Tula  Artem Tarkhanov 

País : Rusia

"entropy III" is dedicated to the notion of time. In this video, I show a 4 weeks performance of hair separation as my "past" and "future". This particular process makes entropy of the system (mixed dark and gray hair) decrease in time. Even though the overall entropy increase due to the second law of thermodynamics, lifeforms have a rare ability to decrease it. This video was created during the quarantine in Russia, and after my recovery from Covid-19.


b.1986, Tula, Russian Federation
I'm an early-career artist with a focus on video and mixed media art. I've participated in several festivals and group exhibitions (generally open calls) in Venice, London, Berlin, Saint-Petersburg, and some others. I work and live in Moscow, Russia.



Paulina Berestovaia  

País: Rusia

The video work describes the intimate space of the altar, hidden from the eyes of the outside world. The characters jokingly offer to sacrifice themselves, talk about fear, which is not really there. And there is only infinite power and authority under the cover of submission.
Potted plants are weaned from the flesh of their native land, but they continue to spread networks of roots and fill centimeters of room space. The viewer becomes a visitor to a secluded garden, where each plant has its own character, and in the flower, literally - its own face.


Was born in 1995 in saint- petersburg (russia). have a higher education in screenwriting (saint-petersburg state university of cinema and television), film directing and videoart (moscow school of new cinema, curator Victor Alimpiev). worked as a screenplay editor in a cinema company, line producer in the theatre project, worked in the Bolshoi theatre in extras department as the director of the ensemble.



Sylvain Souklaye 

País: EEUU

It is not a safe space. We are not safe. I'm not safe.

This is not a performance. This is my life, maybe yours.

It is not a safe space. We are not safe. I'm not safe.

This is my first memory of my first police contact, it may also be yours.

After church, I was running back home, I was just a child.

It is not a safe space. We are not safe. I'm not safe.

I was just there. I was me. I was breathing. I was alive.

It is not a safe space. We are not safe. I'm not safe.

For them, I was not a minor, I was an error.

It is not a safe space. We are not safe. I'm not safe.

I relive it every time I cross the path of an officer.

It is not a safe space. We are not safe. I'm not safe.

Police protect your safety at the cost of your liberty.

It is not a safe space. We are not safe. I'm not safe.

Police is the constitutional weapon of governmental policy.

It is not a safe space. We are not safe. I'm not safe.

Governmental policies against me, you, the former migrant.

It is not a safe space. We are not safe. I'm not safe.

The outcast, the outsider, the foreigner, the other.

It is not a safe space. We are not safe. I'm not safe.

The faceless, nameless, anonymous, insignificant, the many.

It is not a safe space. We are not safe. I'm not safe.

Because good people just talk, never act. I am the enemy.

It is not a safe space. We are not safe. I'm not safe.

Many times has my head hit the ground, I thought I would die.

It is not a safe space. We are not safe. I'm not safe.

How many have died? How many will die?

It is not a safe space. We are not safe. I'm not safe.

Some can't take it anymore and commit suicide.

It is not a safe space. We are not safe. I'm not safe.

Legal terrorism. Casual genocide.

Breathe for the forgotten.

Breathe for you.

Breathe for those who can't.

Breathe for us.

And do not stop.

""This is our space. This is our time. This is our fight.

For all the bodies, minds and souls that don't follow the right corpus.""



Sylvain Souklaye is a French performance and installation artist. 
He is obsessed with sampling intimacies about people who don't belong to a determinate identity, gender, class, colour or nationality.Sylvain Souklaye performances are a collage of individual memories which are relived for and via the audience.
Self-taught, he began performing with vandalism in Lyon, and then intimate happenings, radio experimentation and action poetry. He later developed digital art installations using field recording techniques as a narrative layer while pursuing his writer’s path.
Among his best known pieces are la blackline, a 5-year durational radio performance about socio-economic survival and urban absurdity, le déserteur a digital art installation dwelling on the notion of abandonment, TME a docudrama performance exploring self-inflicted amnesia and resilience and MIGRANT MARKET a remake of the slave market updated for the uber economy.
Sylvain Souklaye methods characteristically involve intense physical acts as well as the use of unsettling intimacy.



Michelle Ortíz Burgos


Unos días atrás había leído el poema del maravilloso Fernando Pessoa que tiene por nombre Aplazamiento, y fue como un pasado mañana para mí, por supuesto debido a la pandemia y el encierro siempre parecía decir: en esperanza que tal vez pasado mañana. El desplazar la vida saltando un día para el siguiente, como las manecillas del reloj, el hervidero menjurje de mamá y los gatos con su parsimonia, la cura del tiempo llega, pero solo llega con la muerte. Claro está que todo esto puede discutirse ya que la muerte puede llegar en vida, caminar sin hacer camino, o respirar pero sin gustar de la rosa hasta que muere. 

A few days ago I had read the poem by the wonderful Fernando Pessoa called Postponement, and it was like the day after tomorrow for me, of course due to the pandemic and the confinement always seemed to say: in hope that maybe the day after tomorrow. To displace life by jumping from one day to the next, like the hands of the clock, mom's boiling poison and the cats with their parsimony, the cure of time arrives, but it only arrives with death. Of course, all this can be discussed since death can come in life, walk without making a path, or breathe but without tasting the rose until it dies. 



Edward Oviedo 

País: Colombia

The project "the wind does not wait" is an investigation around "chatting": inter - sectional prison communication practice. This practice is used in order to engage in clandestine conversations at a distance, by means of signing techniques operated from the body. Chatting is used by inmates, family members and spouses, carried out within and around the border of the Ibagué maximum security prison (C.O.I.B.A). The series of videos expose records of the places where conversations, interviews with people related to the practice and actions - exercises take place, which exemplify the multiple alphabets that make up this language. The research problematizes two aspects: on the one hand, I wonder how the word can acquire an expressive plasticity through language, and on the other; As this practice creates spaces (places and encounters), where dynamics of power administration and subordination are evidenced, the causes give rise to this language; as a practice of flight and escape from repression. 

The title of the project comes from an appreciation of the wind, since it intervenes on a daily basis between conversations "the wind wants to carry away the words": the wind does not wait, as well as the search for freedom of the 'canine body' by get closer to your loved one. How can the word acquire a plasticity through the language and the body? How does chatting operate as a communication practice in contexts of prison confinement? 

El proyecto "el viento no espera", es una investigaciónn acerca del "chateo": práctica de comunicaciónn,  empleada en la cárcel de  ( Ibagué ), el cual permite entablar conversaciones  a distancia con familiares , conyugues u otra persona privada de libertad , al interior y exterior del complejo; esta práctica , esta basada en una serie coordinadas de señales, gritos y silbidos que construyen palabras..


Artista plástico multimedia nacido en Ibagué, Tolima, tecnólogo en producciónn multimedia (SENA), Maestro en Artes Plásticas y Visuales, (Universidad del Tolima) y tallerista en la FCSSP ( Fundaciónn y comisiónn para la paz de presos políticos). Sus proyectos abordan formas de pensar la ciudad; Edward trabaja escenarios de la urbe periférica donde suceden procesos comunitarios urbanos no habituales, y problematiza sus relaciones, conceptos y funciones. Ganador de la Beca de circulación para artistas Portafolio de estímulos, Alcaldía de Ibagué / Beca de Intervención Artística, Museo Panóptico de Ibagué / Beca de Creaciónn Fillminuto, Portafolio Departamental de Estímulos.



Caspar De Gelmini

País: Alemania

For some time now I have been dealing with a mixture of contemporary music and video art.This type of music has a long tradition in Germany and can be shown both in the context of a new music festival, but also at media art festivals or in galleries and museums. On the one hand, this music requires knowledge of instrumental music and live electronics, on the other hand, it requires knowledge of photography and image processing. IRCAM software such as Max Msp, Open Music and Jitter are used here. The goal is to create an interface between music and art. In this context, many courses of study such as "Sound Studies" or "Music and Media Art" were created in Germany.
In my work I cooperate with scientists from the Humboldt University Berlin and the Charité Berlin and research cells with regard to their graphical, typological structures, on the other hand I deal with various plant species in the botanical garden. For this I use typological processes that are based on Bernd and Hilla Becher and their Düsseldorf school.


Caspar de Gelmini studied after a preparatory training in composition in Berlin at the University for Music and performing Arts Rostock where he obtained his baccalaureate exam. He then studied until his Diploma Examination at the University for Music Franz Liszt in Weimar. He took postgraduate Studies at the University Mozarteum Salzburg as well as a Master degree from the State University of Music and Performing Arts in Stuttgart. During his studies he was Exchange Student at the Royal College of Music in Stockholm.

He was a finalist and winner of the Weimar Spring Festival Award (2005, 2007), winner of the BMW Composition Prize of Musica Viva in Munich (2008, 2010), winner of the Reading Panel IRCAM (Manifeste 2012; Cursus 2014; Scholarships: Gerda and Luigi Prade Foundation, Oscar and Vera Ritter Foundation, Friedrich Naumann Foundation for Liberty, Studienstiftung des deutschen Volkes, German Academic Exchange Service. Since 2007, his works are published by Verlag Neue Musik Berlin.
He worked with the Bavarian Radio Symphony Orchestra, the Ensemble Intercontemporain, Ensemble Recherche, IRCAM Centre Pompidou, Work in Progress Berlin, Ensemble Phorminx Darmstadt, Ensemble Junge Musik Berlin and many others. Since WS 2019/20 he teaches as a lecturer audiovisual Composition at the University of the Arts Berlin. 
He received several Awards for his Video Works by Galeries and Festivals in Europe, Canada, the US and Brasil.
In 2020 he received the Roger Willemsen Fellowship, to live and work and work for one month in Willemsens house in Wentorf, near Hamburg. 



Thales Ferreira  

País: Brasil

Cansado de ser planificado en la bidimensionalidad de las pantallas, un cuerpo distorsionado, incapaz de ser completo. Un cuerpo que se encapsula en objetos traslúcidos y se hace ver a través del agua, posibilidad de expandir lo exprimido, duplicarse y relacionarse de otra manera. La obra utiliza los lenguajes de la danza y las artes visuales, y refleja una preocupación por las representaciones del cuerpo en la pantalla en este periodo en el que nos presentamos al mundo de forma bidimensional, a través del lente de cámaras, webcams, smartphones, computadoras. Siempre hay una distorsión, una barrera invisible e invencible, y me vi invitada a frotar esos límites, provocando otras barreras, distorsiones y ángulos que ahora podrán revelar mi cuerpo fragmentado en la imposibilidad de su plenitud.


Videoartista, actor, bailarin e investigador. Investiga la hibridaciónn de lenguajes desde la interfaz del cuerpo en la pantalla, entre la danza, el cine y las artes visuales. Alumno de la maestría en el Programa de Postgrado en Artes Escénicas en UFRJ, licenciado en Cine y Audiovisual en UFF, estuvo en movilidad académica en la ESAP (Escola Superior Artística do Porto - Portugal) en 2017-2018, en el curso de Teatro. Becario de danza contemporánea en el Balleteatro do Porto en el mismo periodo, y en el Centro de Artes de Danza, en 2020. Intérprete residente en el Laboratorio de Investigación y Creación de Escena Contemporánea de la UFF, y actor, diseñador de vestuario, asistente de dirección y productor de la Compañía de Teatro Arte em Cena. Entre los trabajos más recientes destacan las obras audiovisuales "Poemas Esparsos" (2020), "Fala Comigo!" (2020), , ganador del premio Elipse), "Curto-Circuito" (2019, ganador del concurso en la Dance Magazine de Nueva York y premio del público en el Festival SounDance de Barcelona) y "Labirinta" (2020), y los espectáculos "Pecados Personales" (2019, con indicación de actuación en el Premio Paschoalino), "Amor No Recomendado" (2019) y "O Tartufo" (2018).



Tolga Akbas 

País: Turquía

As we started to isolate in our homes due to a pandemic, I wanted to document the process in some way. I used the time-lapse technique, the technique I know best. I only had two windows overlooking the street. Actually, at first, I intended to just record it, but then things started to change. In those early days, the wind that shook my windows, the wind I heard from the ventilation gaps, the prayers read from the mosques, the bakers walking the streets, the police sirens, the masks that disguised the human face, the desolation of the streets brought me into a dystopian atmosphere. I felt very weak, helpless, and most importantly, unimportant.
I laughed at the man who beat his car, while I was watching the lady eating sunflower seeds, I ate sunflower seeds. I suddenly began to see different things. I wanted to get closer and take a closer look at everything. I tried to hone in as close as I could. While doing this, there were moments when I lost myself, and moments when I experienced the excitement of a voyeur. I was slowly making a documentary of my own dystopia. Prayers were not prayers, they turned into despair calling to surrender. In my head, the scenes of the war movies were spinning. It was as if those who brought bread to my door said, "You can no longer walk." I zoomed in even closer. I had come to a point where everything had lost its meaning. I could see the blood flowing through my veins. Prayers rolled off my tongue like a song of a beloved and everything was in motion. One camera was not enough, I installed another one. I started taking photos day and night. Everyday life was no longer important, I became addicted to what I saw in the details.


I was born in 1977 in Istanbul. After graduating from Istanbul University Faculty of Communication, I worked as an editor and producer in various media organs for 11 years. My interest in photography introduced me to Mimar Sinan Fine Arts University, Faculty of Fine Arts, Department of Photography and made me more productive. I still continue to produce with the art education I received.
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Eric Filio 

País: Canada

Johatsu (Evaporated People)

Tormented by the shame of a lost job, failed marriage, or mounting debt, thousands of Japanese citizens have reportedly started leaving behind their formal identities and seeking refuge in the anonymous, off-the-grid world.


Born in Montreal, Canada, Lives and works in Montreal.

Éric Filion focuses on the characteristics of visuals as light using generative and three-dimensional graphic software. It produces visuals, graphics and virtual reality experiments in live immersive performances and installations.

In addition to a visual activity, Eric has worked on long-term projects through performances and installations such as 'Bahiatronica' (2006-), 'Semiosis' (2008-), 'Slice' (2011-) , «HTO», 'Greyfield' (2013-), 'Spectral Sound System' (2015-), 'Solastalgia' (2016-), 'Parkway' (2017-), bergmal (2018) and Johatsu (2020).

It performs and performs worldwide in digital spaces and festival such as Mutek, Elektra, Live Performer Meeting (LPM), Futura Festival, AVITUK, MTL Mapping, Music Gallery, Eastern Bloc, SAT, Nuit Blanche, Festival 404, SHARE, among others.

Following his master's degree in virtual reality, Éric makes readings and research workshops at numerous events (Meeting on the documentary of the association qc-fr, Festival Regard, co-production Fr-Qc, Composite # 7 RIDM , Vector Festival, XYZ Challenge, Amber Platform.

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