations radiophoniques sont régulièrement diffusées sur France Culture et la web radio DUUU. Milan Otal est musicien de formation, auteur et metteur en scène. Il a écrit des pièces de théâtre et des livres documen- taires explorant les relations entre fiction, essai et récit autobiographique. Fasciné par la voix sur scène, il a travaillé avec le com- positeur Vincent Trollet (Institut Français Hors les Murs), le concepteur de festival Faouzi Skali (Festival des Cultures Soufies, Fès), et les metteurs en scène Georges Lavaudant (Abbaye de Royaumont) et Jean- François Sivadier (Festival international d’art lyrique d’Aix-en-Provence ; Opéra de Bologne ; MC93). Il crée en 2020 l’opéra Arianna, exploration immersive dans un opéra aujourd’hui disparu à l’exception des dix minutes centrales. Il est pour ce projet artiste associé à La Pop, résident au Département de Design de l’ENS Saclay, à la Scène de Recherche de Saclay et à la Cité internationale des arts de Paris.,

In the days following the presidential election in Belarus in August 2020, numerous protests erupt throughout the country. The special police, OMON, take particularly brutal action against demonstrators, which even spills over onto passers-by. In total, almost 7000 people are arrested throughout Belarus. Hundreds of victims recount their experiences in interviews. Their reports reveal a system of repression, which is reconstructed in detail in the director’s room in Berlin Neukoelln in the form of a cinematic guide.

Pavel Mozhar was born in 1987 in Minsk and has lived in and around Berlin since the age of ten. He obtained a Bachelor's degree in Philosophy & Economics at the University of Bayreuth (2009-2012). During this time, he was involved in student film projects and attended seminars at the Media Studies faculty. After graduation he had various internships and jobs in the film industry. In 2015 he started his Master’s degree in Directing at the Film University Babelsberg Konrad Wolf, majoring in documentary forms. Mozhar’s most recent work is Handbook, a short documentary about the protests in Belarus in August 2020.

Dans Sirenes Opacas de São Paulo habite la tension entre la ville en tant que béton anonyme qui occupe l'espace, et le monde en tant qu'expérience accumulée dans le corps. Mais la ville est aussi le monde et l'espace est aussi le corps, et chacun porte l'anatomie de souvenirs opaques. L'ampleur des bâtiments face à l'échelle humaine des passants est opaque pour la recherche d'endroits sûrs face à la verticalité imposante. Le geste comme détail du corps qui parle est opaque au bruit de l'abîme urbain. Le suspense inerte qui gratte le ciel est opaque pour les expériences qui se transfigurent à la recherche d'elles-mêmes. Et cette tension ne grandit pas et ne diminue pas, elle est constante et ce qui soutient le mouvement quotidien, et son absence, dans les rues de São Paulo.

Né en Angola en 1989. Artiste transdisciplinaire, Lubanzadyo Mpemba s’exprime dans l’art vidéo, la photo performance, performance et documentaire. Son travail comprend des mises en scène visuelles qui traitent de la migration, de la la gentrification, la violence institutionnelle et la mémoire collective. Il est diplômé en droit et a étudié la sociologie urbaine, Études curatoriales, film et peinture en mouvement.

"Jamais-vu is the opposite of déjá vu. A place that is actually familiar is perceived as foreign, she heard." An essay about coastlines and plants: LANDEN follows its protagonist on her botanical journey from the Wadden Sea to the coast of Lebanon. She collects material for her herbarium and witnesses the economic collapse and political instability in Lebanon. On fragile terrain, plants such as the Queller, the Milk Thistle, or the Crimson Cylinder Wiper navigate us to the banks of the Beirut River, to a growing micro-forest between urban highways, or along modernist architectures in Tripoli (northern Lebanon). Thus, the flora tells of adaptation and change, of resilience and feared change, of hyperinflation and deserted places.

Vanessa Nica Mueller works as a artist, independent film director, editor and producer in the field of art films and documentary formats in Hamburg. In her films she deals with questions about memory, the human being in relation to urban space and nature, the uncanny and the cinematic construction of inner conditions, as well as with the tension between identity and alienation. She spans the arc from inner navigations to third spaces. In her artistic research on fragile ecosystems, she is interested in the intersection of external and internal climatic changes, crisis and transformation. Starting from the documentary approach, she creates essay films that, at the interface between staging and observation always contain an openness. She focuses on an essayistic and associative narrative style and combines digital digital film material with analog footage. Her short films PLATEAU, Halbe Nacht and Traces of an Elephant screened at renowned festivals in and outside Europe and were also presented in the context of exhibitions. Her film Traces of an Elephant has been requested several times as teaching material in connection with film analysis and the Northern Ireland conflict. For research over the years she has spent longer periods in Uganda, Southern France, Northern Ireland, Israel, and in 2018 on a Goethe Institute fellowship to Lebanon. Vanessa Nica Mueller studied film and time-based media at the Academy of Fine Arts Hamburg. Besides the realization of her own films, she works as a lecturer in the field of film education.

A long-lasting lockdown. The last days of a grandmother. In between, a speculative film diary: a homeland that feels distant, a grieving process altered through light.

Filmmaker & musician. Born and raised in Caracas, Venezuela. Graduated from Audiovisual Arts at the Andrés Bello Catholic University and from The Roberto Mata School of Photography. His short films have screened and won awards at international festivals such as Locarno Film Festival, SITGES FF, Brussels Film Festival, Cinélatino de Toulouse, Uruguay Film Festival, Beijing ISFF, Curtas Cinema Río de Janeiro, Tacoma FF, Cinefest Miskolc, and more. He’s been part of programs such as the Locarno Spring Academy, Cine Qua Non-Lab, and others. He is the co-founder of Maldito Fantasma (Damn Phantom), a production company spread between Caracas and NYC. He is currently developing his first feature.

The Lighting aims to revisit and clarify the issue of discrimination rooted in technological development and image production through an interdisciplinary exploration. The work comprises three narratives—three professional Togolese photographers explore how to use instruments to compensate for insufficient exposure for dark skin tones; a leading software engineer developing facial recognition algorithms at Taiwan’s MediaTek talks about how they have created a camera algorithm that is highly popular on the African continent; moreover, the artist uses Kodak’s Ektachrome, a popular film in the 70s, to produce a kung fu film in the style of exploitation film, using images of the famous Black martial art film star, Jim Kelly, in Bruce Lee’s movies in the 70s. The work is also interlaced with an animated Bruce Lee as the narrator trained by facial motion capture and a speech recognition algorithm.

Musquiqui Chihying is a filmmaker and visual artist based in Taipei and Berlin. He explores the cultural and social identities constructed through the flow and circulation of audiovisual elements in physical and virtual spacetime. Specialising in the use of multimedia such as film and sound, he investigates the human condition and environmental system in the age of global capitalisation and engages in the inquiry of and research on issues of subjectivity in contemporary social culture in the Global South. His works have been shown in several international institutions and film festivals, such as 72nd Berlinale (2022), Art Sonje Center in Seoul (2021), Centre Pompidou in Paris (2020), International Film Festival Rotterdam (2020), 2016 Taipei Biennial, 10th Shanghai Biennale (2014) etc. He is shortlisted for the 2019 Berlin Art Prize and the winner of the Loop Barcelona Video Art Production Award 2019 from Han Nefkens Foundation in collaboration with the Fundació Joan Miró. He is a member of the Taiwanese art group Fuxinghen Studio, and the founder of the Research Lab of Image and Sound.

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.

The work is an attempt to portray a society through damaged videos and images, a lot can be understood of a person by knowing what he or she throws away in a dustbin, various videos images, and audio come together to create an experience that is like going through the contains of a DUSTBIN.

