program I I
kunstrasen giessen e.V. I Postfach 11 06 01 I 35351 Gießen

English (UK)

Laurien Bachmann and Sebastian Six

"Persistent Disturbance"

short film

The video performance “Persistent Disturbance” visualizes the three-month travel route through South America in an absurd way. At each point where the two artists paused, a short sound performance was created. The performer runs tirelessly with a horn honking through the different landscapes of the Andes. Through this experience not only the different places are shown, but at the same time an acoustic scanning of the respective places is created.

A tour through the Andes as a surreally condensed film performance: Laurien Bachmann and Sebastian Six shoot a static shot of a man running through the picture at each location of their three-month journey through South America, who insistently makes a hand horn sound. Whether at the lonely foot of a mountain, in an indigenous village, in the desert or in a park - there is always a massive disturbance of the landscape and life. At the same time, the continuous run and the (almost) uninterrupted sound of the horn pull the different places one after the other like a string of pearls. Persistent Disturbance is on the one hand a small but space-consuming, formally consistent and somehow also funny performance with a view to the absurdities of the art business, but on the other hand it can also be read as a commentary on one‘s own travel plans as well as on collecting images as a colonialist practice: Wherever the white man crosses a landscape, one will know that he is there.(Catalog Diagonale ´20, Alejandro Bachmann)


Laurien Bachmann *1992 in Gmünd/Kärnten and Sebastian Six *1980 in Vöcklabruck are visual artists, currently based in Linz. In their collaborative works they often deal with different topographies and acoustic spaces.

Miguel Escobar

"An Image of a Façade"

short film

In this video, a film-still of the movie “Blow” (Ted Demme, 2011) representing a geographical location is dissected. In that process, the landscape of the image becomes a space of mere facades, one composed of fragile bidimensional elements. This visual appearance refers to the space of a film set, as well as to an outer face, representative of a building which is an architectural facade. Such a set of heterogeneous elements seems to be present in more than one place at the same time. Its description corresponds with various and contradicting references and, as a consequence of that, it is difficult to know who or what is being represented.


Miguel Escobar was born in Cali, Colombia in 1992. In 2017 received his Bachelor’s in Plastic Arts at the Instituto Departamental de Bellas, in Cali, Colombia with a meritorious mention. He recently graduated from a MFA at LUCA School of Arts with a Magna Cum Lude distinction. His work has been exhibited in solo shows in Colombian and in group shows in Argentina, Russia and Belgium.

Vera Sebert

"Liquid Traits of an Image Apparatus"

short film

On the screen’s digital surface abstract machine codes appear as sensual images, readable by humans. Visualised machine instructions make up their own semantics and are base for human instructions. On a cinema screen these images are detached from their initial meaning.They condense on the picture base and swash into our eyes. Like a random rhizome structure an associative montage of minimalistic user interfaces follows the film’s timeline. Our own body perception and our interpretation formed by media conditions become protagonists in a film without narrative.


Vera Sebert, *1987, Media Artist 2007- 2015 Fine Arts at University of Fine Arts Braunschweig and Academy of Fine Arts Vienna. 2015-2019 Language Arts at University of Applied Arts Vienna. Artistic works in the border areas of visual media, language, film, computer programs: Computer code allows the adaptation of all other media whose properties are imitated, fragmented and reassembled in virtual space. The hybrid exposes the categorical separation between artistic image and text production and creates a space for experiments that explore the mesh of code, image, sound and language in a digital environment. How does the user interface determine our idea of the interrelationship between body, language and machine?


Chiemi Shimada


short film

Chiyo is a poetic exploration of the Japanese suburbs through the filmmaker’s reflection on the life of her grandmother. With a series of everyday moments in Yashio, Saitama from a summer fair to Buddhist rituals, the film meditates on family, intimacy and aging.


Chiemi Shimada is an artist filmmaker from Japan. