10TH ATHENS VIDEO ART FESTIVAL – 10TH ANNIVERSARY EDITION by Athens Digital Arts Festival

INTERNATIONAL FESTIVAL OF DIGITAL ARTS & NEW MEDIA

TEAM Ilias Chatzichristodoulou General Director Nikos Blekas Production Director Vassiliki Soulani Press Office Maria Paktiti Social Media Manager Sotiris Iliadis Programme Director Eirini Olympiou Video Art Curator Special Screenings Curator Ifigeneia Papadatou Installations Curator Ioanna Gerakidi Performances Curator Ilias Garantziotis Services & Quality Manager Antonis Lianos Website Manager Samaras Constantinos Catalogue Design

CONTENT Multitrab Production ― 6 About ― 8 Athens Video Art Festival 2014 ― 10 Tribute ― 11 Video Art ― 12 Animation ― 122 Festival of the World ― 176 Speacial Screenings ― 186 Web Art ― 208 Digital Image ― 216 Installations ― 238 Live Acts ― 276 Workshops ― 302 Programme ― 312 Supporters ― 322 Media Sponsors ― 324 Festival Info ― 326

MULTITRAB PRODUCTION works in a multifunctional wayâ&#x20AC;Ś Multitrab Productions is an urban non profitable company, based in Athens that aims to the promotion of the art work of Greek and foreign artists, as well as the organization of promotional activities involving digital arts. With main arbors the spirit, the energy and the actions of young artists, it contributes to the connection between digital culture and young contemporary artistic events. At the same time, it provides the artists with additional motivation for creativity, as well as the chance to express themselves using all audiovisual media in presenting their art works. The main objective of its activity consists of the Athens Video Art Festival, which is accompanied by a series of parallel activities that are realized through the year. The company materializes the production, organization and promotion of these activities, besides the annual realization of the festival with the aim to adapt the public to new media and digital culture.

ABOUT Athens Digital Arts Festival (ADAF) is an International Festival which celebrates digital culture through an annual gathering bringing together a global community of artists and audiences. Athens Digital Arts Festival aims to encourage, stimulate and promote all aspects of digital creativity by hosting local as well as international artists and communities. Through its multidisciplinary program Athens Digital Arts Festival offers a wide range of Exhibitions, Screenings, Live Performances, Workshops and International Tributes showcasing artworks that display distinctive characteristics of the digital medium and reflects on its language and aesthetics. Athens Digital Arts Festival supports contemporary artistic trends, within the frame of the urban culture out of which it originated. By using as a primary tool its diverse program, it pursues within this frame a multitude of goals. It welcomes projects in seven official categories, collaborates with festivals, agencies, institutions and organizations around the world, incorporates art history through special tribute shows, and it also stages music events. Its main priorities are: high aesthetic quality of projects shown and dialectical interaction with the international art community, and the Festival’s visitors. The Festival has been running under the name Athens Video Art Festival for the past 10 years when it was renamed Athens Digital Arts Festival in January 2015. Athens Video Art Festival began in 2005 thanks to an initiative by Multitrab Productions that invited more than 100 video artists from all over the world to show their work to the Greek audience. After the first show 8

which was a success, four more shows followed that took place at Technopolis of the City of Athens, each one adding a new official category to those of the previous one (2006: Installations/Video Installations; 2007: Performance Art; 2008: Web Art; 2009: Animation και Digital Image). During the last five years, AVAF has had the honor to organize special tributes to some of the most emblematic figures of contemporary art: Bill Viola (2008), Bill Vorn (2009), Nam June Paik (in collaboration with Paik Studios, 2009), Andy Warhol (in collaboration with Electronic Arts Intermix, 2010), the influence of Fluxus (2011). It also multiplied its collaborations with academics, festivals, organizations, agencies and institutions in Greece and abroad. In 2010-2011, AVAF, promoting decentralization of artistic creation, travelled (AVAF on tour) to thirteen locations in Greece (Syros, Leucas, Rethimnon, Mytilene, Tilos, Oresteias, Kozani, Volos, Tripolis, Kalamaria, Ardas, Oropos, Euboea), thus creating new artistic and commercial perspectives at a national level. The seventh edition of AVAF (2011 Edition/The future is now) constituted a turning point. By featuring multilevel experimentation, establishing two-way relations with internationally important art institutions (onedotzero-adventures in motion, participation in the selection panel of Waterman’s digital arts festival and more), introducing new, upcoming artists (Believe the hype) and setting up a second music stage to explore the possibilities of electronic music (Koreless, Young Montana, Paul White & The Purple Brain), it boldly renewed its character and nature.

The organization, always faithful in experimentation and constant self-criticism as contemporary art and life prerequisites, in 2012 with its eighth official edition under the title “Living Athens”. A building complex of 5 square meters, a square in the center of the city and a series of traditional stores of the Athenian downtown consisted of the spaces that hosted more than 340 artworks from 58 different corners of our planet in an effort of pointing the Greek capital as a lung of contemporary creativity as well as a way of communication between classic culture and the future of arts. Under the title “Visualize Athens” serving its basic principles and with a spirit of novation the festival hosted art works from all over the world in the context of its five blocks with the aim of getting the public familiar with modern cultural, technological and social trends. In 2014 Athens Video Art Festival completed the circle of its 10-years presence. Through a four- day celebration in which participated 350 artists from 58 countries, resulting in the connection of the past with the present, the academic knowledge with technological development and finally the art with technology. From Thursday 2nd to Sunday 5th of October, the multipart forms of the five sections: (projections, exhibitions, lectures, workshops and performances), confirmed the Athens Video Art Festival’s “perseverance” to renew its context, considering closely the trends of new media and digital arts. Artists such as Hauschka, Zimoun, Nonotak, honored with their presence this year’s edition, stimulating the inspiration for the next edition. 9

ATHENS VIDEO ART FESTIVAL 2014 How can one balance the distance between the edges of contemporary social and historical reality? Is this question pointless? Naive? Or even hollow? A close observation of everyday life is required to identify that the EDGE is a central motif of our everyday reference. New dipoles arise constantly as people deny what they cannot comprehend. The defined limit is a result of a compromise between those two: what a team is claiming for itself and what others want to accredit. A collectivity can operate by accepting a certain degree of multiplicity. What causes the separation - the limit - is the desire for differentiation. At first, this rapid emergence of the edges, in a wider frame of reference, is evident and multilayered: the edges coexist and collide with devastating or beneficial consequences. Just like two chemical elements, from the moment they are combined neither of them can be the same again. This edition, was not based on statements. It suggested, though, different readings of the same story, based on a paradox: the vague and ambiguous but thoroughly entrenched boundaries between the different practices of new media. Athens Video Art Festival 2014 brought together people of different practices and through collaboration attempted to blur their boundaries anticipating an unpredictable and subversive outcome.

TRIBUTE A city. Α network… of art: Glitch Art Tribute

Glitch Αrt: A movement of aesthetical innovation

The 10th Anniversary Edition of Athens Video Art Festival and Transport for Athens make an extensive tribute in Glitch art with photographs of exceptional Greek and international artists. Significant pieces of art are presented in the most lively city network, the Τransport for Athens network on Thursday 2nd of October until Friday 10th of October. Discover the exhibition on the metro stations’ panels, as shown in the map, through a pleasant and creative walk in Athens, using the tickets or travel cards with the new reduced prices. Participate in the creative workshop, “Glitch Textiles”, with the famous artist and creator of “Year of the glitch”, Phillip Stearns, which takes place with the support of significant academic entities, including the Department of Photography & Audiovisual Arts of the Technological Educational Institute of Athens.

Glitch Αrt constitutes an art effect of the technology evolvement and a revolutionary way of expression for artists, who interfere and transform the photographs, through simple software of digital devices. It is about the most significant contemporary movement through history of art. It takes advantage of the aesthetical transformation of the digital and analogue errors but also of the depiction of “movement”, which is connected with urban transport and the city movement smart, quickly and economically. __ More info: www.athensvideoartfestival.gr

__ Use Τransport for Athens and travel through the most unconventional exhibition in Athens

VIDEO ART

VIDEO ART Anthi Tzakou (GR) [BMPuPMB]=7_v1.1 ― 2012 ― 01’ 00’’

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[BMPυPMB]=7 is an A/V simulation of a pictorial datascape, introducing the deliberate corruption of a landscape’s photographic manifestation. An open image file format is bent using text and audio editors in order to conduct personalized data exchange rules and temporarily hack the photo editing application’s reading algorithms. ‘Databending’ the inter-referential nested structure of the file’s data lists and sequentially their reading by software, is a visual resignification of simulated spaces.

Anthi Tzakou was born in 1985 in Athens, Greece. She is an Architectural Designer and Visual Artist. She holds a Diploma in Architecture from the University of Thessaly in Volos, GR [2011], and Masters in Graduate Architectural Design from the Bartlett School of Architecture in London, UK [2012]. While working as an architect and graphic designer, she collaborates with architects and artists in Athens and New York. Her practice develops in the realm of constantly reconstructed #D datascapes through a conceptual algorithmic approach. With an emphasis on data feedback loops, color grammars, and identity hybrids, she researches the topological limits of protocols in computational design. She has been exhibited and published worldwide.

VIDEO ART StratoFyzika (DE) Atavistic Matter ― 2013 ― 10’ 10’’

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Atavism as a meditative state on the ancestral inhabitants in the matter; water, stone, earth, ether, and fire. We are constantly pouring into and out of one another like a tide washing over the sea when our feet touch the earth, we lay down and pull up roots from the rising and falling of our feet. Stars fall from our eyes we shake like jugs of water. When we sip a kiss or hug we are nothing more than shape-shifters forming and deforming from the elements which are constantly circling, making, remaking, undoing, falling apart... we do this also with our minds because we are also water, stone, earth, ether, fire; of nature herself.

StratoFyzika is a collective creating movement-based interactive audiovisual performances. We are three artists of various backgrounds; each representing one â&#x20AC;&#x153;stratumâ&#x20AC;? of our complex perception: audio, visual and movement layer. We use the laws of physics (Fyzika) as a metaphorical way of explaining material states from the realms of imagination, emotions, and spirit. The wide range of specialization of each artist creates a unique constellation going across genres, stretching borders, revealing the connections and relationships in between our mediums. We continue in the tradition of Gesamtkunstwerk. But we do not propose one single linear direction, a creation sourcing from one individual. We collaborate in multiplicity, we suggest the possibilities, and we open each other in a state of a higher dimension of communication. We feel and interpret.

VIDEO ART Xisco Fernández (SP) Autorithy ― 2012 ― 01’ 56’’

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Street Urban Art based in a photography published in the newspapers in which you can see a riot policeman in flames during the 2012 Athens riots (Greece), because of the country crisis.

Xisco Fernรกndez is a photographer and visual artist. In 2004, in Berlin, he discovers his passion for photography and the arts and begins to experiment with light, looks, and portraits. In 2007-2008 he studied professional photography. His work, primarily anthropological and human, has been exhibited in cities such as Rome, Istanbul, Berlin, Madrid, Glasgow, Palma of Mallorca and Cรกceres, among others. He holds a BA in Tourism administration. He currently lives in Madrid where he puts into practice all these skills as an art curator, cultural manager and, mainly, as a founder of the euroarte Multicreative platform, existing since 2010. Since 3 years, his photographic work evolved to photography in motion, thanks to his friendship with many illustrators, he became as director of stop motion short films and documenting an ephemeral art, the urban art.

VIDEO ART Andrew de Freitas (XZ / CA) Bánh Trôi ― 2014 ― 04’ 14’’

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A young woman sees a motorcycle carrying a floral arrangement, reminiscent of the ceremonial ornament made for births or funerals. Stripping it of its flowers, she carries the object home to a house embedded in the hills near Hanoi, Vietnam. The wind arrives, carrying the cries of a newborn baby. Sound recordings made during the birth of a child in Frankfurt am Main, Germany.

Andrew de Freitas is an artist filmmaker whose projects are directed towards identifying and extracting the peculiarities embedded in everyday experience. He was educated in fine arts and philosophy in New Zealand and Canada, and is currently a student of Simon Starling and Peter Fischli at the Staatliche Hochschule für Bildende Künste Städelschule in Frankfurt am Main. Filmmaking is at the center of a practice that integrates image production with writing and material construction - permitting the situations surrounding production to shape and direct the course of outcomes. In 2013, he has screened and exhibited works in the Festival de Arte Contemporânea Sesc_Videobrasil in Sao Paulo; at the Goethe Institut, Hanoi and Galerie Quynh in Ho Chi Minh City, Vietnam; District Kunstund Kulturförderung Berlin; Solalanotte, Frankfurt am Main; and Ygrec, École Nationale Supérieure d’Arts de Paris-Cergy.

VIDEO ART Jaime Torres & Rosalina Cerritos (CN) Trodden Citizens Disjuction ― 2010 - 2013 ― 04’ 16’’

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A distant light illuminates a desolate landscape of dark pervasive entrapments within the human condition.

Jaime Torres I am a Salvadoran-Canadian visual artist dedicated to the art of cinema. I began my artistic career with New Media at the University of Lethbridge in Southern Alberta, followed by a Film Production Degree at the Mel Hoppenheim School of Cinema in Montreal, with a concentration in Experimental Cinema. I also decided to pursue the medium further by studying Digital Visual Effects at Capilano University in North Vancouver, so that I could further develop and enhance my own visual language. Rosalina Cerritos I was born in Mexico City to Salvadoran parents, and I grew up on the west coast of Canada. My academic formation is in the area of Fine Arts, Film and Digital Visual Effects. I have a Film Production Degree with a focus in Experimental Cinema from the Mel Hoppeheim School of Cinema at Concordia University in Montreal, Quebec. I also hold a Digital Visual Effects Diploma from Capilano University in North Vancouver, British Columbia. I have a passion for video art, film, sculpture and everything CG.

VIDEO ART Nico Winz (FR) Conversation avec les esprits ― 2013 ― 04’ 34’’

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Franck Bakekolo, Congolese dancer and choreographer in residence at Strasbourg. Dance improvisation, driven by n. winz.

Winz Nico WizNico, born in 1959 in Strasbourg. Studies in Art Deco. Sectional illustration mainly with detours through the iron sculpture workshop. After two decades and numerous publications in youth literature and magazines and some animated cartoon comic albums and sculpture In situ installations will take over. In parallel, he continued his investigations in painting, video and especially electro music under the names RachiTa RachiDic and otonoM’o. Franck Michel Bakekolo Franck Michel Bakekolo, born in 1979 in Kindamba at the Republic of Congo. In 1996 on the beginning of his artistic career he participated in Co. “Dancers in the wind” of Magogo. 2002-2004: Dancer-creator for “choreographic workshops searches” at the French Cultural Centre in Brazzaville. 2010 and 2011: Two stays in France Invitations from the University of Strasbourg, Faculty of Sport Sciences and the Faculty of Arts / Performing Arts out. 2013: February invitation to the French Institute of Yaoundé (Cameroon) to conduct a professional contemporary dance training and to organize the first edition of Dance Artistic Encounters Brazzaville-Yaoundé in Cameroon.

VIDEO ART Daina Hasanti (ID) Cool Tour ― 2012 ― 01’ 54’’

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Two young girls were talking about their future dream jobs, yet nothing to do to get it.

The director is the young woman director who loves to direct some short videos and fiction dramas movie.

VIDEO ART Hande Zerkin (TR) Dasein ― 2013 ― 01’ 56’’

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One morning I woke up and I felt that my soul had left me. A huge emptiness. But I wasn’t too sad. Nevertheless, to exist is not everything.

Hande was born in İzmir in 1984. She gained her Bachelor’s Degree at the department of Radio, TV, and Cinema in Izmir Aegean University. She has been involved in visual and digital arts including photography, film and video, for more than seven years. She is currently an MA candidate at the department of Film Design in Dokuz Eylul University. Rather than her artistic works, Hande also takes place in professional film and photography environments as a freelancer.

VIDEO ART Javier Lloret (SP) Detached Series ― 2013 ― 05’ 50’’

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Detached is a series of around two minutesâ&#x20AC;&#x2122; artistic videos that share an uncanny atmosphere. In Detached the main characters seem alienated, detached from the repetitive actions they perform. Their stillness and lack of expressiveness creates a severe contrast with the violent physical transformations generated by their actions. A series of secondary characters that are never shown entirely, stay in a secondary layer, observing but also triggering the flow of events with their decisions. Detached makes use of a highly staged mise-en-scĂ¨ne, where the austerity of a minimalistic theatre-like sets coexists with cinematic slow and smooth camera movements. These camera movements are used to prolong the moment, and slowly reveal the ambiguous situations of the loose narratives. The lack of dialog and music track enhances the relevance of a rich set of minimal soundscapes recorded on set that are used as a prelude of the expected stream of images.

Javier Lloret is interested in the intersection between art and audiovisual media. With a background in interactive media, his current line of work encompasses artistic photography and video. His work, either through staged situations or recontextualized found footage, often explores social conventions of behavior in contrast with individuality. His video pieces, with an emphasis on the mise-en-scĂ¨ne, make use of an attenuated tempo and flow, using but also breaking the conventions of cinema. His work has been exhibited at media art festivals and exhibitions like Ars Electronica Festval (Linz), Enter 5 Biennale (Prague), Media Facades Festival Europe (Berlin and Madrid), TENT (Rotterdam), Worm (Rotterdam), Madatac (Madrid), Simultan Festival (Timisoara), ACE creative showcase (Lisbon), Node 08 festival (Frankfurt), Robot festival (Bologna), Tweak festival (Limerick), Santraistambul (Istambul) and Medialab-Prado (Madrid).

VIDEO ART Aggeliki Bozou (GR) Dining Table II – The Time Curve ― 2013 ― 07’ 00’’

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Ten performers (choral members) are sat around the table. Their faces are covered with scarves so they can only feel by touching. On the table, between their hands, the symbols lay: weapon, ash, fire, book, box, scissors, water, cards, branches, body. At the head of the table is Supermarionetta: She will lay the cards on the table and reveal the prophecy so that everyone can dive in the curve of time. Then the second self will appear. The hands play the lead role. They co-operate and try to find a new language: It will lead to the conversation and finally to the decision.

Aggeliki Bozou was born on 1982 in Athens, Greece. She has studied at Athens School of Fine Arts (200611) and at Vacalo Art and Design School (2 -03). In 2011 she received the 1st place award by Spyropoulos Museum and she has participated in group exhibitions and performances. Now she is attending contemporary dance, acting and neutral mask lessons at Askisi Theatre Company. She works also as a stage and costume designer. As she mentions â&#x20AC;&#x153;my art work is a combination of different art media (sculpture, constructions, stage direction, interactive performances, videos), that are used, transformed and digitally processed in order to create a new essence - a substance full of motion and emotion. For my acts I use the nickname Supermarionetta, which in theatrical terms has the meaning of the complete authority of director over actor. In my personal dictionary, as a Supermarionetta I exist in my world but at the same time I am the creator of itâ&#x20AC;?. She currently lives and works in Athens.

VIDEO ART Julia Jin (US) Dispossessed ― 2013 ― 07’ 46’’

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The film is a confrontation of home and its paraphernalia as a private space; through close textures and truncations of space, the images become contextualized by subtle orchestra of sounds. Using two different lenses (76mm and 26mm) along with black & white and color film, two distinct arcs emerge: a close, visceral experience of personal items that become larger than life, and glimpses of a space that is recognizably home. This film came about because I wanted to be able to transform my private space and memories into a piece that can be presented in a public forum. In order to do so, I had let go of the notion that these experiences and paraphernalia are mine, and mine alone. I had to remove my trepidation of treating footage of my family and homes as footage -- taking a step back and â&#x20AC;&#x153;dispossessingâ&#x20AC;? the singular way I thought about this captured private space. Only then was I able to mash my trembling footage and sounds in a way that harmonize and contrast with one another. Indoor image is juxtaposed with outside sound, but perhaps the jitters from the camera are not so different from the rumblings of a vehicle?

I graduated with a BA in Cinema from Binghamton University, and discovered experimental film three and a half years ago when I stepped into a small film salon club screening. I spent most of my time there organizing experimental film screenings and working with the Bolex and HDV camcorder, understanding and appreciating the merits of both digital and film. Since then, Iâ&#x20AC;&#x2122;ve been interested in a larger picture of how the visual media evokes and provokes the audience. How do images normalize ideology? How do they divide? How do the viewers interpret images differently through their varying literacy levels? For the latter part of 2013, I worked for the first time on a feature-length documentary as an editor about the revitalization efforts in Binghamton, directed by Kevin Hallagan, Root From Rust. I plan on seeking opportunities that would continue to aid me in understanding the cinematic medium.

VIDEO ART Marcantonio Lunardi (IT) Fall Out ― 2013 ― 03’ 32’’

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It is well known that man has tried for long to control nature in all of its aspects. Our species has passed from controlling and diverting the river flow to trying to control the natural processes themselves, in order to improve whole areas of our planet. This necessity of controlling, which seems neutral if applied in the respect of the equilibriums, has lead us, in the current age, to think that technology is one of the laic dogmas on which to found our future. Technology in itself it is neither good nor evil: everything depends upon the modalities and the aims for which it is used. Nowadays, all of its efforts seem to be intended to create the better possible world, where the products of nature are the result of man’s mind and not of an evolutionary process which had lasted thousands of years. However, despite this nature is, and remains, unpredictable so much that the order so hardly built can be destroyed in a moment. Every natural disaster can trigger a chain reaction as in the case of Fukushima. A situation which seemed under control that has been proved wrong by the flames of the nuclear reactor which touched the skies, diffusing in the air a radioactive fall-out which frustrated all of our “certainties”. Matter is, one ends up considering “certainties” for instance the food to survive in the shelters but also an unnatural sociality where the families, the so called “bricks” of the community, are like pieces of an artificial human puzzle. The feminine voice which accompanies the film is that of a speaker of 1960 where, in the film “civil defense family fallout shelters”, gives to the American audience all the instruction to protect oneself from the radioactive return in case of a nuclear war against the URSS.

Marcantonio Lunardi was born in Lucca in 1968. Since 2001 he has been working in social and political documentation in the field of Media Art, creating installations, documentaries and video-art works. After the master’s programs at the Festival dei Popoli in Florence with Michael Glawogger, Sergei Dvortsevoy, Thomas Heis and Andrés Di Tella, he began a path in the cinema of moving images, experimenting with languages at the border between the cinema of the real and the video-art. His works have been screened in some eminent international institutions such as: The International Art Center, Toko; Galeri Nasional Indonesia, Jakarta; Fondazione Centro Studi Ragghianti di Lucca; Video Tage Center - Hong Kong; Museum King St. Stephen Museum – Székesfehérvár - Hungary. He also appeared in many other festivals of experimental cinema and video-art. He currently lives and works in the mountain village of Bagni di Lucca, about 25 km far from Lucca, in Italy.

VIDEO ART Luke Burton (UK) High Line ― 2013 ― 05’ 49’’

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In High Line, the artist’s hand is followed as it slides over and caresses the riveted surfaces of a bridge that the artist crossed daily during his years at the Royal College of Art. The sensual gliding of the hand, its fingers moving delicately and playfully between the rain soaked rivets, dirtying and cleaning itself as it goes, indicative of an existential curiosity and childlike playfulness associated with the artist. High Line plays out a series of personal, impersonal, intimate and estranged interactions with architectural flourish on Chelsea Bridge in London.. Drawing on clichés of the cinematic, the literary and narrative structure, and the work presents the problematic relationship between the natural and the urban from an explicitly Romantic perspective where my encounters with the metropolis codify as exactly that: encounters.

Luke Burton (b.1983, London) lives and works in London. He has studying painting at the Chelsea College of Art (BA) and sculpture at the Royal Academy of Art (MA). Burton’s work crosses sculpture, installation, photography, video and drawing to explore the irreducible complexity of aesthetic reception and pleasure, and probe the convoluted relationship between architecture, class and taste. Humour and play infiltrate a restrained and serious language of the decorative within his work and enable a critical dissidence from formal and socio-political constraints. Recent exhibitions include, An Uneventful Day, Carroll/ Fletcher, London, Love / Architecture, Turner Contemporary, Margate; A Dense Glitter of Alternatives, Vitrine Gallery, London and Beat, MK Gallery, Milton Keynes (all 2013).

VIDEO ART Ismini Christakopoulou (GR) I’m walking in a place different from the one you are now ― 2013 ― 01’ 50’’

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“I am walking in a place different from the one that you are now. I am recording the sound of my surrounding environment. I am going to play it back, again and again, teasing only the sound speed, until it creates an affect which puts you in continuity with the context I felt.”

Ismini Christakopoulou is an Architect Engineer graduated from Technical University of Crete in 2012. Her research focuses on the study of space systems with multiple interpretations and its applicants as a scope of interaction between space-user-architect. She has participated in specific workshops and competitions, such as advanced architectural design, procedural modeling, collaborative manufacturing, 3d printing, architectural photography, light structural systems, landscape design, industrial design, urban equipment. Since 2013 she helps as an educator at seminars of architecture design at X|Atelier workshops. Her work has been exhibited in Athens (Benaki Museum, 2012), Chania (Mediterranean Architectural Center, 2009, 2013) and Pyrgos of the Elis (2013). She is currently doing her postgraduate studies at the University of Applied Arts of Wien (Universität für angewandte Kunst Wien).

VIDEO ART Paris Legakis (GR) In-Between ― 2013 ― 09’ 48’’

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On the 11th of March 2013, North Korea declared invalid the armistice agreement between South and North Korea. Baengnyeong Island is located near the Northern Limit Line, the sea border that separates the South and North Korea. It was the first place to come under attack. 43 people were invited from Baengnyeong Island to express, in a brief message, something about their everyday lives that they would like to share with the rest of Korea. The participants include storeowners, high school students, housewives, passersby, etc. These residents translated their messages into written symbols and then into movements. The video shows concurrently distinct images from the daily life in the island.

Paris Legakis was born in 1981, Athens, Greece. He graduated from the Athens School of Fine Arts in 2009 and in 2010 he won the scholarship from Panayioti and Efi Micheli institution. He finished with honors his MFA in Public Art and New Artistic Strategies, in the Bauhaus-University of Weimar, Germany (2010-12). In March 2013 he was in the residency program of Incheon Art Platform in South Korea, while he was invited afterwards to Honguen Seoul Art Space residency. In September 2013 he participated in R.I.C.E. ‘The Choreography of the humans’ residency with Michael Klien in Hydra, Greece, and he was selected in the 3rd Thessaloniki Performance Biennale, for the parallel program ‘Artivists for Change’. His work balances between visual and performing arts. Participation, vivid interaction and structured ambivalence are some of his projects’ characteristics. Currently, he researches the concepts of ‘social borders’ and ‘theatricality in everyday life’. His public interventions have been realized in Europe and Asia, while his works have been exhibited in Façade Video Festival, Plovdiv (2013), CAMP, Athens (2013), Documentary Art Asia, Chiang Mai (2012), Marta Museum, Herford (2011), Weltecho, Chemnitz (2011), 50th International film Festival, Thessaloniki (2009).

VIDEO ART Jing Zhou (US / CN) Inner Shrine {digital poetry} ― 2011 ― 02’ 30’’

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Inspired by the poem “Journey Home” composed by the noted Indian poet, Rabindranath Tagore, combined with my writing, “Inner Shrine” reveals the emotional and spiritual journey in searching of one’s soul. To find the inward space of one’s own—the home of the heart, one has to experience life to the fullest. It is the most intricate encounter that wanderers have to undertake, through which they discover the essence of their existence and the answer for who we are.

Born in Chongqing, China, Jing Zhou is a multimedia artist, designer, and Associate Professor of Art in USA. Her award winning artwork has been widely shown and collected internationally, including Best of Show Award, SIGGRAPH Art Gallery, Triennale Design Museum in Milan, EVA London, Royal Institution of Australia, New York Hall of Science, RE-NEW Copenhagen, Instants Vidéo Festival in Marseille, Danish Poster Museum, FILE Festival Sao Paulo, Visual Information Design Association of Korea, Goethe Institute Alexandria (Egypt), Hungarian Electrographic Art Association, Horizon Interactive Awards, PX3 Prix de la Photographie Paris Awards, International Photography Awards, public collection of the WRO Media Art Center in Poland, Waikato Museum in New Zealand, and the Museum of the Living Artist in San Diego. Numerous books and magazines such as Photo Techniques, NMEDIAC, and Computer Graphics World have published her work. Jing is also a Gold Medal recipient of the Art Directors Club of New Jersey, Gold Winner of the American Design Awards, Silver Winner of the Summit International Creative Awards, and Prize Winner of IFUW Poster Competition in Geneva.

VIDEO ART Gonzalo Cueto (CL) Kit Básico ― 2013 ― 06’ 47’’

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On the horizon, we noticed a strong plume projecting bankruptcy and the apparent calm of the frame. This undermined and the painterly landscape is also sometimes stage of resistance to neoliberal progress. The video action we observe that imaginary fictionalizes mixed range from paintings, landscape destruction, and self-defense, in a place of that story. The strategy is basically to oppose the residual imaginary, a series of light signals, wherein the video plays at being a future that reality look, using sunlight and smoke signals as a flexible margin of the latter we will bring, which is mainly based on a performance based on first calculating an escape, rejecting installed in the final place in our economic diaspora. Images gamble failed as well, in that sense of landscape around a territory that becomes a frame that rides on the fragments, which resembles a living never felt something like a membership. In the landscape, we could be anywhere, where the story takes place, depends on the distance movement of commodities. Anyway, we do not produce memories rather future needs.

Gonzalo Cueto was born in 1973 in Chile. He received a Master of Contemporary Art Theory and Practice by the U. Complutense de Madrid in 2007. He works preferably between video and direct action, highlighting a line of work critically explores the contextual significance and symbolic systems that affect the representation and political construction and subjective reality of contemporary place for observation and creation between the edges of progress and capitalism. He has exhibited in Spain, Mexico, Cuba, France, Ecuador, Argentina, Germany and Chile, where he also received scholarships for his artistic production.

VIDEO ART NoiSeGrUp (IT) L’ Europe ― 2013 ― 03’ 04’’

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The political games of European finance staged through the performance of a flag-waver and a musician who we have invited to perform outside of a bank institute.

NoiSeGrUp is an art collective founded in 2010 who prefers art practices which have particular attention in social and political issues, trying to integrate projects with a creative approach to the public spaces. NoiSeGrUp steadily and radically practices the taking of mediatic images, which uses as raw material for creative processing in order to assert the necessity of the responsibility and the social commitment of art. NoiSeGrUp shows its potential through the deconstruction of the mass culture language, giving to the images emptied, manipulated and vulgarized by the dominant revisionism, new strength and visibility, putting them back into a circuit of meaning and value that becomes iconic expression of a multiplicity of subjects searching for a possible future. NoiSeGrUp propose itself as a dynamic identity, which remain open to contaminations and collaborations in the development of new projects.

VIDEO ART Jean-Michel Rolland (FR) La Course / La Race ― 2013 ― 03’ 45’’

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BIO

Rhythmed by the race of five horses shot in Marseille Borély, this video, tribute to Muybridge, doesn’t try to take the public into the universe of racetracks but rather to communicate them the frenzy felt during the break-neck speed of this painful race.

Jean-Michel Rolland is a French artist born in 1972. A musician and a painter for a long time, he manages to melt his two passions - sound and image - in video art and audiovisual performances since 2010. At the origin of each of his creations, musicality plays a role as important as image does and each one influences the other by transmediality. The result is a series of experimental videos and performances where sound and image are so inseparable that the one without the other would lose its meaning. His videos have been screened in French and international video festivals such as Vidéoformes, Instants Vidéos, Directors Lounge, Traverse Vidéo, K3 International Short Film Festival, Madatac, Screengrab, DokumentART, Cologne Off and much more. He won several prizes amongst them the most innovative work prize at Digital Graffiti (Florida, USA) in June 2012 with his work Neons Melody and features in an article dedicated to video art in Elephant Magazine n°11.

VIDEO ART Karimah Ashadu (UK / NG) Lagos Sand Merchants ― 2013 ― 09’ 21’’

DESCRIPTION

BIO

‘Lagos Sand Merchants’ is led by the ‘Rotate 2 Mechanism (Drumroll)’ – a dynamic revolving device that challenges spatial perception. ‘Lagos Sand Merchants’ focuses on a group of ‘Sand Merchants’ on the outskirts of Lagos, arduously trawling the Lagos State Lagoon to unearth sand deep from the river bed, which will later be offered to the construction industry for sale. Paused by the lagoon’s edge, the sand merchants employ modest straw baskets to retrieve the heavy wet sand from river bed to boat, and then to the shore where they cluster in heavy heaped mounds. The repetitious and systematic character of this task is reflected in the mechanism’s rotary nature. As the mechanism is actioned, it rolls the camera forward. Subsequently, the moving image lurches towards the ground and comes back up again, as if surfacing for air. The mechanism becomes a mirror for the task – producing a rhythmic quality that reflects the monotonous yet poetic relationship between the merchants and the lagoon.

Karimah Ashadu (born 1985, London, UK) is a British/ Nigerian multi-disciplinary Artist. Her practice is research led, and investigates the relationship between movement and narration. This is sometimes conveyed through digital films and interactive architectural mechanisms. These devices probe space, and are fundamental to the introduction of notions like the role of perspective in storytelling. The work is also interested in questioning storytelling in all its guises, including the exchange of information, the rhythms of conversation and the nuances of language. She has exhibited internationally including Europe, America, Asia, Australia and Africa. She lives and works between London and Lagos, Nigeria.

VIDEO ART Yuval Yairi & Zohar Kawaharada (IL) LAND ― 2013 ― 04’ 36’’

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BIO

LAND presents a filmed series of acts performed over several months and presented as non-linear fragments. Two opposing forces are in confrontation: a human figure and the letters of a word. The figure confronts the word and the power of its connotations by attempting to deconstruct it, to destroy it but also to come to terms with it. Holding a pole and the four letters of the word LAND, the figure undergoes transformations in its differing relationship to the actual place - the enclosed space, and to the word itself. There are “ceremonies” and “rituals” which allude to heroic monuments and local or universal icons. Suggested here, is an examination of the idea of historical, religious or moral rights to a place, rights which are usually enforced by violence - occupation, illegal settlement, colonialization, deportation, exile - matters of choice or force. The attitude of the human figure changes from a love of homeland and the desire for self-sacrifice, to a surrendering to fate, a feeling of claustrophobia and despair, and the desire to break away and leave for another place.

Yuval Yairi Yuval Yairi, born 1961, artist, exhibited at the Tel Aviv Museum of Art, the Israel Museum Jerusalem, Zemack Gallery Tel Aviv, Andrea Meislin Gallery New York, Alon Segev Gallery Tel Aviv, Nikolaj Kunsthal Copenhagen, City Gallery Wellington, New Zealand and other. Zohar Kawaharada Zohar Kawaharada, born 1984, artist, exhibits in Japan and Israel.

VIDEO ART Erika Heffernan (US) Learning How to Build ― 2011 ― 05’ 50’’

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BIO

Learning How To Build speaks directly to how our pre-processed knowledge and willingness to participate help our ability to learn new information. This video screen is divided into four; participants sit at a table, colorful blocks in front of them. A computerized voice gives step-by-step instructions on how the participant should build. Viewers watch as the participants struggle. The grid format forces us to compare the participants. Who is doing “better”? Who is building the “correct” structure? Who has given up? 28 people cycle through the building process, with a diversity in age, ethnicity and learning styles. No two buildings looked alike.

Erika Heffernan was born in Augusta, Maine, USA 1981 and currently lives and works in Stony Brook University in NY. She received her BA at University of Central Florida, earned her Post Baccalaureate from School of the Museum Fine Arts Boston and graduated with her MFA from the Rochester Institute of Technology. Her work explores the conceptual side of learning and new understandings. Erika is an international shown artist as a Special Selection Finalist of the 2012 Videoholica Festival in Bulgaria. She is a DeCordova Museum Lending Artist and her work has been exhibited widely throughout the Boston area in addition to WORK•DETROIT, Booksmart Studios, the University of Virginia, and 1st Thursdays Orlando Museum of Art.

VIDEO ART Inés García (SP) Lift ― 2013 ― 01’ 14’’

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BIO

Transit time where the inside and outside, the above and below are merged into one unit.

InĂŠs GarcĂa received a Bachelor of Fine Arts from the University of Barcelona and won a scholarship to study for a year in Bali. In Spain, she has participated in several exhibitions in Barcelona, Bilbao, and Madrid. Her videos have been shown at the Contemporary Art Center of La Conservera in Murcia, LOOP and SCREEN Festival in Barcelona among others. Last year she participated in the Latino Video Art Festival of New York, the exhibition Wege ums Kino in Berlin or at the International Video art festival (FIVA) in Buenos Aires. She is participating at Les Rencontres Internationales at The Palais de Tokyo in Paris.

VIDEO ART Ilias Sipsas (GR) Lumis ― 2014 ― 02’ 35”

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BIO

Lumis considers itself a plastic entity - given through a motif de-construction process of motion pictures, broadcast audio and writing. These motifs re-defined into a simultaneous and integral corpus - producing uncertain coincidences.

Ilias Sipsas was born in 1981 in Athens, Greece. He has been studying sculpture at the Athens School of Fine Arts since 2008. He has studied at the school of fine arts, Panormos in Tinos and participated in several group exhibitions and art festivals.

VIDEO ART Katerina Giannopoulou (GR) Metamorphosis ― 2012 - 2013 ― 04’ 24’’

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BIO

My initial idea was to approach the meaning of metamorphosis-transformation. Eventually the subject of my observation became my own self. The phrase â&#x20AC;&#x153;incomplete expression, more input is neededâ&#x20AC;? derives from a mathematical computer application and states the unidentification of myself in each and every role I play.

I was born in 1985 in Athens Greece, finished school in 2003. I attended various universities (4 years in Syros Island at Aegean University at the Department of Product and Systems Design Engineering, and 3 years in Akto Graphik School) Now i am studying in Athens School of Fine Arts and currently i am in the last year.

VIDEO ART Toby Tatum (UK) Monsters ― 2013 ― 03’ 01’’

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A monstrous garden, where stone dinosaurs are enlivened by rampant foliage and gargantuan flowers.

Toby Tatum was born in England in 1974 and studied Fine Art at Chelsea College of Art. His films have been exhibited at numerous film festivals and arts events worldwide, including screenings at The Rotterdam International Film Festival, The London Short Film Festival, The Berwick Upon Tweed Film & Media Arts Festival, The Swedenborg International Film Festival and The Stuttgarter Filmwinter. Toby Tatum curated and contributed to Underground Worlds (2011) and Paradise Found (2013), two programmes of film and video work which screened at the Electric Palace Cinema in Hastings, UK. In 2012 Toby Tatum was commissioned to produce a film with the renowned cellist Bela Emerson for Art in Romney Marsh. The resulting film, entitled The Secret Places of a Hidden God, was installed at St Clementâ&#x20AC;&#x2122;s Church, Old Romney, in September and October 2012. He currently lives in Hastings, UK.

VIDEO ART Topp & Dubio (NL) Niemandsland ― 2012 ― 02’ 34’’

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“We like to roam the forbidden places in the city and leave the paved paths of regular city strollers, clowns and commuters who take the shortest route from A to B. We prefer the undefined parts of the city. The places that are still being developed. Places that are shielded with fences. Cut off from the so called public space. Sometimes these places have such a big attraction to us that we would like to mark them as ‘our place’. So, let’s image that nobody has ever been there before. Let’s occupy the city of Berlin like the first man has set foot on the moon. And plant our flag as our brief moment of victory.”

Topp & Dubio is a multidisciplinary artist duo who live and work in The Hague, The Netherlands. Their photographic and video works flawlessly deal with fiction and reality in an attempt to measure their significance as an alternative to knowledge and understanding. In their video works they often deal with the personal and the public, observation and participation, the romance of imagination and the absurdity of reality. Their projects move back and forth between the harsh reality and a boundless optimism about human possibilities. Topp & Dubio have shown their work in The Netherlands, Belgium, Germany, Poland, United Kingdom, France, Spain, Portugal, Brazil, Indonesia, Singapore, Hong Kong, United States, Canada, Greece, Romania, Russia and Ukraine.

VIDEO ART Dimitris Argyriou (GR) One Line ― 2013 ― 04’ 00’’

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BIO

“One Line” is the line, which connects the dream with the reality.

Dimitris Argyriou has written, directed and produced 6 short films, which have awarded & nominated in more than 100 international film festivals & events. He was selected to be Relay Reporter for the European Year of Voluntary 2011 representing Greece and Cyprus. He was the director and editor a TV Show in Greek TV. He was awarded a Hermann Kesten scholarship for journalists and writers from twin towns and spent time in Nuremberg. He was chosen to participate at Summer Media Studio in Neringa (Lithuania) and he won the special award of Neringa Municipality with his film, First Contact. He worked at 64th Berlinale - Berlin International Film Festival in guest management offices. Currently, he is working on his first feature, while he is in preparing 2 short films and works as Art Director at ShortCutz Berlin.

“One Line” is not about the destination, but the journey. “One Line” is a puzzle, a puzzle which contains pieces of a life.

VIDEO ART Filip Gabriel Pudlo (PL) Operation Castle ― 2013 ― 04’ 20’’

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BIO

Linguistic summaries for “Operation Castle” (1954) film where possible machine analysis and description of moving image were examined. Framework for linguistic summaries using video mining algorithms was proposed. Image analysis based on machine algorithms was simulated on technical level. In a near future full analysis on both technical and symbolic, more abstract levels may be also considered. Hermeneutic character of the original footage was retained. The study of peripheral vision, technology development and politics.

Filip Gabriel Pudło born in 1976, Poland. Graduated from Warsaw University of Technology and The Polish National Film, Television and Theater School in Lodz at Cinematography and Television Production Department. He has participated in solo and collective exhibitions and in international festivals. He currently lives and works in Warsaw.

VIDEO ART Mauri Lehtonen (FI) Physical Examination ― 2012 ― 03’ 25’’

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Homage to Owen Land. Physical Examination is a short structural film that shows viewers the elements of film stock that usually cannot be seen during movie projection, like sprocket holes and sound track area. It also shows an examination of breasts.

Mauri Lehtonen is a filmmaker and new media artist. Style of his works varies from abstract structuralism to experimental pop mutations.

VIDEO ART Thorsten Fleisch (DE) Picture Particles ― 2014 ― 05’ 40’’

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Individual elements from a carrier of visual information have been isolated and used to construct alternative visual reagents. Repetition (in space and in time [and in moderation]) is administered as a binder to tame the wild particles in motion, achieving a golden ratio of the mind’s eye. Film was once manufactured and distributed on thin translucent plastic strips rolled on reels. On the strips you could see the individual images that made the film. It came in different formats like Super 8, 16 mm and 35 mm (the size referring to the width of the strips). For this film found Super 8 footage was the source material. It was cut to small pieces and investigated further with other film formats (16 mm & 35 mm) by means of optical printing and reshooting the projected material. After applying this analogue feedback loop for a while the result has been transferred to video and edited further.

Thorsten Fleisch was born 1972 in Koblenz (Germany). He made his first film experiments with his dad’s Super 8 camera when still in school. Later he studied experimental film with Prof. Peter Kubelka at the Städelschule in Frankfurt. Thorsten Fleisch works with digital and analogue film. With materials such as the body, crystals, fire and electricity, he worked directly on 16 mm film strips. Crystals are grown on the film and 30, volts burn through photo paper. The results are poetic and abstract visual systems with references to catharsis, cosmos and the universe. In 2003 Fleisch received an Honorary Mention at Prix Ars Electronica in Linz (Austria) for his computer animated film Gestalt. High voltage is the centre of his work Energie! for which he has won international acclaim. He created commissioned work for Gaspar Noé and Basement Jaxx among others. His films received several awards and were shown at festivals worldwide like: New York Film Festival, Ars Electronica, Transmediale, Ottawa International Animation Festival, Clermont-Ferrand Short Film Festival, International Film Festival Rotterdam, San Francisco Film Festival, Videoex. He lives and works in Berlin and is now working on his first video game for mobile and Nintendo Wii-U called ‘Teslapunk’.

VIDEO ART Roland Quelven (FR) Polaroids ― 2014 ― 05’ 40’’

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BIO

Moving Polaroid as a non-narrative accumulation-collection of information held in collective memories.

Roland Quelven was born in 1967 and currently lives in Brittany. Graduated in mathematics, painter, video artists and sound collagist. He collaborates with various artists, is involved in several collaborative projects, and his works are screened in many international video art festivals. In 2009 he created the multimedia project “Napolecitta or the fractals virtues of Detail”: digital and sound collages, flash animations in a website devoted to a description of an ancient imaginary city named Napolecitta (fusing Napoli and Cinecitta). Since 2010 the ancient city has become an encyclopedic and imaginary world also named Napolecitta. Most of the video works are numbered, gathered as a register, an imaginary official record, a combination of numbers, maps, writings, paintings, masterpieces of Art history, video footage, video materials recorded digitally assembled as palimpsests. All this seen through the prism of the Detail. The reality concentrates as the fragment stands out… seeing through the prism of the Detail, whether iconic or pictorial, produces always the same effect: an “invitation to travel inside”.

VIDEO ART Yannick Dangin Leconte (FR) Propagande ― 2013 ― 04’ 46’’

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BIO

Video created over 7 years (2006-2013). This film gathers all the visual universe created for the project HNN and the album Piece Radiophonique (the slow form).

In addition to painting and drawing, Yannick Dangin Leconte works as an installation and video artist. In recent years, he has focused his attention on directing music videos for several artists... Since 2005 YDL uses the medium of video to create a narrative of his life in France.

VIDEO ART Vojta Zak (CZ) Psycho! ― 2013 ― 02’ 29’’

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Paraphrasing from film American psycho (2 ) and tribute to Peter Campus. Experiment refers to losing authenticity in the times of green-screen and digital manipulation of an image.

Vojta Zak is interested in animation, juggling, web programming and new media. Besides he is also working with children. Among his realizations are animations for Divadlo v Dlouhe theater or educational series for high schools in middle bohemia. His author films were presented on festivals such as Going undeground, PAF, Architektuur film festival Rotterdam, Cologne OFF etc.

VIDEO ART Apotropia (IT) Single #Double #Triple ― 2013 ― 09’ 00’’

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BIO

“Opposition brings concord. Out of discord comes the fairest harmony.” (Heraclitus)

APOTROPIA is a duo formed in Rome in 2002 by Antonella Mignone and Cristiano Panepuccia.

“The whole is other than the sum of the parts.” (Kurt Koffka)

Antonella Mignone Born in Turin, Antonella has studied at Teatro Nuovo Ballet Academy and in 2001 she was admitted into the Accademia Isola Danza directed by Carolyn Carlson, in the Venice Biennale. She has also graduated from La Sapienza University of Rome with a degree in Art and Performing Arts.

“The body is a unit. An integrated unit of mind, body, and spirit.” (Andrew Taylor Still)

Cristiano Panepuccia Born in Rome, Cristiano has been working as painter, photographer, cinematographer and soundtrack composer (aka Sin Aesthetica). In 2003 they were involved in a road accident, the serious consequences of which prevented Antonella from dancing for a long time. Since then they have always been together. APOTROPIA is the result of symbiosis and experimentation based on interconnections between performing arts and all forms of audiovisual expressions.

VIDEO ART Luana Lacerda (BR) Sometimes ― 2014 ― 01’ 51’’

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BIO

Of everything we want, there’s a part we cannot have. Maybe it’s an object, maybe it’s a job, or maybe it’s a loved person. How to capture what we want for us? How to not let it get lost? It’s like trying to hold water with your fingers. It’s like having two birds flying and none in your hands. Someday you will realize you cannot have everything. Yes, a part of it does get lost. Somethings just cannot be. And it will hurt, because you cannot choose. It’s the wind’s job to do that. Sometimes very precious pearls get lost forever, like sand in the wind.

Luana Lacerda studies visual arts in Belo Horizonte, Brazil. She is interested in every kind of contemporary poetics, exploring them through writing, cinema, photography, performance, drawing and others. Her video art Às Vezes (Sometimes) has been shown at Rio de Janeiro, and co-productions like Fui à Guerra e Não te Chamei (Leonardo Mouramateus, Roseanne Morais & Luana Lacerda) has been shown in several places in Brazil and abroad, for example at MASP, the Museum of Art of São Paulo. Now she’s working in her third video art, a dance of hands, and on a serial of drawings, a dance of bodies.

VIDEO ART Mitra Saboury (IR / US) Stumbling Block ― 2012 ― 04’ 06’’

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BIO

Space is what arrests us, what our eyes glance over, obstacles, walls, vanishing points. Perimeters of architecture steer people to move and behave... walls and the size of a building and its materiality and distance from the street. It is visual, tactile and affects our psychological states. Stumbling Block considers the impact of the built environment on the human body. “I want to touch everything. To fill every hole in the asphalt, every crack in the granite. To lick the rust off the iron fence.”

Mitra Saboury grew up in Illinois. She holds her Bachelors of Science in neuroscience and has recently completed her Masters of Fine Art at Goldsmiths. She was awarded the MAstars Axisweb award in 2013, and was also named a Graduate Prize winner to create a print with Jealous Gallery, exhibited at Saatchi and as part of the permanent print collection at the V&A. Selected exhibitions include The Wilson, “The Open West” (2014), Griffin Gallery and Charlie Smith London, “Young Gods” (2014), Art Party Conference Scarborough (2013), Watermans Art Centre “Enter 13” (2013), and Hanover Project Video Festival (2013). She will be included as part of Edward Lucie-Smith and Zavier Ellis’ iBook “100 London Artists,” and looks forward to a solo exhibition at The Station in Bristol in summer 2014. Mitra currently works and resides in London.

VIDEO ART Eli Souaiby (LB) Take A Look ― 2014 ― 03’ 54’’

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BIO

An assemblage of videos from – Colombia-Denmark-Dubai-Finland-France-Germany-Lebanon-Netherlands-Norway and Sweden – filmed with multiple digital devices between 2008 and 2014, are investigating the overflow of digital images due to the accessibility on any electronic device, the extensive exposure on social mediums and the vast demand from television. Are we seeing, or just looking?

Eli Souaiby was born in Beirut. She has graduated in international business management and then followed FILM FORMS studies at The National Film School of Denmark in Copenhagen. Since 2011, she started working as a video art curator with ArtVideoExchange programming based in Oslo. She has participated in collective exhibitions since 2008 and also been a jury member at the European Media Art Festival in Osnabruck – 26th Edition. She currently lives and tries to work in Beirut in the film production field, videos, and photography.

VIDEO ART Melanie Coles (CN) Single Image Animation ― 2014 ― 02’ 06’’

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BIO

In this short video experiment, a single image is transformed into a dreamlike abstract sequence. The source image is a still from Orson Welles’ ‘The Immortal Story’ and is accompanied by a sound montage created from the first few seconds of the film’s soundtrack. Animated using close-up photography and Xerox warping effects (created manually by moving the photocopy during image capture) analog and digital technologies combine to give something static and frozen duration and life.

Originating from a town of 4 in the Northernmost tip of the Great Basin Desert, Coles began using discarded old books and objects as the source of her collages. Often abstract or distorted, forms range from miniature sculptures to 90 square foot Xerox prints, experimental art zines to 1300 square foot public paintings. Her solo exhibit Abracadabra- I Wanna Reach Out and Grab Ya! (Dynamo Gallery, Vancouver, BC Canada) combined large-scale collage with stereogram 3D optical illusions allowing the viewer to engage with the work through hidden 3D images within each collage. The work often deals with reconstructing analog or dead mediums in the digital realm through mixed use of new and old technologies of the past century.

VIDEO ART François Roux (FR) The Lid ― 2013 ― 03’ 57’’

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BIO

François Roux touches cosmic questions in an earthly way. In his new video, titled The Lid, he has a reverent but disenchanted look on the substance that lies above our heads and we dream to touch, never succeeding. François Roux is attracted by the untouchable and insurmountable life phenomena, and by every contradiction they hide inside. He shows the immensity at its zero grade, in its irreducible poetics. A fresco of dancing images, made out of distant stars and small gestures, as attempts to touch them.

François Roux was born in 1988 in Besançon of France. He received in 2008 his Advertising diploma at IUT at Besançon and in 2013 his MFA in Ecole Supérieure d’Art et de Design at Grenoble. Since 2008 has done internships at Vison Rouge (video production) in Shanghai, at Grunt gallery in Vancouver and worked with individual artists Kevin Schmidt and Geoffrey Farmer - work on “Leaves of Grass“ piece for Documents 13. He has been participating in solo and group exhibitions and in several screenings.

VIDEO ART Bruno Carnide (PT) The Light Darkened Within Thy Hair ― 2012 ― 03’ 00’’

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BIO

A trip that becomes a journey to the interior of a mysterious photographer in a place where memories are kept. “The Light Darkened Within Thy Hair” leads us to a era prior to the one we remember. An unconscious period that traps us to loneliness.

Bruno Carnide (June 16, 1987) showed from an early age that his professional and artistic career would cross the so-called seventh art. A degree in Sound and Image (School of Arts and Design, Caldas da Rainha) was just one more step, and the jump that needed to put into practice all the ideas and creativity that the director had in mind. Several times nominated and award-winning, Bruno Carnide stands today, for his short film “Burial In Weak Land” Award winning CinEuphoria 2012, and Best DOP Award in Moscars Festival, Egypt.

VIDEO ART Alexander Isaenko (UA) The Negative Selection ― 2012 ― 03’ 29’’

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BIO

“Negative selection” it’s the world’s model, in which every participant filling the Space with its poor action, creating a cyclical social picture, with no freedom or right of choice.

Alexander Isaenko was born in 1976 in Izmail, USSR. Ukrainian artist who works with various media, including photography, video, text. Lives and works in Odessa, Ukraine.

VIDEO ART Shunsaku Hayashi (JP) The Seconds of the Suspension ― 2014 ― 05’ 38’’

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BIO

In 2002, my uncle had grasped my grandmother’s hand on her deathbed, as his heat was conveyed to her, the electrocardiograph had still reacted, even she had already passed away for a few tens of seconds. Influenced by Maurice Blanchot’s idea of death in “The Space of Literature”, the film attempts to understand how my grandmother’s existence had been suspended between her subjective death and my objective awareness of her death, and how one become no one between his subjectivity and objectivity.

Shunsaku Hayashi was born in Osaka, Japan in 1992, lives and works in London as a trainee under the Japan Cultural Ministry Abroad Research Fellowship for up-and-coming artists. From 2012 he is studying Fine Art in Goldsmiths, University of London. Since 2006 he has been nominated prizes and grants and participated in solo and group exhibitions.

VIDEO ART Nicole Rayburn (CN) The Serpent & The Mouse ― 2013 ― 03’ 31’’

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The Serpent & The Mouse addresses the understanding of the serpent as inescapably associated to the biblical story of The Fall, and problematizes the associations of this metaphor. The demonization of the female position in this narrative, namely Eve, is shown to be absurd both through its constructed malleability and the bizarre notion of sole responsibility for eternal implications. The Serpent & The Mouse also shows a mouse being eaten by a snake. The same footage repeats eight times in various manifestations, playfully using text to complicate the understandings of the imagery and to re-position the serpent with more ‘obvious connotations’.

My multi-media artistic practice is a blundering convergence of the use of language, video, props, performed imagery, absurdity, and banality. The work explores such terrains as human/non-human relations, contemporary socio-political issues, and concepts of boundary and transgression through topics such as religion, science and popular culture. My theoretical interests engage with issues of boundary, transgression, community, and ‘the other’. I currently live in Dawson City, Yukon, Canada.

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VIDEO ART Suokwon Yoon (KR) The Value ― 2013 ― 04’ 20’’

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Sometimes I have recorded a small part of my life on a dairy or a sketchbook. Although I experience diverse emotions and situations for one day. The length of recorded story on a dairy or a sketchbook is very short. However, I believe that the recorded story has heavy weight of life. The recorded story is about conflict with myself in my UKâ&#x20AC;&#x2122;s life. I wanted to express about conflict with myself that causes in my inner for one day like a diary. Thereby, I expressed about these conflicts with myself that caused for one day during make a sentence on diary.

I (born in Seoul, South Korea, 1981) studied in BFA degree and MFA degree for Photography in Keimyung University, South Korea. Recently I graduated in BA Fine Art of Coventry University in UK and am specializing for MA Contemporary Art Practice in Coventry University, UK. I have been participated numerous solo and group exhibition in national and international fields such as Seoul (Korea), Daegu (Korea), New York (US), Washington D.C (US), Chunjin (China), Cardiff (UK), London (UK), Paris (France) and so on, with photographic works and video works. Also, I have been participated in a lot of art events such as Daegu photo biennale (Korea), Jinan Contemporary photography festival (China), Seoul Photo Fair (Korea), Facade Video Festival(Bulgaria), London Art Fair(London), Art Paris (Paris) Recently, I was selected as Top 10 selector by Jury from Facade Video Festival. And, I was selected from Busan International Video Art Festival. My works have been collected by the museum of photography (Seoul, Korea), Vit Gallery (Seoul, Korea) and Sarah Myerscough Fine Art Gallery (London, UK) etc. I am building up the sphere of my visual languages continuously, with performance, video art and photography.

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VIDEO ART Εvi Photopoulos (GR) I, Tiny Drop ― 2013 ― 04’ 45’’

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This Art Video was created from a personal need ...writing the poem first “I, a tiny drop” then having my camera on trying to show to the audience the importance of the water in the planet. This poem was used a Νew York Organization for clean water in Africa through an auction this December in New York as well. I always find myself very involved in environmental subjects like this one which make me feel human. That in my way “I CARE”!

Evi Photopoulos has been studying in an art lab with the director of the School of Art in Athens and Byzantine icons. She has been working in textile design for a couple of years in Italy. Her artworks have been included in permanent collections and she has been participating in museum exhibitions, art fairs, and biennales.

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VIDEO ART Benna G.M. (IT) Topic #8 ― 2013 ― 04’ 30’’

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I felt the need to say something on this topic. Never forget.

Benna G.M. is an interdisciplinary artist. She has participated in solo and collective exhibitions and in international festivals. In 2006 she was nominated as the winner of Golem Videoart Festival in Turin, Italy.

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VIDEO ART Berit Dröse (DK) Trip ― 2013 ― 06’ 47’’

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In “Trip” a young man is living in between realities. He walks into the wild hoping to find answers, but what answers could he be searching for? “Trip” is a movie about the philosophical questions in life and struggles of finding own identity and roots.

Berit Dröse has studied at the Jutland Art Academy in Denmark and in Kunsthochschule in Berlin-Weißensee. Since 2007 he has participated in group exhibitions in Denmark, Germany, Netherlands, and Sweden.

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VIDEO ART Αlexandros Kaklamanos (GR) Two Little Weeks ― 2012 ― 06’ 28’’

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‘Two little weeks’ is filmed during a two week residency in a high building, in Brussels. It is a personal story projected on random passersby, who are used as the actors, while the scenery is determined by the window view. Their dialogues are movie lines I collected, mostly by the rule that they should enclose my own thoughts, sayings or memories. The lines, written on cards, were remixed, reordered and finally edited with the intention to create a linear story. The movie starts with the line ‘Describe what you see’ and this is related to the whole process, to me, to the viewer and especially to the person that this movie is dedicated to.

Born in Athens in 1982. He graduated from the German School of Athens in 1999, finished his Bachelor in Economics at the Aristotle University of Thessaloniki in 2005. In 2006 he started his studies in the Athens School of Fine Arts, from which he received his degree with distinction in 2011. During 2010 he received the I.K.Y scholarship, for the Erasmus program, to study at the Insitu department of the Royal Academie of Fine Arts in Antwerp, in Belgium. In 2012 he was selected to represent Greece in the “World Event of Young Artists’’ in Nottingham, where he participated in the Biennale of Young Artists from Europe and the Mediterranean. In the same year he gained the first scholarship of Motor Oil Hellas for MFA studies in the Netherlands. At the moment he lives and works in s’Hertogenbosch, where he is attending the second year of Master in Fine Arts at the Avans University of Applied Sciences, in the AKV / St. Joost Art department. He has participated in several exhibitions in Greece, the Netherlands, United Kingdom, Italy and Belgium.

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VIDEO ART Carlos Espinosa (MX) Under Your Watchful Eye III ― 2012 ― 03’ 40’’

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BIO

Under your watchful eye finds an insensitive society, unable to see what’s happening around. A permanent sleepwalking in a world that doesn’t see beyond its horizon. A social blindness in which we live and that hits us with a stark reality, the modern slavery called freedom. The hidden appears before our passive eyes, imperceptible to subtlety.

Carlos Espinosa was born in 1984 in Mexico City. He studied a Bachelor’s Degree in Communication Sciences with the Audiovisual Media Specialty. In 2009 he specializes in photography and in 2010 studies the International Master’s Degree of Photography (Concept and Creation) at Madrid’s EFTI. In 2011 studies a Master’s Degree in Arts Investigation and Creation at the Complutense University of Madrid. Photography, and performance are some of the disciplines that are included in his works in which absence, migration, displacement and long distance relationships are shown as his main concern. His work has participated in exhibitions and festivals in Mexico, Argentina, Greece, Cuba, Ecuador, Russia, and Spain.

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VIDEO ART Myrto Papadaki (GR) Untitled by chance and desire ― 2013 ― 03’ 27’’

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DESCRIPTION

BIO

The video is a comment on the co-existence between chance and the conscious effort to (re)create oneself. Two opposing notions that do not exclude one another, but they can co-exist as such. Like experiences and hopes, memories and expectations, the past and the future constantly meet in the present to define who we are. This dynamic, common ground is the body, the physical presence. The words of C. P. Cavafy, â&#x20AC;&#x153;Body, rememberâ&#x20AC;?, unfold within this visual narrative, with a meaning which today more urgent than ever.

Myrto Papadaki was born in 1989 in Chania. She studied illustration at Ornerakis School of Applied Arts and graphic design at Vakalo College of art and design, where she began experimenting with time-based media and visual narratives. Her work has been exhibited in group exhibitions in Athens and Chania. She is currently studying visual communication at a graduate level at Vakalo College.

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VIDEO ART Kika Kyriakakou (GR) Urban Hanami ― 2014 ― 00’ 40’’

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DESCRIPTION

BIO

Spring time in Japan is marked with Hanami, the almost more than a thousand year old custom of watching cherry trees blossom. It is a time for fun, relaxation, festivities and family gathering in nature. Sakura Sakura, meaning cherry blossoms cherry blossoms, is a Japanese folk song about the Hanami tradition, an urban melody of the Edo period developed in the end of the 19th century. The song and the custom are presented in the video in juxtaposition with the contemporary urban imagery of derelict buildings, grey skies and decay.

Kika Kyriakakou has organized various film festivals, screenings events and exhibitions related to moving image, video art, contemporary art and character design. She is particularly interested in urban imagery and history and is currently working on a research regarding films and videos featuring the urban landscape. She has participated with her photo of the City area in London in group photo exhibition titled “Europe based on Innovation and Knowledge” in Osimo, Ancona in Italy as part of the ALSO project, supported by E.U. She has also worked as an assistant TV director for “Art@Et”, a daily TV program on arts and culture on ET1.

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VIDEO ART Francesca Fini (IT) White Sugar ― 2013 ― 13’ 14’’

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DESCRIPTION

BIO

White Sugar is a surreal film that narratively and graphically elaborates archival material in the public domain. I selected this material in the course of careful research. I focused in particular on the female figure that is ubiquitous within this linguistic universe, as a sort of granite spokesman of a specific cultural model she apparently adheres without shadows and without uncertainty. A universe that has a very precise historical flavor and that, for some sort of magical projection in space and time, seems to actually tell our time. I’ve isolated these female figurines, literally cutting them out of their context as paper dolls, and then I reassembled them into a new digital space made in 3d. In this transfer the “dolls” lose their connection not only with the narrative context but also the spatial structure in which they “lived” originally, assuming new meanings that crack their role as ambassadors of a granitic and dominant culture. The video revolves around the spooky theme of hypnosis and lucid dreaming, as a representation of western cultural model that is “white sugar”, an artificial and addictive chemical pleasure, altering taste and perception. The graphics are best with anaglyph glasses.

I’m an Italian artist working with new media, video and performance art. My live projects, always addressing social and political issues, are mixed with lo-fi technology, homemade interaction design devices, live audio and video. Primarily interested in video and live art, I also create artworks assembling performance art ‘relics’ or manipulating video stills.

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VIDEO ART Damià Jordà (SP) Molinos de Viento ― 2012 ― 04’ 27’’

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DESCRIPTION

BIO

This artwork combines field recordings and found footage, in order to make a poetical portrait of La Mancha; generating a dialogue between its past and its present, travelling through its amplitude in space and time. Trying to find that inner Spain which some call conservative, but that in an inevitable way causes fascination when you understand the beauty that can derive from this apparent aridity.

Damià Jordà is a Spaniard artist focused in the audiovisual languages. His work is based in the research of narrative expression ways by building visual poems clearly influenced by the classic cinema paradigms, as well as installation proposals which offers a formal thought about our physical connection with the audiovisual languages. He has a master degree in Visual Arts and Multimedia and nowadays he’s developing his Ph.D degree.

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ANIMATION

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ANIMATION Marco Puccini (IT) | 小黑侠 & 红球球 | ― 2013 ― 00’ 48’’

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DESCRIPTION

BIO

Is the surreal story of two unlikely characters...

Marco A1:J101 was born in Tuscany and lives in Milan. Son of a production designer, he starts from an early age to tread the “behind the scenes” of every kind and degree of theaters. Way back in 1995 he started working as a multimedia technician with the company Krypton (our own pioneers of technologies applied to stage design) at the Teatro Studio of Scandicci, an experimental laboratory, directed by visionary Giancarlo Cauteruccio. There Marco had the opportunity to work with important names of the Italian and international theatrical & performing scene (Stelarc, Franko B, Motus, Remondi & Caporossi, Kinkaleri, just to name a few). In 2 , he met Stefano Fomasi (the creator of the collective videodesigner “The Fake Factory”) with whom he collaborated for over ten years to the creation of video and multimedia events for prestigious names in fashion, design and some of the most popular festival of the Italian electronic scene (SWAROVSKI, LEVI’S, Ilaria Nistri, Interni Magazine, Salone del Mobile di Milano, NEXT TECH Festival, Festival of Creativity, MUV Festival, Festival of Contemporary Art in Faenza, Museo Pecci of Prato, Ravello Festival, Festival Videominuto). Since 2009 he lives and works as a freelancer in Milan. He collaborated with agencies of communication and creating events and scored - in just two years for Schwarzkopf-video, Moschino, Dimensione Danza, Chloè, Diesel and ELITA Festival, and he made six movies in the last edition of the fair WHITE.

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ANIMATION Mohammad Talebi (IR) 1765 ― 2013 ― 08’ 48’’

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DESCRIPTION

BIO

A documentary-animation (hybrid) film about oldest visual document of â&#x20AC;&#x153;Zurkhanehâ&#x20AC;? in Iran/1765. This old graver was draw by (Carsten Niebuhr): a German mathematician, cartographer, and explorer.

Photographer, Film editor and Director. Born in Arak.

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ANIMATION Rebecca Ruige Xu (US) Anatomy of a poem ― 2012 ― 03’ 31’’

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DESCRIPTION

BIO

Utilizing computer graphics programming and sound synthesizing, this work depicts a famous poem “Drinking Alone by Moonlight” from the ancient East using a Western analytical approach. The poem was written by Li Bai(701 ~ 762 AD), arguably the most accomplished poet from China’s Tang Dynasty. Instead of literally interpreting the meaning of this poem, we chose to portray it by translating the rhyme and tonal prosody of the poem into sound/music and graphics simultaneously. To create the music, several traditional Chinese instruments were recorded playing in such a way that they emulated one of the four tones in spoken Chinese, i.e., high level, high rising, low falling-rising and high falling. The sequencing of the recorded instrument sounds was determined by the sequence of the tones in each character of the poem. Other aspects of the audio were created by manipulating the spoken syllables from the recitation into a form of chanting or singing, which traces the rise and fall of thoughts and feelings resided in the poem. The visual corresponds and enhances the audio with intermingling of calligraphy of characters from the poem and abstract patterns. It is paced to follow the rhyme scheme and tonal prosody of the poem, while the graphics flowing with the sound/music, drifting through the space liberally in an attempt to reflect the constant appearance of nomadic wandering in Li Bai’s poem.

Rebecca Ruige Xu currently teaches electronic arts and animation as an Associate Professor at Syracuse University. She received a M.F.A. in Computer Graphics from Syracuse University in New York; and a B.S. in Industrial Design from Beijing Institute of Technology, China. She also studied Cinematography at Beijing Film Academy. She has worked professionally in the fields of computer animation, film special effects, digital imaging, web design and user interface design in China and the United States. Her artwork and research interests include experimental animation, visual music, artistic data visualization, interactive installations and virtual reality. Her recent work has been appeared at: InsideOut Video Art – Audiovisions from the East, Museum of Contemporary Art, Rome, Italy; SIGGRAPH 2013 Art Gallery, Anaheim, CA; Time Loops: Meaning in Motion, Los Angeles Center for Digital Art, Los Angeles, CA; Magmart International Videoart Festival, Casoria Contemporary Art Museum, Naples, Italy; FILE 2013 - Electronic Language International Festival, Sao Paulo, Brazil; Techfest 2013, Technical Arts Exhibition, IIT Bombay, India; Colloquium culture and digitization, L’arc Romainmotier, Switzerland; CYNETart, Dresden, Germany; International Digital Art Exhibition, GuiYang, China; Huddersfield Festival, West Yorkshire, UK; Boston Cyberarts Festival, Boston, MA; Central Cinema, Seattle, WA, USA.

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ANIMATION Esther Johnson (UK) Chalk trace ― 2013 ― 02’ 26’’

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DESCRIPTION

BIO

As a child in the 1950s, Ron Cockroft drew a chalk line from his school in Oldham to his home in Chadderton. CHALK TRACE commemorates and reanimates his graffiti journey through a now much-changed network of streets.

Esther Johnson (MA Royal Collage of Art, BA University of London) is an artist and filmmaker whose research practice explores documentary portraiture through moving image, audio and photography. Her work reveals resonant stories of the everyday that may otherwise remain hidden or ignored. Recurring themes include personal histories, those in the margins of contemporary society, heritage, tradition, folklore, and explorations of architectural vernaculars and the inhabited environment. Her work has been exhibited internationally including BFI; ICA; International Documentary Film Festival Amsterdam; Istanbul Biennial; Kassel Documentary Film and Video Festival; London Film Festival; NASA; Tate Britain; Tate Modern; and on C4 and BBC television; and ABC Australia; BBC and RTÉ radio. Support for work includes Arts Council England; BBC; British Council; Channel 4; C3RI Art & Design Research Centre, Sheffield Hallam University; London Artists’ Film and Video Award; Film London; National Endowment for the Arts, USA; National Lottery; Radio Arts; Screen Yorkshire; Sheffield Children’s Festival; Creative Skillset; Sound and Music; Sound Bank and Yorkshire Arts She has written for several arts publications, is an independent film/ video curator, and is Reader in Media Arts at Sheffield Institute of Arts, Sheffield Hallam University. Johnson was awarded the 2012-15 Philip Leverhulme Prize in Performing and Visual Arts for young scholars.

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ANIMATION Petrey Grant (UK) Dark Flow ― 2014 ― 02’ 30’’

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DESCRIPTION

BIO

This work uses the process of erasure to explore temporality and memory in relation to materiality and The Abject.

Grant Petreyâ&#x20AC;&#x2122;s creative practice covers time based media in response to drawing, curatorial projects and creative community programs that encompass pedagogic and sociological research. After gaining diverse experience as a teacher, course leader and as Head of Department, in 2010 he joined the School of Fine Arts as a Senior Lecturer at the University for the Creative Arts, UK, teaching theory and practice on a range of courses. He is also a visiting adjunct lecturer at Cornish College of Arts, Seattle, USA, and has worked extensively with Turner Contemporary, Margate, UK. He continues to develop his creative practice as an artist and integrates curatorial and education programming with community arts projects as well as creative industry contacts. He has presented his research and work internationally and early painting work is part of the National Collection of Great Britain & Northern Ireland. His fine art practice explores drawing via themes of temporality, memory and surface within experimental animation.

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ANIMATION Denes Ruzsa (HU) Drops ― 2013 ― 02’ 53’’

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DESCRIPTION

BIO

Fragments of melting. What was frozen earlier become liquid; dissolve. One day in winter as I stepped out of the door I noticed that huge icicles were hanging down from the eaves. Such beautiful and amazing forms I had never seen before. They heralded in spring, the revival of nature. Melting is an amazing phenomenon of nature. But we must realize that melting is not everywhere a joyful event. Melting in the arctic ice is by no means the revival of nature. Polar ice is melting faster than scientists thought. Many scientists say that at the end of this decade or even sooner the ice will melt away entirely each summer. Unfortunately nowadays it is not too difficult to find negative topics. We have a lot of problems that we can see around us. In this rushing world we forget what is really important. Making this film was a good opportunity for me to think about what I can and should do for the environment.

Dénes Ruzsa has been making experimental short films and animations. His films have screened at over two hundred film festivals and exhibitions worldwide in Europe and in Transatlantic Regions, amongst others, at Experiments in Cinema, Cologne OFF – International Videoart Festival Germany, Screengrab International Media Arts Award, International Video Art Festival Madrid, Museum of Fine Arts Budapest. More than ten years he has been making films commissioned by artists, museums and art galleries. He also work as a photographer for books, catalogues and art magazines. Dénes Ruzsa and Fruzsina Spitzer working together since 2007. Their work is best inspired by avant-garde tendency. They believe that film stands close to fine art, film is nothing more than fine art, music or sound and movement. They prefer using alternative techniques like flatbed scanner, projection, mixed media, computer graphics, collage, etc. This way they can have the possibility for dimension changes in content and form. In their newest works they adapted an old photo tehnique, ‘photogram’ put into digital moving image form.

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ANIMATION Simone Giampaolo (CH) Espero? ― 2014 ― 04’ 21’’

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DESCRIPTION

BIO

Graduation film created at the National Centre for Computer Animation in Bournemouth (UK) by Simone Giampaolo, Yifan Hu and Henrik Linnes. ESPERO? (HOPE?) is a humorous, entertaining but also educational animated comedy which sarcastically shows how Gaia, our planet Earth, met humankind years and years ago, and all the problems which followed. A criticism of our modern society and of the way we’ve been “evolving” over the centuries. Apart from having a quite original visual style, ESPERO? (HOPE?) is also the very first 3D animated film fully dubbed in Esperanto, a beautiful universal language created over a hundred years ago to foster peace and international understanding between people.

I’m Simone Giampaolo, an award-winning London based Director with an insatiable appetite for storytelling and animation. In 2013 I graduated with Distinction from the BA(Hons) Computer Animation Arts course at the National Centre for Computer Animation in Bournemouth (UK). Throughout my career I’ve had the chance to work as director, animator and pre-production artist on over ten original animated short films, all of which have been screened at numerous international film festivals gaining recognition and also winning several awards.

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ANIMATION Nicolas Brault (CA) Foreign Bodies ― 2013 ― 04’ 12’’

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DESCRIPTION

BIO

Using video light painting, Foreign Bodies sarts from the myth of the â&#x20AC;&#x153;transparent bodyâ&#x20AC;? revealted by modern medical imaging to instill in viewers the feeling of strangeness that their own bodies can sometimes inspire.

Nicolas Brault wins the contest filmmaker sought (e) of the National Film Board of Canada in 2 . Since then, his films, many forms and varied subjects, have earned him numerous awards in festivals. The Circus (2011) finds himself vying for the Best Animated Film at the 37th Cesar Awards ceremony. Since 2012, he developed a series of non-narrative short films and immersive projections around the human body.

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ANIMATION Maxime Corbeil-Perron (CA) Ghostly ― 2013 ― 06’45’’

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DESCRIPTION

BIO

Inspired by Japanese experimental film, this video focuses on exploring the movement of shadow and light across space - frame-by-frame.

Maxime Corbeil-Perron graduated (MA) with highest honours from Montreal’s Music Conservatory, where he studied electroacoustic composition with Martin Bédard and Louis Dufort. He is currently a PhD candidate in sonic arts at the University of Montreal (CA) under the direction of Nicolas Bernier. He is co-director, co-founder and member of the artistic committee of one of Canada’s first digital experimental record label: Kohlenstoff Records. His implication as co-artistic director and administrative assistant also involves the experimental music label Ambiances Magnétiques and the digital music-label Mikroclimat. He is also a member of Vidéographe, Main Film, the CIRMMT (McGill), the Canadian League of Composers and the Canadian Electroacoustic Community.

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ANIMATION Piero Tonin (IT) Hoblio The Path of freedom ― 2013 ― 07’ 04’’

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DESCRIPTION

BIO

A pilgrim carrying a heavy burden travels through a dark forest to a radiant valley. Along the way, he encounters four mysterious characters on his search for spiritual freedom. Join little Hoblio in his quest for peace and enlightenment.

Piero Tonin is an award-winning illustrator, animator and cartoonist whose talents have been in great demand in Italian television and in print and advertising media all over the world. His credits include television programming, television commercials, print advertising, educational films, and full-length animated features.

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ANIMATION Dimitry Zakharov (DE) Impacts ― 2013 - 2014 ― 03’ 27’’

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BIO

Concept - The work â&#x20AC;&#x153;impactâ&#x20AC;? shows what kind of effects different living conditions can have to humans. In an abstract language the video visualizes how each person is able to stand up and form himself again and again by experiences and setbacks. Everyone undergoes both positive and negative phases throughout his life and its experience shapes our character. Also negative setbacks can attract positive energy, thereby further to give new impetus to our environment. As soon as the work is related to the current situation of our society and global looks, you can also discover completely different aspects in it. Capitalism, which is like a machine influences the thought of many people and yet often achieves more suffering than happiness in our inner being. Even the dependence on black gold and other commodities, which inevitably gives power to the political elites controlling the development of our society. Design - The structure of the machine developed by the individual tracks from Max. For each sound track I built a part of the machine that can move exactly to the respective track. The result is a complex construct and interaction with the sound. The idea was also to visually break up the viewing habits and we decided to take an old steam engine as a reference. This created a nice mix between modern technology and forgotten artifacts. The project includes techniques of 3D animation, fluid simulation and post effects.

Dmitry Zakharov (Moscow, 1986) is a visual artist living in Cologne. He is a designer, working on the segments of video and animation. Zakharov expresses himselfe in graphical ways with clear structures, his compositions are determinated by complex and challenging nature. In his artwork, Zakharov deals as well with present problems as with themes the human kind is concerned with for centuries. Themes like life, death and the transformation of life forms. Zakharov combines several techniques to realise his projects, 2D/3D animation and film often melted together.

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ANIMATION Andrea Guizar (MX) Konstrukcja ― 2013 ― 06’ 51’’

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DESCRIPTION

BIO

An abstract reality is being built while a colorful character is wandering around a house. From being a parallel narration, this abstract construction, is becoming more and more solid ‘til it starts to usurp the space in which our character is moving. Which of these realities is leading the other? How can we make an actual distinction among them? Get lost in the colorful turnings of Konstrukcja.

Andrea Guizar, was born in 9.10.1989 in Mexico City. She studied Italian Literature in U.N.A.M, Mexico. And now is on the 2nd year of Animation and Special Effects degree on PWSFTviT, Poland. “Konstrukcja” is her first film it had been painted on cells.

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ANIMATION Sara Koppel (DK) Little Vulvah and her clitoral awareness ― 2013 ― 04’ 26’’

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BIO

A little girl wakes up as from a dream, aroused by the birds of pleasure that dresses her up in her “curious” dress. She sets out to explore nature, and feels the seasons’ shivering changes. She gets absorbed in strange rooms of delight while developing into a young woman.

Sara Koppel (born 1970) is one of the last standing animators in Denmark, who is still drawing on paper, an art she have been practicing in nearly 35 years, as animator, filmdirector and installation artist. She started out on as a 14 year old school tired kid on tegnedrengene and Swan Film on Valhalla back in 1984, and since then, she have been working on most major animation movies and loads of commercials and short films in the 80’s and 90’s with Jannik Hastrup and A. film. In 2002 - when most of the business was moving on to CGI and computer animation - Sara started her own studio, and took the handdrawn animation in a more artistic direction, still making animation for a lot of other films and commercials, but also using animation as installations in art exibitions and last but not least - making her own virtuos animated shortf ilms. Saras technique is still the old school disney cartoon handdrawn animation, where every second of film is approximately 12 original drawings, every one of them drawn from scratch with pencil on paper. The coloring is made in the computer but always in a way that keeps the structure of the paper and pencil, a style that makes the films very alive and organic, a style that seemed perfect for the films that made her a world wide pioneer in erotic animation film, and she was one of the first avantgarde to put erotic themes into animation.

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ANIMATION Aline Helmcke (DE) Mme Andalou ― 2013 ― 02’ 16’’

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DESCRIPTION

BIO

Interacting hands and eyes – this is what it needs to animate a drawing. Through repetition and deliberate successive alternations, it is being set in motion. Without the intention of change or succession, the motive will change in an individual, unintended way when drawn repeatedly. Now the drawing leads the animator. Here, hands move across the face of a lady and seem to awaken it. The film can be read as a comment on the process of animating.

Aline is an artist and filmmaker with a focus on drawing, collage and animation. She studied Fine Art at the UdK Berlin and Animation at the Royal College of Art in London. Her films have been shown at festivals in Germany and abroad, such as Transmediale Berlin, Artfilmbiennal Cologne, Animatou Génève, Vienna Independent Shorts and ANIMASIVO Mexico, furthermore in screenings and exhibitions at Museum Folkwang in Essen, the Kyoto Art Centre in Japan, the Whitechapel Arts Gallery, Parasol Unit Foundation and the National Film Theatre in London. Aline is currently working as academic assistant and lecturer for Drawing and Animation at the Bauhaus University in Weimar, Germany.

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ANIMATION Igor Imhoff (IT) Planets ― 2012 ― 09’ 11’’

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DESCRIPTION

BIO

With Planets Igor Imhoff has created a magical world with an ancient flavour: an infinite backward sequence of images shows lunar landscapes, mythological animals, fire and fog, storms, doors that open and close, collective rituals, roamers and adventurous stylised characters.

Igor Imhoff (1976, San Giovanni Rotondo), works in experimental film and electronic animation and teaches multimedia design. He has received several awards for his work, both in Italy and abroad.

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ANIMATION Dennis Miller (US) Point Line Plane. 3 Studies after Kandinsky ― 2013 ― 06’ 20’’

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DESCRIPTION

BIO

Point Line Plane is a series of three short works that explore the individual graphic element indicated by their title. The name of the work comes from a treatise by Kandinsky of the same (similar) name. A variety of techniques, including particle simulations (imagery) and granular synthesis (music), was used to generate the material of the work.

Dennis H. Miller is on the faculty of Northeastern University in Boston. His works illustrate principles of music composition applied to the visual domain.

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ANIMATION Suzie Hanna (UK) Proem ― 2013 ― 03’ 18’’

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DESCRIPTION

BIO

‘Proem’ is a short animated representation of Hart Crane’s iconic ‘Proem’ from his epic work ‘The Bridge’. Suzie Hanna animated the film using hand cut stencils imitating some graphic aspects of contemporaneous 1920s New York artists who were in Hart Crane’s coterie, such as Joseph Stella and Marsden Hartley. She also referenced Vorticism to capture vertiginous aspects of the verse. The voice of Tennessee Williams, who was an ardent admirer of Crane, is taken from a 1960 recording. Tom Simmons has built this into a resonant dramatic soundscape which interprets the materiality of the bridge, the surrounding land and waterscape and the ‘prayerful’ qualities of the Proem. He embeds sonic references to Hart Crane’s ‘shamanic process’ in which the poet played records on his Victrola, including Ravel’s ‘Bolero’, loudly and repeatedly, whilst drinking heavily and typing phrases in manic bursts. The film is part of ongoing research into representation of poetic metaphor, between Sally Bayley, Tom Simmons and Suzie Hanna: their recent article Thinking Metaphorically and Allegorically: A Conversation between the fields of Poetry, Animation and Sound was published in Spring 2014 in the Journal of American Studies.

Professor Suzie Hanna is Chair of Animation Education at Norwich University of the Arts and Chair of NAHEMI, the National Association for Higher Education in the Moving Image. She is an animator who collaborates with other academics and artists, and whose research interests include animation, poetry, puppetry and sound design. She has made numerous short films all of which have been selected for international festival screenings, TV broadcast or exhibited in curated shows. She contributes to journals, books and conferences, and has led several innovative projects including animated online international student collaborations and digital exhibitions of art and poetry on Europe’s largest public HiDef screen. She works as a production consultant and as an international academic examiner, was a member of the AHRC Peer Review College from 2009-2014, and is a longstanding member of ASIFA. She plays the violin and the musical saw. More information can be found on the Projects and Development pages.

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ANIMATION Denes Ruzsa (HU) Reflections ― 2013 ― 03’ 35’’

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BIO

Variations on love between two digital dancers.

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ANIMATION Emma Allen (UK) Ruby ― 2013 ― 01’ 14’’

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BIO

An animated self-portrait exploring the idea of rebirth and illustrating the transfer of energy from one incarnation to another. I painted this stop frame animation on myself over 5 days, using some face paints, a mirror and a camera.

I am and artist and animator working in a range of mediums from make up to textiles. Specialising in body paint and body paint animation. I also run an arts charity in Sri Lanka for disadvantages children

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ANIMATION Lea Vidakovic (RS) Sisters ― 2012 ― 07’ 48’’

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BIO

This work belongs to my constant practice of research and exploration of different kinds of narrative structures in the field of animated installations. It was produced during MA studies of audio visual art at the Royal Academy of Art KASK, Gent, Belgium, in 2012 An animation triptych which evokes the atmosphere of old Dutch paintings, where sisters are trapped in melancholy, facing the loss and emptiness over the missing one.

Lea Vidakovic, multimedia artist, who works mainly in the field of art installation and stop motion animation. 2010 BA in animation, Norway. 2006-2010studied graphic art at the Academy of fine arts, Zagreb, Croatia, graduated in 2011. 2012 MA of audiovisual arts - animation, Royal Academy of Arts (KASK), Gent, Belgium. Exhibited internationally on solo and group exhibitions, and animation festivals, and is a winner of several art, and film awards. A member of Association of Croatian Artists (HDLU), and Association of Artists from Vojvodina (SULUV).

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ANIMATION Nuno Fragata (PT) Só ― 2013 ― 06’ 30’’

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BIO

Urik is a teenage vampire, tormented by ghosts of the past. In the darkness of the night, he leaves in search of food, burrowing into the mist of the forest where he meets someone who can change his life. Dangers peek, and the hunt, doomed to failure, becomes a fight for survival.

Nuno Fragata has born on December 19, 1975, in Portugal. He works at ESAD.CR (Superior School of Image and Design) as Teacher.

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ANIMATION Tessa Moult - Milewska (PL) Spider and Flies ― 2013 ― 03’ 30’’

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BIO

Spider and Flies (2013) is a variation of a poem for children by the Polish writer Jan Brzechwa. The story is interpreted in the context of the consumptive nature of developing cities, where the old and hungry Spider-town must use it tricks to capture a meal.

Tessa Moult â&#x20AC;&#x201C; Milewska was born in the UK in 1990 and grew up in PoznaĹ&#x201E;, Poland. She studied film directing at the Warsaw Film School and graduated from the Czech Film Academy of Miroslav Ondricek in Pisek in 2011.

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ANIMATION Rada and Zak Vojta (CZ) Svetovar Brewery ― 2012 ― 03’ 18’’

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BIO

Film was shot as site-specific project in old Brewery in Pilsen Czech Republic in cooperation with a student of architecture Vojta Rada. The astronaut is coming in Svetovar to take up the place but in the end its the Brewery itself that absorb the visitor.

I live on the way between Prague and Pilsen in Czech Republic. Iâ&#x20AC;&#x2122;m interested in animation, juggling, web programming and new technologies and I am engaged in combining animation and juggling. These two fields are connected by manipulating objects and trying to make an illusion of real vivid motion. Iâ&#x20AC;&#x2122;m also working with children.

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ANIMATION Tessa Moult - Milewska (PL) The designer ― 2012 ― 13’ 30’’

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BIO

The Designer (2012) is a lonely outsider devoted to his work – making the world a happier place. To cheat his own solitude he designs a creature to his image and resemblance, but what if it appears to be better than him?

Tessa Moult – Milewska was born in the UK in 1990 and grew up in Poznań, Poland. She studied film directing at the Warsaw Film School and graduated from the Czech Film Academy of Miroslav Ondricek in Pisek in 2011.

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ANIMATION Alonso Rodriguez Borja (SP) The Fountainhead ― 2013 ― 04’ 40’’

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BIO

Phantasy that come up from the philosophical legacy of Ayn Rand developed in the forties and fifties known as objectivism and whose main outreach work, “The Fountainhead”, borrowed the language of architecture. Rand’s philosophy declined in the period of the postwar era but far away from disappearing resurfaced with greater force in the early nineties. According to the Congress Library one of his books, “Atlas Shrugged”, was the second most influential book in the United States, second only to the Bible. And the group most influenced by his epic heroism and morality based on selfishness were the entrepreneurs of Silicon Valley, entrepreneurs creators of computers, biotechnology, software, internet and digital networks.

Since the early years of the new century we have seen a series of generalized dynamic mass participation and interaction around a myriad of social networks, blogs and large groups of file repositories shared by millions of people dayly. As an artist it didn’t take me long to begin exploring in a critical way these new social dynamics and the technologies that made them possible, making them my new reference contexts and performance of my creative research. Today’s perception of the world and ourselves increasingly corresponds withe the technological devices perception. A new form of intercepts identification generated by their own ability to observe and transform us, we are never the same in front of a camera. In my work i approach a discussion of the relationship between art, new tecnologíes and Internet especially over the last decade. More specifically, my field of study is composed by art forms that either have made Internet and technology it’s specific policy context, their field of it’s main reflection subject.

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ANIMATION Nicolas Conte (AR) Yo te quiero ― 2014 ― 08’ 00’’

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DESCRIPTION

BIO

In his usual way back from school Juancito, a solitary country boy from Patagonia, meets a little horse which seems to be abandoned. The joy of having a new and wonderful friend to play with makes the boy think he can keep it. He cannot realize that the horse is actually waiting for the return of his real owner.

Nicolas was born in Benito Juarez, a quiet town in Argentina. During his childhood he always showed interest to arts, particularly painting and photography, so he began to develop his creativity. To complete his formation he studied Image and Sound Design at University of Buenos Aires. This short animated movie, is his graduation film, and represents two long years of hard work.

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FESTIVALS OF THE WORLD

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FESTIVALS OF THE WORLD Cologne Off (DE) Total Art - @The razorâ&#x20AC;&#x2122;s edge

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The Oodaaq Selection offered a glimpse at the video art screenings presented during the Oodaaq Festival. It is an eclectic selection which reflects the different views confronting the explorers of the island of Oodaaq: analog and digital films, abstract and figurative art, documentaries and fictions, films of less than a minute or video installation of over an hour. Presented in numerous festivals in France and abroad, but also during the educational workshops organized by Lâ&#x20AC;&#x2122;OEil dâ&#x20AC;&#x2122;Oodaaq, the Oodaaq Selection is a tool for reflecting on the creation and reception of contemporary images, in all their possible forms.

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FESTIVALS OF THE WORLD L’ Oeil d’ Oodaq (FR)

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FESTIVALS OF THE WORLD Pause (AU) Mass assembly Narrative in motion

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Pause Fest is Australiaâ&#x20AC;&#x2122;s most progressive digital festival. One event for the thinkers, practitioners and entrepreneurs to explore digital culture. Itâ&#x20AC;&#x2122;s a place to trade ideas, debate opinions, conceive projects, celebrate work, tell tales and get lit up. Mass Assembly Curated by Michael Brown of the massive motion graphics blog Ventilate.ca, will focus on its history and how it is progressively moving away from a flat screen and into physical space via camera projection and interactive installations. Narrative in Motion Curated by Justin Cone of the highly lucrative NYC based Motionographer.

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FESTIVALS OF THE WORLD Videoholica (BG) Bulgarski Video Art

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Does art bear or, in particular, the individual artist responsibility for this? And if so, what kind is it? Where is the Bulgarian video art in this situation? Can video art be a full-value- corrective or even its desperate cry of protest remains anechoic?

The selection by Neno Belchev has been made from videos, which have been taken a part in the festival VIDEOHOLICA since 2010 onwards.

On 9 November 1989, the Berlin Wall was destroyed by the Berlin citizens with hammers, pickaxes and anything they had on hand. However, 25 years after its fall down, such similar wall still exists in people’s minds on both sides of the former Iron Curtain’s countries and it is not possible simply to destroy it using just hammers. Where is Bulgaria after all these 25 years – the small country on the edge of Southeast Europe, which has recently signed a contract for cultural exchanges with North Korea? The selection did not attempt to answer directly this question, and it could hardly be possible to generally give a definite answer since Bulgarian society itself is divided by an invisible “Iron Curtain”, which lately, after raging political scandals and the subsequent street protests, becomes more distinct.

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SPECIAL SCREENINGS

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SPECIAL SCREENINGS Anders Weberg (SE) Ambiancé ― 2014 ― 72’ 00’’

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On January 31, 2020 the Swedish artist Anders Weberg end his 20 plus years relation with the moving image as a means of creative expression. After more than 300 films he puts an end with the premiere of what will be the longest film ever made. AmbiancĂŠ is 720 hours long (30 days) and will be shown in its full length on a single occasion syncronised in all the continents of the world and then destroyed. In the piece AmbiancĂŠ space and time is intertwined into a surreal dream-like journey beyond places and is an abstract nonlinear narrative summary of the artistâ&#x20AC;&#x2122;s time spent with the moving image. A short of memoir movie. This is the visual expression that is constantly characterized the work throughout the artists career.

Anders Weberg is an artist working in video, sound, new media and installations and he is primarily concerned with identity. The human body lies at the root of projects that formally and conceptually chart identity and its construction as a preamble to broaching matters of violence, genders, memory, loss or ideology in which personal experiences co-exists with references to popular culture, the media and consumerism. Specializing in digital technologies, he aims to mix genres and ways of expression to explore the potential of audio visual media. He coined the term Peer-to-peer art or (p2p art) in 2006. Also the founder and curator of the Stian [con]temporary art gallery and AIVA, Angelholm International Video Art Festival 2012.

A short teaser which is 72 minutes long and that has the intent to convey the mood and tempo from the full piece. Music by: Marsen Jules

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SPECIAL SCREENINGS Patrick Sammon (UK) Codebreaker ― 2011 ― 62’ 00’’

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DESCRIPTION

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CODEBREAKER is a feature length drama-documentary that details the highs and lows of Turing’s life, tracking his extraordinary accomplishments, his government persecution through to his tragic death in 1954. In the last 18 months of his short life, Turing visited a psychiatrist, Dr. Franz Greenbaum, who tried to help him. Each therapy session in the film is based on real events. The conversations between Turing and Greenbaum explore the pivotal moments in his remarkable life and examine the pressures that may have contributed to his suicide. The film also includes the testimony of people who actually knew and remember Turing. Plus, CODEBREAKER features interviews with contemporary experts from the world of technology and high science including Apple co-founder Steve Wozniak. These contributors bring Turing’s remarkable impact up to the present day, explaining why, in many ways; modern technology has only just begun to explore the potential of Turing’s ideas.

Patrick Sammon is the Founder and President of Story Center Films, LLC. He is the Co-Director and Co-Producer, with Bennett Singer, of a documentary about the remarkable and little-known story of the LGBT activists who successfully battled the American Psychiatric Association to remove homosexuality from its list of mental illnesses. Until 1973, the medical establishment considered every gay person mentally ill. “Cured” tells the David-versus-Goliath story of the activists who challenged this diagnosis - and won. Combining eyewitness testimony with newly unearthed archival footage, the film reveals how a small group of impassioned activists achieved this unexpected victory. Sammon turned his idea for “Codebreaker” into a highly acclaimed film that has reached all corners of the globe. He put together an award-winning international production team (including Great Britain-based Furnace Ltd.), secured financing, and helped oversee both the business and creative side of the production. Sammon also developed and implemented a creative and comprehensive grassroots distribution strategy for “Codebreaker,” combining traditional distribution channels with a unique outreach campaign to connect with the target audience. More than three million viewers around the world have seen the film through television broadcasts (including a worldwide premiere on Channel 4 in the UK and a US premiere on Discovery Science), a 12-city U.S. theatrical release, film festivals, digital outlets (such as Netflix and iTunes), DVDs, and more than 250 non-theatrical screenings (including The British Museum, the US National Archives, and the Organization of American States). 191

SPECIAL SCREENINGS Masahiro Tsutani (JP) Between Regularity and Irregularity ― 2012 ― 07’50’’

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INFORMATION - DE FRAGMENTATION

DESCRIPTION

BIO

The filmmaker improvises and through a conversation with himself, he has a chaotic worldview evocative of the firing of nerve cells, clustering sounds of convulsiveness. Finely detailed images filled with light are synced to sound. Nature creates the glow of light and the beauty of a shape lying between regularity and irregularity. Sounds and images with a granular texture. These things grasp the depths of the brain.

Born in Japan in 1968. Became a mechanical designer after graduating from Nagoya Institute of Technology. After having devoted himself to dub, funk, free jazz, noise, and ethnic music, he noticed the pleasurable sensations created by fluctuations in the interspaces between sound and sound, which led him into his current work making convulsive music and images. Began taking photos in 2003, and began creating image products in 2010. His work includes live performances using only sound, live performances with synchronized sound and images, and image products. His main interest is in distilling and expanding the principle of joy, and combining them with other types of pleasure, to create new types of enjoyment.

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SPECIAL SCREENINGS Panagiotis Tomaras (GR) End ― 2013 ― 09’ 25’’

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End is a montage film inspired by the orchestral piece Orawa, of the Polish composer Wojciech Kilar. It can be seen as an associative collage, constructing its narrative through a continuous filmic choreography. From careless childhood images to post-industrial revolution footages, reaches its climax in the dramatic spectacle and beauty of nuclear explosions. The postwar archive footages are gradually removed from the realm of historic phenomena assuming the dimensions of a universal path to the flow of life.

Panagiotis Tomaras is a multimedia artist working on 3D video projection mapping, photography, film, spatialized sound and light environments. Graduate of Photography and Audiovisual Arts department of Technological Educational Institute of Athens and post-graduate in Digital Arts and Film (MA) program of Athens School of Fine Arts and ArtScience Interfaculty (Mmus) program of Royal Conservatorium, Royal Academy of Art and Leiden University of the Netherlands. His projects investigating the visual medium and the sound experiences. He has commissioned for theater visuals, commercial teasers, motion graphics and has participated and awarded in several festivals and competitions. Since 2012 he has been curating the Athens Video Art Festival and has been giving workshops in video mapping techniques. He lives and works in the Hague [NL] and Athens [GR].

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SPECIAL SCREENINGS Mihai Grecu & Thibault Gleize (RO / FR) Exland ― 2013 ― 07’ 40’’

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INFORMATION - DE FRAGMENTATION

DESCRIPTION

BIO

Gigantic abandoned amusement parks and abstract commercial displays are hidden somewhere between foggy mountains and windy fjords. From these places, a mysterious colorful tsunami appears, flooding the majestic landscape underneath it.

Mihai Grecu and Thibault Gleize form a multimedia duo activating in Paris. Their practices articulate themselves around various media such as digital video, installation, graphic design, photography and drawing. Chaotic sensations, alienated cities, polluted beings and noisy atmospheres mark the boundaries of these hallucinatory spaces.

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SPECIAL SCREENINGS Mehraneh Atashi (IR) In-Out ― 2013 ― 03’ 25’’

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INFORMATION - DE FRAGMENTATION

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In-Out ut is a video based on the form of Tazieh, or Condolence Theater, that takes its inspiration from historical and religious events in Persian culture. Tazieh isÂ from the root word aza, which means mourning, and leads to Pardeh* by transforming frequencies into different material, according to khayyam philosophy. Pardeh means curtain, screen, membrane, layer, tableau, and veil.

Mehraneh Atashi is trying to investigate the relationship between the time of the self and the time of the world. Through an excavation of memories, archiving and documentation of the self, I investigate these temporal relationships. She questions the presence, the present time? My past seems to deform due to the lack and omission of cumulative documents. How much is her memory dependent to these documents, and how do these memories form the future? Future as a subjective idea, which de-negates, deconstructs and changes the present conditions. The self is her main material, the origin and the product of an interpretation. The self simultaneously receives and gives itself its own form, the search of equilibrium between the preservation of constancy to the outside, accidents and the others.

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INFORMATION - DE FRAGMENTATION

Shigeo Arikawa (JP) It has already been ended before you can see the end ― 2012 ― 10’ 59’’

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BIO

The end has already started, and ended. We call it “the end” in order to perceive it and make it “visible”, but it had already passed when we called it “the end”, or “the end” is always penetrating the present, so we cannot recognize time of the end. The end has already started, and ended. The disaster of an earthquake and nuclear crisis in 2011 Japan affected a lot to making art works. This work is a first film of the series called “PIXCANNING”. The word “PIXCANNING” is coined from “pix (picture / pixel)” and “scanning”. It’s a method to scoop up (scanning) elements that pass through the meshes of perception (pixel) when images (picture) appear or images are constructed.

Shigeo Arikawa is a Japanese artist and filmmaker, born in Tokyo in 1982. In 2006, he graduated from the Tokyo University of the Arts. In 2014, he moved from his home town Tokyo to Amsterdam, where he works as an artist-in-residence at the Rijksakademie. Through the frame of photography and video media, Shigeo creates elements that pass through our meshes of perception: elements that are subtly metamorphosing, or vague, though appearing distinctly. He expands “seeing” in order to expose where images appearing / constructed in ‘time’ and ‘place’ are from.

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SPECIAL SCREENINGS Pierre Villemin & Jean Villemin (FR) LAC ― 2012 ― 05’ 35’’

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INFORMATION - DE FRAGMENTATION

DESCRIPTION

BIO

Ornithomancy. Reading omens and interpreting signs are parts of these abilities essential to nymphs and tritons to survive… Anything disturbing the water surface is a threat and, if two swans take flight, it means some serious event is going to happen. What is fear made of?

Pierre and Jean Villemin have been working together since 2002. Pierre Villemin Pierre Villemin teaches video at the Ecole Supérieure d’Art in Metz. Since 1999, he has directed a dozen short films broadcast and awarded at several international festivals. With Mémoire carbone, commissioned by the Musée du Mine de Carreau de Wendel, he develops a poetic and experimental visual writing on the last Lorraine coal mine. He is the programmer and head of the sound and visual broadcasting network in Lorraine, Les Yeux de l’Ouïe. Jean Villemin Jean Villemin is visual artist.

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SPECIAL SCREENINGS Yannick Dangin Leconte (FR) Propaganda ― 2013 ― 04’ 46’’

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DESCRIPTION

BIO

Video created over 7 years (2006-2013). This film gathers all the visual universe created for the project HNN and the album Piece Radiophonique (the slow form).

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SPECIAL SCREENINGS Marcantonio Lunardi (IT) The Choir ― 2013 ― 04’ 32’’

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INFORMATION - DE FRAGMENTATION

DESCRIPTION

BIO

Whatever is not television does not exist because, nowadays, the monitor represents the only interface through which what remains of culture can be broadcast. The television has become a step-mother that cannibalizes everything while everything which is not broadcast simply does not exist anymore. The culture is sold together with advertisement like in talk shows. The advertisement, which determines and rules everything, burst into the singing, breaks the performance, alters the tale and mixes up with the performance dimming the faces and deforming the harmonies. The Choir becomes thus the emblem of a decadence where a whole heritage surrenders to the necessities of a system that is television, which has completely re-defined the fruition of culture. The integration of advertising extracts in the harmonic composition suggests that the commercialization is a force which destroys culture, which thus melts into a flattening mixture that chokes all identities. The Choir tries to underline a contrast which is rarely noticed, provided that one listens to the complex language hues. On the one side, there is the painful awareness of a declining world and on the other the manipulative superficiality of the market show, which dulls the audience with the calculated futility of gingles.

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WEB ART

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WEB ART Alpha Studio AlphaBazar â&#x20AC;&#x2022; 2014 http://www.alphabazar.net/

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Audiojackstudios Avclash â&#x20AC;&#x2022; 2014 http://www.avclash.com/

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WEB ART Antonio Costa Special defects â&#x20AC;&#x2022; 2014 http://www.specialdefects.com/v2/

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Triangulation T.001 â&#x20AC;&#x2022; 2014 http://interactive.triangulation.jp/T/001.html

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WEB ART Ekrivorucho TCTLTNTCL â&#x20AC;&#x2022; 2014 http://tctltntcl.ekrivoruchko.com/

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AudioTools Tonematrix â&#x20AC;&#x2022; 2014 http://tonematrix.audiotool.com/

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DIGITAL IMAGE

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DIGITAL IMAGE Margarita Athanasiou (GR) Ai Wei Wei & I â&#x20AC;&#x2022; 2012

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DESCRIPTION

BIO

The project is a large scale digital collage which combines photography, text and digital illustration. The creative process, which I follow, is linked to the geographical movement and the nowadays mania of recording the travel experience. My works are travel fictions: My starting point is the unknown place and except from the personal moments, I take photos of the objects in museums, the unique landscapes from each geographical location and everyday utilitarian objects. These objects, which are either colonial â&#x20AC;&#x153;stolenâ&#x20AC;? cultural products or modern samples of international capitalism, have been transferred away from their place of production, like myself who also traveled to meet them. This meeting in a real geographical space is very important for the project itself since the recording and the subsequent reproduction of the image of objects, is a symbolic act of theft or perhaps a release from their physical location. The creative process on one hand copies the current trend of the glut of images on the internet, while on the other hand, it opposes to the online trend of democratic devaluation of the image. Attributing to all objects, landscapes and people, importance and value, they are reduced to symbolic representations tand visual references to Buddhist and Hindu iconography.

Margaret was born in 1988 in Brooklyn, New York and grew up in Athens where she also lives. She graduated with honors from the Slade School of Fine Art in 2012 and she soon was accepted in Art Residency program of Nebraska (US) where she spent eight months and created large scale digital collage. She has exhibited her work in London (Sassoon Gallery, Space Studios, Studio 75), Bilbao (Experimental Video Art Festival), USA (Art Harvest) and Athens (Rooms 2014). Her articles have been published by the literary magazine METAZEN (California) and the magazine DaThirst (London).

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DIGITAL IMAGE Ne.Kid (Multinational) Binary Kids â&#x20AC;&#x2022; 2014

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“Binary Portraits”, 2014 is a series of Portraits created by “image to ASCII” converting software using as its only formal elements 0, 1 and space. The people that are depicted fictional or historic have a direct or indirect relation with the binary code. The titles are phrases trying to provoke or manipulate the viewer, regarding specific elements of the represented person and the project as a whole. There is a subtle narrative coherence between the phrases. Leibniz and Breivnik are depicted amongst others.

Ne.Kid is a digital misinformer, a pure infant of our age. If that is of any help, to this attempt to spread his ideas, he possesses artistic training of official status.

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DIGITAL IMAGE Francesca Bonfatti (IT) Black Époque ― 2013

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BIO

“The artistic and human research revolves around the concept of space-action reveals, “that line blurred between where we are and where we appear”. The subjects and themes of work represented by coextension arise between real world and mental world, in a space where they experience a journey of knowledge and refinement.

“Francesca Bonfatti in art “Gelìdelune” Italian Photographer and Visual artist Born in Rome in Italy (1970) Lives and works in Chioggia (Venice) in Italy. The artistic work experienced the expressive possibilities offered by digital techniques, ranging from Photography to Video Art.

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DIGITAL IMAGE Georgios Cherouvim (GR) Digital Brushes â&#x20AC;&#x2022; 2013

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This series of images is an experiment in digital reconstruction of portrait photography, in an attempt to create a hybrid between hand drawn and procedurally generated image. A custom software was implemented in processing, which provides the user with a set of digital brushes. As the user draws on a blank canvas, the software references the color of an input image at the position of the brush and draws a basic element. The userâ&#x20AC;&#x2122;s only creative decision is where and how to apply the brushstrokes within the image. Using a tablet, the speed, tilt and the pressure of the pen determines the size and shape of the element, creating expressive brushstrokes. Along with painting the images, the implementation of the tool played an equal role to the whole creative process. Both stages defined the aesthetic of the final images.

Georgios Cherouvim was born and raised in Athens. At an early age he started experimenting with computer graphics and animation. After high school he moved to UK to join the Computer Animation BA course of NCCA in Bournemouth University, which he graduated with a first class degree. Since then he has worked for several years in London and Vancouver for the visual effects industry, as an FX artist and team leader. In parallel to his professional career, he is constantly undertaking personal art projects using a variety of mediums. He has attended practical and theoretical art classes in Morley College of London and Emily Carr University in Vancouver. He is interested in sculpture, drawing, photography and animation. He has participated in several group exhibitions and two of his animation shorts have been screened in dozens of festivals around the world. He likes traveling the world by bike and so far he has cycled across Europe and the USA.

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DIGITAL IMAGE Alberto Magrin (IT) Figurehead â&#x20AC;&#x2022; 2013

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DESCRIPTION

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Digital photography (pvc) Frame in aluminium

Alberto Magrin was born on December 29th 1970 in Rapallo (Genoa) Italy. He studied architecture at the University of Genoa. He underwent a brief stint in the theatre after having obtained a scholarship to study alongside sculptor Arnaldo Pomodoro at University of Urbino. He was awarded the ‘Libertas Prize’ for visual arts and literature by MP Ferri and collaborated in the creation of the ‘G. A. Rol Scientific Association’ in Turin, the purpose of which was to demonstrate man’s victory over time through the capacity of the individual spirit. In the meantime, he was also awarded the ‘Open Art’ prize by MP Vita in Rome. He participated in founding of the International Digital Art Organization ONDA. He designed the ‘ONDA Contemporary Art Museum’ in order to allow internationally renowned artists to construct their own permanent spaces and create a dialogue between themselves and eternity. Like a premonition and a symbol of ‘eternal nothingness’, this project represents the downfall and rebirth of the modern era. Through a series of donations, he succeeded in creating a worldwide network of art galleries, which he called ‘Magreen Galleries’, the artworks of which are located in public and private institutions, thus eliminating every form of personal control or management over the works themselves.

A sage plant mocks death.

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DIGITAL IMAGE Cornelius Dämmrich (DE) Haze ― 2013

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DESCRIPTION

BIO

It’s the idea of a stylized and seamless panopticon of someones life, gathering a random persons belongings and place them all in a showcase. I created it with the softwares Cinema 4D, Vray, Zbrush, Unfold 3D and Marvelous Designer. It took me around 7 months to finish it.

Born 1989 in east Berlin, grown up in West Germany. Studied Design in Cologone. I’m working in digital art since 2003, focusing on 3D Images since 2008. During the past few years, I won several awards like the CGSocietys CG Choice Award. I was also published in several books and magazines around the globe, for example Exposé 10 and many issues of the 3D Artist Magazine.

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DIGITAL IMAGE Sagar Shiriskar (IN) Kaleidoscope â&#x20AC;&#x2022; 2011

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Kaleidoscope - Observer of beautiful forms

Sagar Shiriskar is a photographer & filmmaker based in India. He has studied at the Film and Television Institute of India. As a photographer, some of his work has been a part of a travelling exhibition in the UK called Our Stories by The Photographic Angle, an association linked to the Royal Photographic Society. His photographs have also been published in Great Travel Photography, published by Imagine books. His photographs have been published online by Guardian, the Himal Southasian magazine, Le Journal de la Photographie, Powderzine Magazine, Blouin Art Info, Indian Express, Mint, FWA, Lâ&#x20AC;&#x2122;Oeil de la Photographie, Unboxed Writers & The Wall Street International. He was declared winner of the Tamron Best Travel Photo Competition by the Get Lost magazine, Australia. He also won the India Is- Photography Challenge 2012 (Series 3), an initiative by the Public Diplomacy Division (PDD) of the Ministry of External Affairs (MEA), supported by Incredible India.

A complex pattern of ever-changing shapes and colors; a complex set of circumstances that unite in order to create something beautiful.That unique relationship that an individual shares with the elements in his environment is confined by one moment. In that moment of time, the individual becomes one with his surroundings, and a complex bond is established between that individual and the space, the people and the objects around him. The kaleidoscope creates order out of chaos. Each unit of the whole is in itself complete; yet it belongs to the whole, sharing a story, a moment in time. Each photograph has a story to tell. And the story is woven by all the elements within the frame. Like shards of glass in a mosaic, each element plays an integral role in defining that moment, that space and that photograph.

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DIGITAL IMAGE Rose Staff (AU) Memento Mori â&#x20AC;&#x2022; 2013

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DESCRIPTION

BIO

Death is recognised as a universal human experience that effects everyone regardless of race, gender or class. It is a reminder that our time on this planet is only fleeting and is an inevitable event that we cannot escape. Its representation in art also tells alot about the culture and beliefs of the society that the work was made in. Despite a breakdown of traditional religious notions in contemporary western society there still persists a desire to visualise the end. In this piece I am interested in exploring the concept of death as it becomes a way in which I can confront the understanding of my own mortality. Memento Mori was produced using digital photography as its primary medium, a processes that lends itself easily to the creation of manipulated images. The aspect of death I am exploring in this body of work is an intangible concept, a questioning of what happens at the point of transition, rather than a recording of the physical process of dyeing. I have departed from using photography as a tool with any hold on truth and un-biased representation. The images are overlayed and collaged together in order to explore death with a photomontage aesthetic. This process uses manipulated photography to create constructed environments, taking elements from religious traditions, taxidermy, illustrations and photographs of the natural environment to create new meaning from their composition and arrangement around a central portraiture figure. The photomontage aesthetic in my work allows for fragmented representations that reference many religious systems depicting death and the afterlife.

Rose Staff aka Radiance is a media visual artist, VJ and designer hailing from Mullumbimby, Australia. She works with video and live performance in a range of settings, from contemporary art installations to large scale glitchy vibrant projections at festivals around the world. Playing with the audio-visual aesthetic and concepts of synaesthesia her work has been showcased at events such as Glastonbury festival (Uk), Scpitone (France), LPM (Italy), Sonica (Montenegro), AV playground (Austria), Burning Mountain Festival (Switzerland), The Brisbane Powerhouse (Australia) to name a few. Using experimental hybrids of traditional and digital art forms, she explores how contemporary phenomena such as communication technologies and audio-visual space influence our perception of the modern world. She holds a BA Fine Arts from Southern Cross University, Lismore Australia and a BA Design from Queensland College of the Arts, Australia.

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DIGITAL IMAGE Xiaohong Zhang (CN) Red Mountain â&#x20AC;&#x2022; 2012

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DESCRIPTION

BIO

The work addressed China’s environmental problems. As the speed and scale of China’s rise as an economic power have no clear parallel in history, so its pollution problem has shattered all precedents. Environmental degradation is now so severe, with such stark domestic and international repercussions, that pollution poses not only a major long-term burden on the Chinese public but also an acute political challenge to the ruling Communist Party. The work used traditional Chinese painting style to show Chinese cities often seem surrounded by industry building trashes and wrapped in a toxic gray shroud.

Xiaohong Zhang was born in Hubei, China. She received MFA from Southern Illinois University, Carbondale in 2002. She is the professor in Department of Art and Design at the University of Wisconsin-Whitewater. Zhang’s creative focus has been on “traversing medium and re-appropriating motifs in contemporary art” with continuous investigation of traditional Chinese painting art form through the concept of contemporary western digital art setting. .

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DIGITAL IMAGE Donato Maniello (IT) Time Scanning â&#x20AC;&#x2022; 2011

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DESCRIPTION

BIO

Capturing a moment and expand it up to the point of creating a tear that becomes aesthetic sign.

I live in the world, universe. I love human people and I photograph to feel alive and close to many people as possible. I studied architecture and completed my study with a phd. In time I understand that my really interest was in photography but I do not care to be a purist photographer. I find the technological unconscious more correct than fleeting time point Bresson. I love technology and experiment with it, but especially I quickly found my field of interest and my place: I am a child of the digital age, even a craftsman digital.

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INSTALLATIONS

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INSTALLATIONS Kenny Wong (HK) ][Liminal]Contour â&#x20AC;&#x2022; 2013

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DESCRIPTION

BIO

We keep on creating and occupying spaces in our unconscious daily movements. In a massively compressed urban space like Hong Kong we constantly find ourselves reaching for the smallest available spots to advance through crowds. We try to achieve the highest mobility in a limited volume. ][LIMINAL] [ Contour is a custom software written to visualize a typical day of Wan Chai, Hong Kong. The movements and the temporary occupied space are being recorded and compressed into a single print.

Kenny Wong was born in 1987 in Hong Kong. Wongâ&#x20AC;&#x2122;s works explore the delicate relationship between daily experiences and perceptual stimulations by hybridising analogue and digital representations. Wong is interested in exploring visual patterns, motions, and sound textures, as well as presenting works in the form of computational kinetic sculptures. Wong actively works as a collaborating artist, multimedia designer, mechanical engineer/designer, and art researcher.

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INSTALLATIONS Zimoun (SE) 80 prepared dc-motors, cotton balls, cardboard boxes â&#x20AC;&#x2022; 2011

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DESCRIPTION

BIO

Using simple and functional components, Zimoun builds architecturally minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of simple and functional materials, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena in Zimoun’s minimalist constructions effortlessly reverberates.

Zimoun lives and works in Bern, Switzerland. His work has been presented internationally. Recent displays of his work include exhibitions at the Museum of Contemporary Art MAC Santiago de Chile; Nam June Paik Art Museum Seoul; Kuandu Museum Taipei; Ringling Museum of Art Florida; Mumbai City Museum; National Art Museum Beijing; LAC Museum Lugano; Seoul Museum of Art; Museum MIS São Paulo; Kunsthalle Bern; Taipei Fine Arts Museum; Le Centquatre Paris; Museum of Contemporary Art Busan; Museum of Fine Arts MBAL; Kunstmuseum Bern; among others.

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INSTALLATIONS Stegi Grammatwn & Texnwn – Onassis Cultural Centre (GR) Athens is more than beautiful ― 2014

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DESCRIPTION

BIO

As part of the 10th anniversary edition of Athens Video Art Festival 2014, a specially formed installation by Onassis Cultural Centre was hosted in the courtyard of “Technopolis” City of Athens. The visitors had the chance to be informed about the new programme and the actions for the season 2014 – 2015 and at the same time, through an interactive microphonic installation, they were able to interact with Onassis’ Cultural Centre content, to interfere for a few seconds by their word to Hamlet word or to share Words and Thoughts. “Is Athens beautiful or ugly?” Onassis Cultural Centre has no time for this kind of dilemmas, probably because its view on Athens is pretty clear: In its heart. This year, indeed, Athens acquires a leading position in Onassis Cultural Centre‘s campaign and looks the citizens right into the eyes wherever they are. From Athenian Chinatown with its poet Niko Karathano to Monastiraki with two teenagers doing what all teenagers should do: jump railings, opening new paths in a city that –as everybody is saying- is always in motion. In an ordinary building in Stegi ‘s neighbourhood, this year’s Hamlet, Christos Loulis, is wondering “to be or not to be”? To be, watching movies eating popcorn on the steps of Star Cinema in Omonoia or starting discussions around a table as people do in Petralona, sharing Words and Thoughts. Because this is Athens, Athens of its people, not only Athens of Pericles or its postcards, and it has to offer not only a magical sunset, but also a “dirty” sandwich at dawn in Mavilis Square, like the one friends of Stegi ‘s eat, or a quick walk on Suggrou Avenue on the wheelchair along with Eirini and Aristotelis. For those who haven’t already lived Athens, search it through the eyes of Onassis Cultural Centre. It’s so much more than beautiful.

Campaign for Stegi Grammatwn & Texnwn – Onassis Cultural Centre

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INSTALLATIONS Ewelina Aleksandrowicz & Andrzej Wojtas (PL)

B | W | R â&#x20AC;&#x2022; 2013

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DESCRIPTION

BIO

B | W | R is the approach to an exploration of a material / immaterial transition, the work deconstructs the experience and highlights the cycle of metamorphosis. The two installation screens express the opposite end of a spectrum between solidity and flux; between the construction of a body and its almost inevitable dismantling. The work becomes an image of larger scale modifications and transformations of post-human identity; Boundaries between the natural and the artificial become blurred, through 3D generated organic textures. The notion of authentic and fantasy, juxtaposition of archaic and futuristic, is therefore visually represented.

Andrzej Wojtas and Ewelina Aleksandrowicz (Tikul) are Berlin based artists who are collaboratively working within the area of new media. Their interdisciplinary practices range from audio-visual performance, multimedia installations - to sound experiments live coding and DIY electronics. In 2011 they both completed their Digital Media Master’s Degree at Culture Lab - Newcastle University - UK. They’ve been awarded with Digital City Fellowship, Institute of Digital Innovation, Middlesbrough, UK and University Bursary Scheme Funding from Newcastle University. Under the Pussykrew moniker, Aleksandrowicz and Wojtas are producing live visuals, video installations and videoclips. Started in 2004 with hacked vhs players, now using both ‘traditional’ and custom made tools and patches. They’ve collaborated with: Leila (WARP Records) / HTRK (Work Tour 2011 – EU/AU/US - Ghostly International / Raime (Blackest Ever Black) / Oni Ayhun amongst others. Aleksandrowicz and Wojtas are constantly trying to challenge the viewer, through their gender-bending visual journeys, exploration of post-human identity, dysphoric states and bodily queerness. They’ve been fascinated by architectural objects and their transformations, synthetic-organic textures, virtually generated environments as well as visually represented collapses of the system - glitch aesthetics. Their distinctive sterile cinematic poetry, appear as complex symbolic and intricate imagery, It is often replete with allusions to myth, ritual, history both past and present, as well as futuristic scenarios of material and virtual ‘waste land’. Their works are attempting to bend the perception of time - intensify the senses and reactivate the dismissed areas of psyche. 247

INSTALLATIONS Charles Lindsay (US) CARBON III â&#x20AC;&#x2022; 2009

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DESCRIPTION

BIO

CARBON III is a creation of fictitious worlds, drawing on my interest in the aesthetics of space exploration, microscopic discovery and abstract symbols. I am intrigued by the idea that so much of our expanding scientific knowledge is based on images from beyond our bodyâ&#x20AC;&#x2122;s normal scope of vision. I am also interested in the challenge and implications of comprehending our relative scale within the universe. These videos are made from camera-less negatives, which utilize a carbon emulsion on a transparent base, the result of my experiments and manipulation. Numerous generations in the fluidâ&#x20AC;&#x2122;s history create minute evaporation trails, rendering an archeology of time. Both the CARBON stills and videos are generated from extremely high-resolution digital scans of these drawn negatives. I am applying this data in 3D topographic motion programs and producing electronic sound pieces in response to the imagery.

Charles Lindsay is a conceptual artist-adventurer whose work synthesizes ideas about time, technology, eco-systems and semiotics. Lindsay creates immersive environments, sound installations, sculptures built from salvaged aerospace and bio-tech equipment.

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INSTALLATIONS Mariska de Groot (NL) Cinechine â&#x20AC;&#x2022; 2012

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DESCRIPTION

BIO

Tucked deep in the cinematic apparatus light projections of rapidly rushing graphic patterns are transformed into sound vibrations. Intrigued by the phenomena and history of optical sound, Mariska de Groot [1982, NL] makes and performs comprehensive analog light-to-sound instruments and installations which explore this principle in new ways.

Intrigued by the phenomena and history of optical sound, Mariska de Groot [1982, NL] makes and performs comprehensive analog light-to-sound instruments and installations which explore this principle in new ways.

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INSTALLATIONS Nonotak (FR) Daydream V.3 â&#x20AC;&#x2022; 2014

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DESCRIPTION

BIO

DAYDREAM is an audiovisual installation that generates space distortions. Relationship between space and time, accelerations, contractions, shifts and metamorphosis have been the lexical field of the project. This installation aimed at establishing a physical connection between the virtual space and the real space, blurring the limits and submerging the audience into a short detachment from reality. Lights generate abstract spaces while sounds define the echoes of virtual spaces. Daydream is an invitation to contemplation. The frontality of the installation leads the visitors to a passive position.

Nonotak studio is the collaboration between the illustrator Noemi Schipfer and the architect musician Takami Nakamoto. Commisioned by the Architect Bigoni-Mortemard to create a mural in the lobby of a public housing building in Paris, Nonotak was created in late 2011. In early 2013 they start to work on light and sound installations, creating an ethereal, immersive and dreamlike environment meant to envelope the viewer, capitalizing on Takami Nakamotoâ&#x20AC;&#x2122;s approach of space and sound, and Noemi Schipferâ&#x20AC;&#x2122;s experience in kinetic visual.

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INSTALLATIONS Stella Kukulaki (GR) Fahreneit 2013 â&#x20AC;&#x2022; 2013

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DESCRIPTION

BIO

Project Analysis Fahrenheit 2013 is an installation project inspired by the thoughts and beliefs I described above. It consists of wooden trays, linen canvases, acrylic paints and inox metal parts. It depicts a surreal form of a book – an album – which has been mutated into an “electronic” form, hence the virtual computer memory parts on the back cover. The inner pages consist of fire’s red colored Plexiglas sheets that have imprinted captions from the book of “Fahrenheit 451” in honor of Ray Bradbury, but converted in a binary form, the speaking language of machines! Two opposed worlds, just like the complementary colors – red and green – that constitute the whole project, which in contrast to the position in the color circle, they have similar color values, showing existence problems when in contact, and tend to erode each other in an even more tragic color clash.

Stella Kukulaki studied in the Florence Academy of Fine Arts, Italy. Earned the “Angello Badiani” Scholarship in Print. Exhibitions (in summary): S.M Basilica 1986, House of Cyprus 1993, 34th National Convention 1995 USA, Hellenic Postwar Print 1988, National Art Gallery 1988, “Kirvia”, Intellectual Centre of Ierapetra Municipality, Crete. 1st Mediterranean Print Biennale 1998, “Oikade” (exhibition of Cretan Artists), Municipal Art Gallery of Rethymnon 2003, Touch 2008 2009 St. Nikolas, Crete. 1st International Jazz festival, Municipal Art Gallery of Heraklion, 2008. PanHellenic exhibition in Athens, 2009-2010, 8th International Biennale at Padru of Sardegna, Italy 2010, International Art Exhibition “The ancient Cretan olive grove”, Crete 2010. Archaeological Museum “Villa Abbas di Sardara”, Southern Sardegna, Italy. Heraklion Museum of Visual Arts competitions 2011 and 2012, Municipal Art Gallery of Heraklion annual Exhibitions of Heraklion’ Network of Visual Arts 2011 and 2012, 4th and 5th Beijing International Art Biennale 2010-2012, China. “Art is female gendered” Museum of visual arts, 2013, Heraklion Crete. “The body as a locus of presence and absence”, Andros and Athens 2013, Greece.

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INSTALLATIONS Fabian Kühfuß (DE) Hillarious dialogue with Alice ― 2013

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DESCRIPTION

BIO

Allan and Alice, played by two black-and-white TVs, talk about the existence of a chatbot and their many everyday problems that come with it. Hilarious dialogue with ALICE is a dialogue sequence of two chatbots, computer programs which are programmed for a written conversation with actual people. In this particular case, two of these chat programs are interconnected, thus a dialogue between two computers, which are programmed to communicate with people, was created. The uptake and independent of action of these programs are still quite limited, as situations arise from misunderstanding and confusion between two binary machines, which have actually been communicating with each other for decades. Hilarious dialogue with ALICE transformed such a dialogue between two chat programs. It is run by computer conversations which are dubbed by people, but you only see the respective mouth, gestures and facial expressions are as good as nonexistent, they show as little emotion as a computer would. Directly confronted, these two mouths flicker on two portable televisions, one telly screen against the other. There is just enough room for a quick view from the side, but the feeling of having seen only a side issue of the smallest part of a larger whole still remains.

Fabian Noél Kühfuß, born 1985 in Sindelfingen, has studied visual arts in the timebased and computerbased art class by Ulrich Wegenast at the Free Art Academy Baden-Württemberg (2006-2011). Since 2009, he has been working as a freelancer for international Film festivals like Stuttgart Festival for Animated Film, Stage On Screen and Stuttgarter Filmwinter and other media Events. Since March 2012, he is teaching interactive installations and online media at FKBW and working as a media artist freelancer. He has participated in group and solo exhibitions.

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INSTALLATIONS Colleen Keough (US) iLook â&#x20AC;&#x2022; 2014

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DESCRIPTION

BIO

The iLook explores this notion of looking and psycho-feedback through a series of visual collages. The video moves slowly allowing the viewer to look, linger and watch. The image of the artist distorts and multiplies creating an imaginative space where copies of copies mingle and coexist. Image fragments multiply and join creating new forms and curiosities. Imagery shifts from sensual to abject evoking the scopophilic, and allowing the viewer to luxuriate in the act of looking with the added dimension of being conscious of their voyeurism.

Colleen Keough is a Transmedia artist working in video, performance, sound, installation, mixed media, and hybrid art forms. Her work explores the intersection of pop culture, identity, myth and technology through narratives and anti-narratives which deconstruct traditional modes of storytelling,visual communication, and performance. Her recent work investigates archetypal embodiments of the female voice and the fragmentation of identity and language through electronic modes of communication and identification. She earned an MFA in Electronic Integrated Arts from NYSCC Alfred University. Her works have since been exhibited throughout North America, Europe and Asia. Colleen is a Visiting Assistant Professor of Trans-Disciplinary Art in the School of Art + Design at Ohio University in Athens, OH.

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INSTALLATIONS Chris Shen (UK) Infra â&#x20AC;&#x2022; 2013

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DESCRIPTION

BIO

Existing below the visible light spectrum of humans. Infrared light is a fundamental component in the way that remote controls work. Invented by Eugene Polley (1915 â&#x20AC;&#x201C; 2012) for the Zenith Radio Corporation in 1955, the remote control changed the nature of television. Existing below the visible light spectrum of humans. Infrared light is a fundamental component in the way that remote controls work. INFRA, an installation celebrating the humble TV remote. Chris Shen has repurposed discarded remote controls into a sculpture that utilises the infrared light emitted by the devices. Creating a functioning TV set that displays live television using the invisible light from each remote control.

Exploring our relationships with A1:I101 light and communication. Chris Shen encourages us to look closer at our day to day technology and the impact these complex tools have on us. My artistic endeavours are a result of an engineering and electronics education stemming from a desire to understand how things work. This as a concept has developed into interactive installations intended to highlighting our understanding of technology. My work sways in an area between art and technology, often dealing with themes from both. I hope to make work that is accessible and open to all.

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INSTALLATIONS Bill Balaskas (GR) Is this ever going to end? â&#x20AC;&#x2022; 2013

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DESCRIPTION

BIO

The work was commissioned for “Everywhere but now”, the central exhibition of the 4th Thessaloniki Biennale of Contemporary Art (2013, Greece), which focused on the current status in the Mediterranean. Amid the ongoing political, social, economic and cultural turmoil in the region, the question “Is this ever going to end?” could, potentially, be heard almost anywhere around the “mare nostrum”. However, the work’s phrase also constitutes an indirect invitation to the audience to question this determinism and realize that there is, perhaps, still time for change, and this time might, actually, be “now”. Furthermore, the choice of cyberspace for the work suggests that the place for the change could be “everywhere”, but not merely in the dematerialized form of the Web: the physical component of the work, the poster, is freely available to all members of the audience for the duration of the exhibition.

Bill Balaskas is an artist, theorist and educator working across different media and dissemination platforms. His works have been widely exhibited internationally, in more than 120 galleries, museums and film festivals.

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INSTALLATIONS Bonjour interactive lab (FR) Passage â&#x20AC;&#x2022; 2013

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DESCRIPTION

BIO

Passage is a sensitive installation that decrypts the visual and sound imprint of those who step near it. This room is a representation of the data we leave in spite of ourselves, at each of our visits on the web. A wide white band arrives from the top of the installation and scan the people in front of it like a printer would do. It then decrypts them as a 3D points clouds as well as a unique sound imprint. This sound produces depends on the position and the size of the people. This short-lived digital sculpture stays during a few seconds before collapsing.

In between visual and generative experimentation, interactive experience and tangible media. Bonjour conceptualizes and realizes interactive and connected devices combining graphic, numeric and sound conception. Our team is composed of designers and developers. Gustave Bernier [Creative Technologist] DNAP in Beaux-Arts Nice (Villa Arson) Gustave started at first as a Back-End Developer and Technical Director for Elegangz, he then became Creative Technologist for Fighting Fish. He recently joined e-art sup (design school in Paris) as a teacher in Interactive Development. He’s now Creative Technologist and cofounder of the Bonjour Interactive Lab. Jean Philippe Jacquot [Interactive Sound Designer] Engineer in Communication and Marketing, Jeanphilippe is also specialized in Front-End development Working as a DJ in Berlin for years, he co-founded the musical label “No One Cares” and the Minimal-Arts festival. After his come back to Paris he started working as a Sound Designer as well as a Front-End developer for Elegangz and for Fighting Fish Co-founder of Bonjour Interactive Lab, he is in charge of the sound design and interactive creation. Alexandre Rivaux [Interactive & Visual Designer] After his Master degree in Graphic and Interactive Design at E-Art Sup, Alexandre worked as an Art Director at Chainsaw, Betwin, Elegangz and Fighting Fish. He also teaches generative design and interactive experiences at E-Art Sup. Alex is now Visual & Interactive Designer and co-founder of Bonjour Interactive Lab.

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INSTALLATIONS Jacob Brosda (DE) Plan B â&#x20AC;&#x2022; 2013

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DESCRIPTION

BIO

Plan B is an interactive installation. The goal of the installation is to engage the visitors and let them participate in the creation of chemical based projections. The installations is by its concept trying to express the mode of creation every projection under goes, from the use of a base material, a projector and a screen. By making every part of the projection accessible from different angles, the installations tries to make the connections and the necessary human interactions with machines as much understandable as possible. Finally the goal of the installation is to give the visitor to the full understanding of its technical working without loosing the â&#x20AC;&#x153;magic of the projected imageâ&#x20AC;?.

Born in Brandenburg Germany 1986. Moved in 1998 to Patras, Greece. Studied from 2007 to 2013 at the school of Fine Arts at the department of Fine and Applied Arts at the Aristoteles University of Thessaloniki specializing on sculpture under professor G. Tsaras. During the studies I also involved in video editing and Vj and theater performances as well as with projects apart from the university courses. Currently works and lives in Thessaloniki, Greece.

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INSTALLATIONS Mushon Zer Aviv (IL) The Alan Turing Normalizing Machine â&#x20AC;&#x2022; 2012

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DESCRIPTION

BIO

An experiment in machine learning & algorithmic prejudice. The Turing Normalizing Machine is an experimental research in machine-learning that identifies and analyzes the concept of social normalcy. Each participant is presented with a video line up of 4 previously recorded participants and is asked to point out the most normal-looking of the 4. The person selected is examined by the machine and is added to its algorithmically constructed image of normalcy. The kind participant’s video is then added as a new entry on the database. As the database grows the Turing Normalizing Machine develops a more intricate model of normal-appearance, and moves us closer to our research goal: to once-and-for-all decode the mystery of what society deems “normal” and to automate the process for the advancement of science, commerce, security and society at large. Conducted and presented as a scientific experiment TNM challenges the participants to consider the outrageous proposition of algorithmic prejudice. The responses range from fear and outrage to laughter and ridicule, and finally to the alarming realization that we are set on a path towards wide systemic prejudice ironically initiated by its victim, Turing.

Mushon Zer-Aviv is a designer, an educator and a media activist based in Tel Aviv. His work and writing explore the boundaries of interface and the biases of techno-culture as they are redrawn through politics, design and networks. He teaches digital media as a senior faculty member at Shenkar School of Engineering and Design. Previously he taught new media research at NYU and Open Source design at Parsons the New School of Design and in Bezalel Academy of Art & Design.

In the 1930s British Mathematician Alan Turing studied normal numbers. During World War 2 he cracked the Nazi Enigma code, and then laid the foundations for computing and artificial intelligence. In the following decades many of Turing’s ideas have materialized through the digital revolution, while many of them are still being researched. Inspired by Turing’s life and research we seek to finally crack the greatest enigma of all: “Who is normal?”

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INSTALLATIONS Tsang Kin Wah (CN) The One, The You and The ... â&#x20AC;&#x2022; 2011

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DESCRIPTION

BIO

“The One, The You and The…” is a challenge to an internal search and an endoscopy about yourselft, your mind, your heart and the life itself. Through meanings, placed first in a general and then in a personal context, as the body, the soul, love, envy, rich, recognition, life and chaos this video installation raises the questions: “Who are you and what is you?” “What is in your mind and heart?” “What and why is your life for?” “And what are their meanings to you?”

Born in Shantou, a port city in southeastern China, Tsang Kin-Wah migrated to Hong Kong at age six. After completing an undergraduate degree in fine art at the Chinese University of Hong Kong in 2 , he moved to London and received a master’s degree in book arts at the Camberwell College of Arts, London Institute (now the University of the Arts London) in 2003. In his early works, Tsang combined texts in decorative patterns to create wallpaper that covers the walls, floors, and ceilings of their designated exhibition spaces. On closer inspection, seemingly elegant floral patterns reveal themselves as profane writings by both the artist and other authors. In doing so, Tsang brings to the fore contradictions between image and text, appearance and content. Such interplays continue to be important in Tsang’s transition from static wall-based art to multimedia video installations. Created after 2007, the latter type of works often create an immersive environment through digitally rendered, dynamic text and image projections. Their subjects range widely from identity politics and cultural conflicts to current and historical events. In his multichannel video installation Ecce Homo Trilogy (2011– ), Tsang combines biblical texts and the footage of the 1989 televised trial and execution of former Romanian president Nicolae Ceaușescu into a dynamically sprawling spectacle of sound and light. By adding found footage to this textual foundation, Tsang connects this event and other significant political upheavals of 1989 to investigate violence, justice, and the complexities of writing history.

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INSTALLATIONS Karl Salzmann (AT) Unewarte Schleifen â&#x20AC;&#x2022; 2011

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DESCRIPTION

BIO

Unerwartete schleifen is designed for a variable number of record players, the sound being provided by defective records, which produce a continuous repetitiv pattern (loop or ostinato). the defect in the medium provides the initial basis. the speed of the records is varied by means of a microcontroller and the arrangement recorded not as a musical score but as a timeline in code. the decontextualisation of the sound and the changing attention focus create a sound character, while the combination of patterns and their manipulation over time produce a new formal â&#x20AC;&#x153;music from musicâ&#x20AC;? structure.

Karl Salzmann, is a sound & visual artist, curator and researcher currently based in Vienna, Austria. Within process-oriented and experimental setups, he develops and presents works that study the materiality of sound and its social, cultural and metaphorical levels of meaning. his artistic activities mainly concern the interaction between sound and visual arts and often relate to works and topics of (sound) art history.

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INSTALLATIONS Michael Verlinden (BE) Vision nocturne â&#x20AC;&#x2022; 2014

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DESCRIPTION

BIO

AVision Nocturne presents Cubix, an interactive multitouch installation, using the video mapping technology. Cubix generates abstract aesthetics from a simple cube, both sensorial and immersive. It invites the public to discover its tactile, audio and visual dimension. Cubix explores new forms of graphic expressions through new technologies. It consists in a cube of 27m3, shaped by a metalic structure and white translucide material, in which a multitouch table allows to make evolve projected animations on the cube.

Vision Nocturne is a graphic designer, he works in Brussels since 2002. He is passionate of Digital Art and Real Time motion graphics. His work explores the relationships between the image, the architecture and sound, he combines vector abstraction with warm and color shades. When Vision Nocturne takes the reins of a visual performance during an event (night, installations, festicals and more), what takes place is a world of creative paradoxes that explodes on the screen in a complete and joyous chaos of complementary images.

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LIVE ACTS

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LIVE ACTS Hauschka (DE) Abandonded cities

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BIO Based in Düsseldorf, Volker Bertelmann, known best these days as Hauscka, is one of the most recognizable proponents of what is known as prepared piano, one whose sound is altered by the insertion of alien objects between or upon its strings, hammers and dampers. Inspired by his collaboration with many important people in music, cinema, theatre, dance and arts, with the turn of the 21st century he integrated both electronic and more traditional instrumentation into his work. He has been involved with several projects, including the composition of short films soundtracks while he was awarded in 2007 the Akira Kurosawa Short Film prize. Founding Düsseldorf ‘s Annual Piano Approximation Festival he achieved to form a prestigious line up of internationally renowned experimental artists.

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LIVE ACTS Nikos Kiriazopoulos (GR) Anahata for synthesizer

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BIO Nikos Kyriazopoulos is an artist with a wide range of interests, from the resonance of human invention to the sound of natural landscape. Since 2006 he has been dedicated to the design and the construction of his very own analog electronic instruments. He has collaborated with various noise and experimental artists in Greece and abroad. His music is characterized by Atavistic soundscapes, experiential hearing and the bodily felt sense.

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LIVE ACTS Michalis Rakitzis & Vj Codec (GR) Audiovisual Performance

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BIO Michalis Rakitzis Michalis Rakitzis (born 1961) is a male Greek singer. He was born in Athens and studied Mechanical Engineering in Great Britain (Farnborough). From 1982 to 1985 was the singer and main composer of group “Scraptown” (biggest hit “Viva Sahara”). When Scraptown split up Mihalis Rakintzis started a solo career in 1986. Since then he has released about 20 personal full albums (1986-2013) and some singles. He always composes the music and almost every time writes the lyrics of his songs (also the songs who gives to other artists). Vj Codec Konstantinos Garinis(aka VJ CODEC) is a VJ based in Athens .He started his career as a graphic designer and then he advanced to the audiovisual performances ,VJing for clubs ,musicians, bands and peformers. Although he is more than 10 years in the field of audiovisual performances he recently started using softwares for mapping and so worked with the most famous clubs and artists in Greece

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LIVE ACTS Νοnotak (FR) Late Speculation

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BIO Nonotak studio is the collaboration between the illustrator Noemi Schipfer and the architect musician Takami Nakamoto. Commisioned by the Architect Bigoni-Mortemard to create a mural in the lobby of a public housing building in Paris, Nonotak was created in late 2011. In early 2013 they start to work on light and sound installations, creating an ethereal, immersive and dreamlike environment meant to envelope the viewer, capitalizing on Takami Nakamotoâ&#x20AC;&#x2122;s approach of space and sound, and Noemi Schipferâ&#x20AC;&#x2122;s experience in kinetic visual.

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LIVE ACTS Afroditi Psarra (GR) Lilitronica

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BIO Afroditi Psarra, PhD (Athens, 1982) is a multidisciplinary artist working with e-textiles, diy electronics and sound. Her artistic interest focuses on concepts such as the body as an interface, contemporary handicrafts and folk tradition, pop iconography, retrofuturistic aesthetics and the role of women in contemporary culture. Her artworks include a wide variety of media and techniques that extend from embroidery, soft circuits, hacking and creative coding, to interactive installations and sound performances. She holds a PhD in Image, Technology and Design from the Complutense University of Madrid. Her academic research Cyberpunk and New Media Art focuses on the merge of science fiction ideas and concepts with performative and digital practices, and offers a philosophical, sociological and aesthetic analysis of the influence of new technologies in the contemporary artistic process.

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LIVE ACTS Jay Gilligan (SE) Performance on Reactable Table

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BIO Jay Gilligan is a professional juggler and performer from Arcadia, Ohio currently performing and living in Europe. Jay is a teacher of juggling and works at many circus schools overseas. He has been called one of the most famous living jugglers by writers at the usenet group rec.juggling. He has performed in many European countries and every state in America. Jay toured American cities in the summer 2006 and summer 2007 with the Shoebox Tour. Jay is also the main teacher of juggling and creator of the juggling program at the University of Dance and Circus in Stockholm, Sweden.

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LIVE ACTS Cesare Saldicco (IT) Still Life

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BIO Cesare Saldicco is a composer, multimedia artist and sound designer based in Milan. Research interests include the use of emergent dynamical and fractal systems in generative works and nonstandard synthesis, glitch/noise aesthetics and new forms of interaction and self-organized presentation. He has had commisions, awards and grants from the most significant international institutions such as Accademia Nazionale of Santa Cecilia in Rome, Acanthes, Centro Tempo Reale, CECh – Comunidad Electroacùstica de Chile, Bourges International Festival of Electroacoustic Music and Sonic Art, CEMAT Federation, Musica Viva Portugal, EXPO2015, EmuFest, MUSLab, Mixtur Festival.

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LIVE ACTS Sonia Ntova (GR) Sunhopers

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BIO Sonia Ntova is a Greek performer, choreographer and teacher based in Zurich. She has graduated as a contemporary and classical dance teacher/ dancer from Superior Academy of Dance of Thessaloniki (Greece), with a scholarship by Rudy Bryans to France (Montpellier), with a degree in Marketing and Advertisement as well. Her background in ballet, acrobatics, contemporary and improvisation, gave her the perspective of combining elements in order to use movement as a communicative tool. Mind and body works as a unity. “The mind informs the body and the body can inform the mind”. Her movement interest is in the awareness of switching from one principle to the other. How can the mind achieve the guidance of the body? Her artistic interest is to use the body as a social-political, emotional transmitting tool.

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LIVE ACTS Joe Gilmore (UK) Untitled

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BIO Joe Gilmore is a multidisciplinary artist and graphic designer from the UK. His work has been published on various music labels including 12k and LINE (NYC), Fällt (Belfast), Cut (Zürich), Alku (Barcelona), Melange (Sendai), Entr’acte (London) and Leonardo Music Journal (San Francisco). He is co-creator of rand()%, an automated internet radio station which streams realtime generative/algorithmic music.

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LIVE ACTS Julien Ottavi (FR) Untitled

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BIO A mediactivist, artist-researcher, composer / musician, poet and tongues destroyer, experimental film maker and anarchitect, founder and member of Apo33, Julien Ottavi is involved in research and creative work, combining sound art, real-time video, new technologies and body performances. Since 1997, he develops a composition work using voice and its transformation through computer. Active developer of audio/visual programs with Puredata, he has also developed since many years DIY electronics (radio transmitters, oscillators, mixers, amplifiers, video transmittersâ&#x20AC;Śetc) in the perspective of knowledge sharing on technological development. Main developer for the Gnu/Linux operating system APODIO for digital art and A/V & streaming diffusion. His practices is not limited to the art spheres but crosses different fields from technological development to philosophy / theoretical research, biomimetic analysis & experimentation. For many years he reflects on the relations between experimental practices and collective practices within the creation of autonomous collective groups, putting in question the authorship strategy of the â&#x20AC;&#x153;art ideologyâ&#x20AC;?.

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LIVE ACTS Tasos Stamou (GR) VHSynth

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BIO Electroacoustic music composer and performer, alternative electronic music instrument maker, tutor and sound technologist.Â During a decade of sound performances and recordings, Tasos Stamou has developed a unique style of live electroacoustic music composition. Long and continuous pieces are created in situ using a â&#x20AC;&#x153;portable electroacoustic music studioâ&#x20AC;?. His work explores the space between ancient and contemporary transcendental music, using both traditional and advanced media. His gear consists of acoustic (prepared strings, reeds, recorders, objects) and electronic instruments (self-made electronics, modular synthesizer system and live processed feedback loops). Based on sustained tonal textures and free improvised instrumental solos, his live compositions create a particular and unique atmosphere of ritual noise.

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LIVE ACTS Sean Rogg (UK) Wonderful Little Creatures

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BIO Sean RoggÂ is a British artist working in the field of video, photography and performance. His work has been exhibited at The Wapping Project, Bloomberg SPACE and ICA in London, as well as part of TinaB Biennale in Prague, at Modern Art Oxford, Kunsthal Charlottenborg in Copenhagen, The CCA in Tel Aviv, Galerie Mathias GĂźntner in Hamburg and Galleri Kleerup in Stockholm.

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WORKSHOPS

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WORKSHOPS Animation for Kids The workshop «Bringing image to life» is a specifically developed for the learning needs of children 5-8 years old animation workshop (duration 45-60 minutes) that provides the kids with the opportunity of «travelling» with skilled animators from the essential start of design creation to motion synthesis, composing and taking home their first animation creations. The programme aims to help pupils get familiar with the digital culture in direct contact with the digital art forms, such as animation. The focus of the children and their live participation are the perfect opportunity to realize that artistic creation is a unique composition interactive game and an escape platform even from the academicism of art itself.

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Archisonic Frequency Electronics Making of simple synths that deconstruct the surrounding architecture. A mediactivist, artist-researcher, composer / musician, experimental film maker and founder and member of Apo33, Julien Ottavi is involved in research and creative work, combining sound art, real-time video, new technologies and body performances. Since 1997, he develops a composition work using voice and its transformation through computer. Active developer of audio/visual programs with Puredata, he has also developed since many years DIY electronics (radio transmitters, oscillators, mixers, amplifiers, video transmitter etc) in the perspective of knowledge sharing on technological development. Main developer for the Gnu/Linux operating system APODIO for digital art and A/V & streaming diffusion. His practices is not limited to the art spheres but crosses different fields from technological development to philosophy / theoretical research, biomimetic analysis & experimentation. Since many years he reflects on the relations between experimental practices and collective practices within the creation of groups, questioning the authorship strategy of the â&#x20AC;&#x153;art ideologyâ&#x20AC;?.

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WORKSHOPS Circuit Bending The workshop focused on modifying electronic game devices in order to use them as musical instruments for music and experimental electronic sound production. Held under the guidance of Tasos Stamou, the musician shared his technical skills on the art of circuit bending. In addition, the participants were introduced to the field of using them in combination with other technologies such as modular synthesizers, Arduino and video output / video bending. Itâ&#x20AC;&#x2122;s a five-hour theoretical and practical workshop on the modification of trash and used electronic sound game devices into experimental musical instruments. The participants were taught the circuit bending technique, the creative use of improvised instruments and all the necessary tricks, the creative use of musical devices makeshift, familiarizing with a great alternative to the expensive musical instruments equipment. The workshop aimed to help the participants get involved in every step of the process, each one with his own device, choosing between a large number of items provided or bringing their own. Apart from the sound-focused part of the modification, the workshop was also about experimenting on video making for audio-visual applications.

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Glitch Workshop Glitch art is the aestheticization of digital or analog errors, such as artifacts and other â&#x20AC;&#x153;bugsâ&#x20AC;?, by either corrupting digital code/data or by physically manipulating electronic devices (for example by circuit bending). This simple definition captures the essence of a particular trend in digital visual art which incorporates digital (and analog) artifacts into the ranges of visual material for the production of art. There is already a lot here that we can continue to probe, but as we do, Phillip Stearns hoped to show that there is more depth to the discussion than surface features and their appropriation for artistic purposes. Participants studied the definition of glitch dealing with the notion of errors, artifacts and bugs. They also had a brief discussion of entropy and the appropriation of entropic processes. The workshop aimed at offering a wider understanding of the complexities of the topic of Glitch Art and how its ideas extend beyond surface aesthetics and reach into deeper critical dimensions.

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WORKSHOPS Embroidered Speaker The aim of the workshop was to introduce the participants to hands-on prototyping, while exploring the process of crafting electronics on fabric by experimenting with 8-bit sound and learning how to use ATtiny85 microcontrollers to create unique sonic textiles. The workshop focused on the combination of traditional handicrafts with DIY electronics and the juxtaposition of the fragile nature of textiles with the loud and immersive soundscape that these embroidered synthesizers can create.

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Filisia Workshop This workshop engaged participants in a creative process where interaction models for assistive technologies will be discussed, discovered and developed. Filisia presents recent developments in Human-Computer Interaction and in engagement methods, as well as some exciting technological developments that may play significant role in the evolution of assistive technology. Participants were presented with â&#x20AC;&#x153;personasâ&#x20AC;? of different cases, brainstorm in groups about different interaction models, present their ideas to other groups and elaborate their interaction models based on feedback from their peers. Designing Assistive Technology Interactions for People With Special Educational Needs

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WORKSHOPS Noisy Textiles Noisy Textiles Workshop is an introduction to the world of soft, textile electronic sets with the use of programmable Arduino microcontrolers, digital electronics and conductive materials. During the workshop the participants will take part in creating prototypes and they will explore the process of application of electronics to textile, creating wearable synthesisers/controlers with an 8-byte sound, that is, playing on clothes.

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PROGRAMME

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PROGRAMME VIDEO ART

Curated by: Eirini Olympiou Building “Purifier” (D10) Thursday 2 Oct & Saturday 4 Oct @ 7 P.M. - 8 P.M. Jing Zhou ― Inner Shrine {digital poetry} 02’ 30’’ (US / CN) Julia Jin ― Dispossessed 07’ 46’’ (US) Εvi Photopoulos ― I, Tiny Drop 04’ 45’’ (GR) Bruno Carnide ― The Light Darkened Within Thy Hair 03’ 00’’ (PT) Andrew de Freitas ― Bánh Trôi 04’ 14’’ (XZ / CA) Damià Jordà Molinos de Viento ― Windmilles 04’ 27’’ (SP) Dimitris Argiriou ― One Line 04’ 00’’ (GR) François Roux ― The Lid 03’ 57’’ (FR) Eli Souaiby ― Take A Look 03’ 54’’ (LB) Melanie Coles ― Single Image Animation 02’ 06’’ (CN) Roland Quelven ― Polaroids 05’ 40’’ (FR) Thorsten Fleisch ― Picture Particles 05’ 40’’ (DE) Gonzalo Cueto ― Kit Básico 06’ 47’’ (CL) Berit Dröse ― TRIP 06’ 47’’ (DK) Jaime Torres & Rosalina Cerritos ― Trodden Citizens Disjuction 04’ 16’’ (CN) Thursday 2 Oct & Saturday 4 Oct @ 8 P.M. - 9 P.M. Inés García ― Lift 01’ 14” (SP) Anthi Tzakou ― [BMPuPMB]=7_v1.1 01’ 00’’ (GR) Alexander Isaenko ― The Negative Selection 03’ 29’’ (UA) Apotropia ― Single #Double #Triple 09’ 00’’ (IT) Benna G.M. ― topic #8 04’ 30’’ (IT) Jean-Michel Rolland ― La Course / La Race 03’ 45’’ (FR) Filip Gabriel Pudlo ― Operation Castle 04’ 20’’ (PL) Francesca Fini ― White Sugar 13’ 14’’ (IT) Mauri Lehtonen ― Physical Examination 03’ 25’’ (FI) Marcantonio Lunardi ― Fall Out 03’ 32’’ (IT) 314

Nicole Rayburn ― The Serpent & The Mouse 03’ 31’’(CN) Vojta Zak ― Psycho! 02’ 29’’(CZ) Friday 3 Oct & Sunday 5 Oct @ 7 P.M. - 8 P.M. Mitra Saboury ― Stumbling Block 04’ 06’’ (IR / US) Ismini Christakopoulou ― I’m walking in a place different from the one you are now 01’ 50’’ (GR) Αlexandros Kaklamanos ― Two Little Weeks 06’ 28’’ (GR) Κika Kyriakakou ― Urban Hanami 00’ 40’’ (GR) Luke Burton ― High Line 05’ 49’’ (UK) Topp & Dubio ― Niemandsland 02’ 34’’ (NL) Xisco Fernández ― Autorithy 01’ 56’’ (SP) Yuval Yairi & Zohar Kawaharada ― Land 04’ 36’’ (IL) NoiseGrUp ― L’ Europe 03’ 04’’ (MX) Carlos Espinosa ― Under Your Watchful Eye III 03’ 40’’ (ΜΧ) Karimah Ashadu ― Lagos Sand Merchants 09’ 21’’ (UK / NG) Paris Legakis ― In-Between 09’ 48’’ (GR) Hande Zerkin ― Dasein 01’ 56’’ (TR) Myrto Papadaki ― Untitled by chance and desire 03’ 27’’ (GR) FRIDAY 3 OCT & SUNDAY 5 OCT | @ 8 P.M.-9 P.M. Niki Pagrati ― Dog Best Friend 01’ 20’’ (GR) Daina Hasanti ― Cool Tour 01’ 54’’ (ID) Luana Lacerda ― Sometimes 01’ 51’’ (BR) Suokwon Yoon ― The Value 04’ 20’’ (KR) Javier Lloret ― Detached Series 05’ 50’’ (SP) Erika Heffernan ― Learning How to Build 05’ 50’’ (US) Nico Winz ― Conversation avec les esprits 04’ 34’’ (FR) Katerina Giannopoulou ― Metamorphosis 04’ 24’’ (GR) Ilias Sipsas ― Lumis 02’ 35’’ (GR) Yannick Dangin Leconte ― Propagande 04’ 46’’ (FR) Aggeliki Bozoy ― Dining Table II – The Time Curve 07’ 00’’ (GR) Shunsaku Hayashi ― The Seconds of the Suspension 05’ 38’’ (JP) Toby Tatum ― Monsters 03’ 01’’ (UK)

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PROGRAMME ANIMATION

Curated by: AVAF Production Team Building “Purifier” (D10) Thursday 2 Oct & Saturday 4 Oct @ 6 P.M. - 7 P.M. Emma Allen ― Ruby 01’ 14’’ (UK) Alonso Rodriguez Borja ― The Fountainhead 04’ 40’’ (SP) Nicolas Brault ― Foreign Bodies 04’ 12’’ (CA) Nicolas Conte ― Yo te quiero 08’ 00’’ (AR) Nuno Fragata ― Só 06’ 30’’ (PT) Andrea Guizar ― Konstrukcja 06’ 51’’ (MX) Dimitry Zakharov ― Impacts 03’ 27’’ (DE) Rebecca Ruige Xu ― Anatomy of a poem 03’ 31’’ (US) Lea Vidakovic ― Sisters 07’ 48’’ (RS) Mohammad Talebi ― 1765 08’ 48’’ (IR) Marco Puccini ― | 小黑侠 & 红球球 | 00’ 48’’ (IT) Petrey Grant ― Dark Flow 02’ 30’’ (UK) Dennis Miller ― Point Line Plane. 3 Studies after Kandinsky 06’ 20’’ (US) Esther Johnson ― Chalk trace 02’ 26’’ (UK) Aline Helmcke ― Mme Andalou 02’ 16’’ (DE) Igor Imhoff ― Planets 09’ 11’’ (IT) Bruno Carnide ― Nice Weather For Duck - Back to the Future 03’ 00’’ (PT) Maxime Corbeil-Perron ― Ghostly 06’ 45’’ (CA) Suzie Hanna ― Proem 03’ 18’’ (UK) Piero Tonin ― Hoblio The Path of freedom 07’ 04’’ (IT) Simone Giampaolo ― Espero 04’ 21’’ (CH) Tessa Moult-Milewska ― Spider and Flies 03’ 30’’ (PL) Tessa Moult-Milewska ― The designer 13’ 30’’ (PL) Sara Koppel ― Little Vulvah and her clitoral awareness 04’ 26’’ (DK) Denes Ruzsa ― Reflections 03’ 35’’ (HU) Denes Ruzsa ― Drops 02’ 53’’ (HU) Silvana D. Mikos ― Shangrila 01’ 35’’ (UY) 316

Kevin McGuinness ― Kid Logic 03’ 10’’ (IE) Rada and Zak Vojta ― Svetovar Brewery 03’ 18’’(CZ)

FESTIVALS OF THE WORLD Curated by: AVAF Production Team Building “Purifier” (D10) Thursday 2 Oct @ 5 p.m. - 6 p.m. Friday 3 Oct @ 4 p.m. - 5 p.m. Friday 3 Oct @ 5 p.m. - 6 p.m. Saturday 4 Oct @ 5 p.m. - 6 p.m. Sunday 5 Oct @ 5 p.m. - 6 p.m.

Videoholica ― Bulgarski Video Art (BG) L’ Oeil d’ Oodaq (FR) Cologne OFF ― Total Art - @The razor’s edge (GN) Pause ― Mass assembly (AU) Pause ― Narrative in motion (AU)

SPECIAL SCREENINGS Saturday 4 Oct @ 8 P.M. Samsung Launching People ― Gradient: From Gray to Color Scale (GR) Saturday 4 Oct @ 9 p.m. - 11 p.m. Patrick Shammon ― Codebreaker (UK) Anders Weberg ― Ambiancé 72’ 00’’ (SE)

INFORMATION - DE FRAGMENTATION Curated by: Eirini Olympiou

Sunday 5 OCT @ 9 p.m. - 10 p.m. Masahiro Tsutani ― Between Regularity and Irregularity 07’ 50’’ (JP) Yannick Dangin Leconte ― Propaganda 04’ 46’’ (FR) Marcantonio Lunardi ― The Choir 04’ 32’’ (IT) 317

PROGRAMME Mehraneh Atashi ― In-Out 03’ 25’’ (IR) Panagiotis Tomaras ― End 09’ 25’’ (GR) Mihai Grecu ― Exland 07’ 40’’ (RO) Pierre Villemin & Jean Villemin ― LAC 05’ 35’’ (FR) Shigeo Arikawa ― It has already been ended before you can see the end 10’ 59’’ (JP)

WEB ART WITH OTE VDSL Curated by: Vasilis Kampouris Building “New retorts” (D7)

Thursday 2 Oct until Sunday 5 Oct Triangulation ― T.001 / interactive.triangulation.jp/T/001.html Ekrivorucho ― TCTLTNTCL / tctltntcl.ekrivoruchko.com/ Audiojackstudios ― Avclash / avclash.com/ AudioTools ― Tonematrix / tonematrix.audiotool.com/ Antonio Costa ― Special defects / specialdefects.com/v2/ Alpha Studio ― AlphaBazar / alphabazar.net/

DIGITAL IMAGE

Curated by: Athens Video Art Festival Production Team In selected rooms all over Technopolis City of Athens Thursday 2 Oct until Sunday 5 Oct George Cherouveim ― Digital Brushes (GR) Margarita Athanasiou ― Ai Wei Wei & I (GR) Ne.Kid ― Binary Kids (Multinational) Francesca Bonfatti ― Black Epoque (ΙΤ) Alberto Magrin ― Figurehead (IT) Damrich Cornelius ― Haze (DE) Sagar Shiriskar ― Kaleidoscope (ΙΝ) 318

Rose Staff ― Memento Mori (AU) Xiaohong Zhang ― Red Mountain (CN) Donato Maniello ― Time Scanning (IT) Babis Giannikaris ― Let us face east (GR)

INSTALLATIONS

Curated by: Ifigenia Papadatou Thursday 2 Oct until Sunday 5 Oct Building “Machine works” (D12) Tsang Kin Wah ― The One, The You and The ... (CN) NullPointerConstant ― Untitled (GR) Nonotak ― Daydream V.3 (FR) Charles Lindsay ― CARBON III (US) Stella Kukulaki ― Fahrenheit 2013 (GR) Bill Balaskas ― Is this ever going to end? (GR) Colleen Keough ― iLook (US) Fabian Kuhfub ― Hillarious dialogue with Alice (DE) Ewelina Aleksandrowicz & Andrzej Wojtas ― B | W | R (PL) Karl Salzmann ― Unewarte Schleifen (AT) Mushon Zer Aviv ― The Alan Turing Normalizing Machine (IL) Zimoun ― 80 prepared dc-motors, cotton balls, cardboard boxes (SE) Building “Old retorts” (D6) Michael Verlinden ― Vision nocturne (BE) Chris Shen ― Infra (UK) Kenny Wong ― ][Liminal]Contour (HK) Bonjour Interactive Lab ― Passage (FR) Mariska De Groot ― Cinechine (NL) Building “Purifier” (D10) Jacob Brosda ― Plan B (GR)

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PROGRAMME “Machine-Works Courtyard” Stegi Grammatwn & Texnwn – Onassis Cultural Centre ― Athens is more than beautiful (GR)

LIVE ACTS

Curated by: Ioanna Gerakidi Thursday 2 October Building “New retorts” (D7) Νοnotak ― Late Speculation @ 10 p.m. (FR) Friday 3 October Building “Warehouse” Tasos Stamou ― VHSynth @ 8 p.m. (GR) Sean Rogg ― Wonderful Little Creatures @ 9 p.m. (UK) Afroditi Psarra ― Lilitronica @ 10 p.m. (GR) Yorgo Yeorgiou ― Untitled @ 10:30 p.m. (GR) Nikos Kiriazopoulos ― Anahata for synthesizer @ 11 p.m. (GR) Saturday 4 October Building “Warehouse” Sonia Ntova ― Sunhopers @ 7 p.m. (GR) Jay Gilligan ― Performance on Reactable Table @ 7:45 p.m. (SE) Joe Gilmore ― Untitled @ 8:30 p.m. (UK) Romvos ― Untitled @ 11:30 p.m. (GR) Julien Ottavi ― Untitled @ 10:30 p.m. (FR) Julien Ottavi ― Untitled @ 10:30 p.m. (FR) Saturday 4 October Amphitheater R/ S 9.84 Hauschka ― Abandonded cities @ 10 p.m. (DE) 320

Sunday 5 October Building “New Retors” (D7) Cesare Saldicco ― Still Life @ 7:30 p.m. (IT) Michalis Rakitzis & Vj Codec ― Audiovisual Performance @ 9:30 p.m. (GR) Pepper 96,6 & Up radio 88,6 ― After Party (GR)

WORKSHOPS Saturday 4 October Room INNOVATHENS Music workshop for everyone ― @ 11 a.m. (duration: 1 hour) Appropriate for children with special needs Building “New Retorts” (D7) Noisy Textiles ― @ 12 p.m. (duration: 4 hours)

Building “Warehouse” Archisonic frequency electronics ― @ 2 p.m. (duration: 3 hours) Sunday 5 October Room INNOVATHENS Animation for Kids ― @11 a.m. (duration: 1 hour) Building “Warehouse” Circuit bending workshop ― @ 12 a.m. (duration: 5 hours) Emroidered speaker ― @ 5 p.m. (duration: 3 hours)

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SUPPORTERS

Χορηγοί

Υπό την αιγίδα

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Με την υποστήριξη

Θεσμικοί Συνεργάτες

Συνεργάτες

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MEDIA SPONSORS

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FESTIVAL INFO Athens Video Art Festival T. +30210323 5 E. info@athensvideoartfestival.gr W. www.athensvideoartfestival.gr MAIN OFFICE 7 Flemigk Str., 143 42, Nea Filadelfia, Athens, Greece BRANCH OFFICE 18 Miltiadou Str., 105 60, Monastiraki, Athens, Greece

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