Parashar Naik is a a visual artist living in the suburbs of Bombay, in a city that predated Bombay - Vasai. He completed his GD arts from Vasai Vikasini School of Visual Arts. He also is a professional film editor and his art practice mainly consists of the interpretation of his surroundings. He works in various media from drawings, assemblages, kinetic sculpture to videos. He has worked on various projects collaborating with the Jharkhand government, P.S.B.T and various other banners within Bollywood. His short films and videos have been selected and screened in various national and international platforms. Working as a collaborator with Clark house initiative for almost three years now, he has contributed in the show Bunting, Guadeloupe Oriental, Home videos and edited the series of videos for Gondwana Series at the Centre Pompidou in 2017. He curated a group show of 23 artists at Clark House titled Narcissism and Social Interaction, 2017. Biography written by- The Showroom https://www.theshowroom.org/relationships/parashar-naik

The possibility of the white mask is presented as a discussion table that houses its own jail. Above it is a composition of elements that reflect on the indigenous, on the "others", on the human condition, on contamination, extractivism, memory, migrations, and above all, putting on the table the fracture that separates us. In this proposal we use two masks: One from the African continent: Ghana; and another from the South American continent: Bolivia. Both refer us to ancestral thoughts. Migrations and rites relate them in their intentions. The Ghanaian Ashanti tribe mask (present on the table) are often part of ceremonial attire and worn at religious and social events to represent the spirits of the ancestors. In the mask of the Grandparents (Bolivia, Chiquitanía) tradition indicates that it was a form of mockery that the elders of San José used with the young Chiquitanos, who followed the teachings of the recently arrived Jesuit missionaries. It was the way they tried to dissuade them from embracing the new customs and religion. The possibility of the white mask is presented to us as a ritual where the fractures on which to reflect are different.

Francis Naranjo. Born in Santa María de Guía (Gran Canaria, Spain), in 1961. Multidisciplinary artist who crosses artistic limits exploring in constant research and experimentation, which focuses his process on the investigation of the relationships between the human condition and factors of the prevailing system. He has carried out public works, he has lectured, he has curated, he has written about artists and reflections, he has carried out and participated in numerous individual and collective exhibitions, among other activities. In recent years his activity is focused, above all, in South America.

Immersive, participatory rituals that the audience performs to become part of the pop cult: †een?ge g?d.

†een?ge g?d is a multimedia and interdisciplinary collective that explores the limits between religion, pop culture and art, spectator, performer and creator, stage and auditorium, high, low and non-art... This project combines mediums and also generates forms that can exist independently from the performances: teen thriller, music, DJ set, dance, video, photography, performative sculpture, book, installation, livestream, teen workshop...

Someone shot down with a slingshot a Chaco police drone in the Gran Toba neighborhood in Resistencia (Chaco, Argentina) during June 2020; the Qom indigenous community was being militarily monitored with the argument of controlling the spread of covid-19. One hundred years ago, before bombing the Qom people in the Napalpí massacre, a group of people of the air force posed for a photo that years later would be used as evidence against the State in the judgment against humanity. The arrangement of closeness between the images of dissimilar times accentuates the similarity between their operating mechanisms in distant times and with different technologies. Faced with the microfascisms of today and always in the same territory, the slingshot is perhaps a decolonial gesture of resistance against systematic violence and the despotism of images.

Filmmaker, researcher and curator. Her works have been exhibited in different festivals in Latin America, Europe and Asia. Among them, DocLisboa, Jeounju International Film Festival, BAFICI, Bienal de la Imagen en Movimiento, Frontera Sur. Her filmography includes Procedimientos (2014), Sueño (2015), Enviado para falsear (2021). She received awards and mentions at the VideoBabel Festival, Fondo Nacional de las Artes, Plataforma Futuro, Gestionar Futuro, Lapacho Festival, Premio Cine.ar, Festifreak Festival, 10cortos10, Bienal de la Imagen en Movimiento. She worked in video and film curatorships for Barim (South Korea), Festival International Proyector (Madrid), Centro de Arte Sonoro (Bs. As). She teaches at Universidad Nacional del Nordeste. She studied Bachelor of Arts and Technology; Master in Aesthetics Latin American contemporaries. She is the author of various essay articles in around cinematographic and videographic works; compiler and author of the book Ensayar lo imposible. For 12 years, she has been directing Festival PLAY – videoarte y cine experimental – in the northeast of Argentina.

A first person journey through the psychic residue of a post-terror world. An essay film about death drive, fantasy and globalisation. Structured around three infotainment news broadcasts (a rollercoaster, a hijacking, and an influencer) and soundtracked by pulsating electronics, 'Scream' deals equally in satire and dread. Capitalism, imperialism and desire are all implicated in a nihilism that has seeped from the news into the social psyche.

Melbourne filmmakers and musicians Sam Gill and Luke Neher have been producing audiovisual works together for over a decade. Their films blend digital video, found footage, text, and electronic sound; switching between modes of narrative, essay film, documentary, horror and satire. Their work unearths the shared unconscious anxieties that connect disparate slices of mass media. ?The pair have screened works at Mutek Montréal, Melbourne Music Week, ACMI Cinema, Mass MoCA, MONA's Dark Mofo, Asolo Art Film Festival, Experiments In Cinema, Digital Art Zurich and more.

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.

BOOM weaves together images from New York City online luxury real estate listings into a single virtual tour. Cutting between multi-million dollar apartments with “soaring cinematic views” BOOM depicts a city that has undergone a dizzying transformation into perhaps the world’s largest gated community.

Diane Nerwen is a video artist and art educator. She has shown her work internationally, including screenings and exhibitions at the Museum of Modern Art, NY, the Guggenheim Museum, NY, the Tate Modern, London, carriage trade, NY and the Berlin Film Festival. She was awarded a DAAD Artist in Residence Fellowship in Berlin in 2001. Nerwen was born in Montreal and lives in Brooklyn, NY.

Syncopated Green calls on the history of outdoor free parties to re-describe the English Countryside. The film listens to rave music, past and present, to help forget the official portrayal of England as picturesque, nostalgic, white, and rural. These traditional images of a “proper” England not only prop up the walls of national museums still today, but they also feed a growing conservativism that sustains Imperial fantasies, slavery legacies and Brexit realities. Music, especially music inspired by nature and designed to be played in the outdoors, has a unique way of expressing the landscape. Syncopated Green aims to include rave music into the English landscape genre and tradition – turning imperial history inside out. Rave music and its wider culture, importantly, celebrates black and brown artists and audiences, and has done so since its inception. Somewhere between a music video, a memoir, and an essay, the film asks, how might the current socio-political situation and looming future be different if we had other histories to lean on and dance with?

Arjuna Neuman b.1984, is an artist, filmmaker and writer, with recent presentations at MACBA Barcelona, CCA Glasgow; Centre Pompidou, Paris; Manifesta 10, Marseille; Showroom Gallery, London; TPW Gallery, Toronto; Forum Expanded, Berlin Berlinale; Jameel Art Centre, Dubai; Berlin Biennial 10, Germany; Serpentine, London X Qalandia Biennial, Palestine; Gasworks, London; Bold Tendencies, London, UK; Or Gallery, Vancouver; Whitechapel Gallery, London; Istanbul Modern, Turkey; MAAT and Docslisboa, Portugal; Sharjah Biennial 13, UAE; Bergen Assembly, Norway; at NTU Centre for Contemporary Art, Singapore; the 56th Venice Biennale and SuperCommunity; Industry of Light, London; the Haus Der Kulturen der Welt; at Ashkal Alwan and the Beirut Art Centre, Lebanon; Le Gaite Lyric, Paris; the Canadian Centre for Architecture; and the Rat School of Art, Seoul amongst others. As a writer, he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings and e-flux.

HAVEN is a critical and poetic reworking of the bizarre story of Sealand, a tiny, unrecognized micronation on an abandoned World War II gun tower in the North Sea. The tower has been occupied since the 1960s by a British family, who claim the artificial territory as their own, independent from state power. Originally intending to use the tower to broadcast pirate radio, the family worked with two cyber-libertarians in the early 2000s to establish the world's first data haven—what they described as "pirate internet." The data haven promised to be a refuge for unregulated data - the only truly safe place in the world to keep information. HAVEN's experimental narrative approach speculates on the rift that occurred between the family and the data haven's founders. It also touches on other failed utopias and neoliberal ventures, such as the libertarian Seasteading project, which aims to build floating communities that they describe as 'start-up countries', and Microsoft's Project Natick, the world's first undersea data center. HAVEN incorporates these references to question the possibility the sea provides for extraterritorial places — spaces beyond the territory of the state — while also critically analyzing the often capitalist and colonialist ideologies behind such ventures.

Born 1981, Hobart. Lives and works Hobart and Lisbon, Portugal. James Newitt has created a body of work that consistently engages with specific social and cultural contexts through personal, observational and performative approaches. Recent work has increasingly embraced speculative forms of storytelling as an extension of the more documentary tendencies he continues to explore. In 2012 Newitt was awarded the prestigious Samstag International Visual Arts Scholarship. James has exhibited in galleries, museums and film festivals including: Galeria Boavista (solo), Lisbon, 2023; Edith-Russ-Haus for Media Art (solo), Oldenburg, Germany, 2023; Samstag Museum of Art (solo), Adelaide, Australia, 2023; Porto Photography Bienal 2021; Carpintarias de São Lázaro (solo), Lisbon, 2020; Appleton Cultural Association (solo), Lisbon, 2019; the Art Gallery of New South Wales, 2013 and 2019; Perth Revelation International Film Festival, 2019 and 2020; Contemporary Art Tasmania, 2007 and 2018 (solo); Tasmanian Museum and Art Gallery, 2011 and 2021 (solo); Centre for Contemporary Art, Glasgow, 2018; Ar Sólido, Lisbon, 2016; Carriageworks, Sydney, 2015; Lumiar Cite (solo), Lisbon, 2013; Queensland Art Gallery, 2012; the Museum of Contemporary Art, Sydney, 2010; the Gallery of Fine Arts (solo), Split, Croatia, 2010; Rosalux (solo), Berlin, 2009 and 2010; and the Art Gallery of South Australia, 2008.

Thuy-Han Nguyen-Chi's film Into the Violet Belly is a striking work blending family lore, mythology, science fiction, and digital abstraction. The film captures the experimental collaboration between the artist and her mother, Thuyen Hoa, who survived a perilous sea journey while fleeing Vietnam after the end of the American War. The film oscillates seamlessly between multiple voices, visual registers, and timescales,—was it seven months or seven thousand years?—creating an image of multitudes: migrating bodies swimming in an infinite blue, depicted as both a massive digital swarm and tiny avatars.

Thuy-Han Nguyen-Chi is a Milky Way-based artist whose practice mutates in and out of film, sculpture, installation, performance, and interdisciplinary research. Her work explores the epistemological, aesthetic, and political possibilities of the moving image at the intersections of art and science, documentary and fiction, personal/prosthetic memory and individual/collective histories. Having studied Fine Arts at the Städelschule and Film at the School of the Art Institute of Chicago, she is currently pursuing PhD research in Film at the University of Westminster. Thuy-Han’s work has been presented in both the art and cinema context, including Akademie der Künste, Berlin; Atletika, Vilnius; Belvedere 21, Vienna; Centro di Musica Contemporanea di Milano, Milan; De Appel, Amsterdam; Gene Siskel Film Center, Chicago; Kunsthal Charlottenborg, Copenhagen; Kunsthall Trondheim, Trondheim; Museum für Moderne Kunst, Frankfurt; Museum of Contemporary Art and Design, Manila; Nottingham Contemporary, Nottingham; Sàn Art, Saigon; Villa Medici, Rome; Whitechapel Gallery, London; the 12th Berlin Biennale, Berlin; the 12th BlackStar Film Festival, Philadelphia; the 20th Copenhagen International Documentary Film Festival, Copenhagen; the 19th 25FPS International Experimental Film and Video Festival, Zagreb; the 60th New York Film Festival, New York; Rencontres Internationales, Paris; the 20th Reykjavík International Film Festival, Reykjavík; the 33rd Singapore International Film Festival, Singapore; among other spaces. She is working on her first feature-length film.

Art project The Plot was created in a span of three years and it consists of about 5,000 drawings that have been turned into a sound film by frame-by-frame animation. Fragments taken from various cinematographic achievements made during the period of Cold War by major film productions of "Western Powers" (USA, UK) are drawn on book sheets, maps and encyclopedias written and published during the same period in the territory of SFR Yugoslavia. Books and encyclopedias used as a background for the drawings have for subject theoretical reflections on the socialist system, while maps represent cartographic documents of cities, borders, states and continents from the same era. In this historical period, Yugoslavia was one of the few countries behind the "iron curtain" in which Hollywood movies, TV series, jazz, rock'n'roll and Coca-Cola were not only allowed but were an integral part of everyday life. American film, as the most massive form of artistic expression, entertainment, and often propaganda, played a special role in Yugoslav society, holding absolute dominance among foreign cinematography in domestic cinemas. Getting to know luxury, wealth and unconventional way of life through it, the ordinary man in Yugoslav socialism had the opportunity to dream the American dream in non-American conditions.

Nemanja Nikoli? (born 1987) graduated from the Faculty of Fine Arts in Belgrade in 2010, department of Painting. He finished his PhD studies at the same faculty in 2019. From 2018 he works on Faculty of Fine Arts in Belgrade as assistant professor. Nemanja Nikoli? is initiator of Belgrade based U10 Art Space, independent artist-run space dedicated to supporting young contemporary artist. Nemanja has presented his works on solo exhibitions since 2010: in the Art Gallery of the Cultural Center of Belgrade, Gallery Dix9 Helene Lachermoise in Paris, ERD Gallery in Seoul, Rima Gallery in Belgrade, U10 Art Space in Belgrade, etc. He has participated in many group exhibitions in the country and abroad: Caixa Forum in Madrid and Barcelona, Kunsthal KadE in Amersfoort in the Netherlands, Kunstlerhaus in Vienna, 56th and 57th October Salon in Belgrade (Belgrade Biennale), Center for Contemporary Art of Montenegro, etc.

The Crown Letter The Crown Letter is an international collective of women artists. It was founded by Natacha Nisic in April 2020, in response to the first wave of the coronavirus pandemic. Natacha Nisic created this art project to respond to a needandsupport women artists at a time when their lives, their networks and the visibility of their work were particularly disrupted. Beyond the circumstances that gave birth to it, The Crown Letter has become a fertile, organic, self-managed and independent space for creation and dialogue, crystallizing the lack of such openings to creation and the encounter of women artists. From the beginning, the artists have published a new edition of The Crown Letter online every week, with the works of many international contributors. These works reflect our current times through drawing, sculpture, photography, collage, writing, sound and video. In 2022, Natacha Nisic received the Hans und Lea Gründig Preis for the project in Berlin. Fluxus Art Project has promoted the project in 2022.

Exhibitions 2020 - Publication of the website 2021 - Photodays Paris, outdoor exhibitions at the square Chatelet and Vuillemin garden, Paris. Hyperfestival. - Fondation Fiminco, Photodays 2022 - KG+, French Institut Kyoto, Japan - Bienal Sur, Centro Cultural Cordoba - MAPI, Montevideo, Uriguay 2023 - Residencie at Luxfer, in Ceska Skalice, Czech Republic - We will want to dance tomorow. Tales for the future, Galerie 35, Institut Français, Prague Publication 2021 - Trigger magazine 3, "Care" - Moving Image Review and Art Journal, Volume 9, Number 2, London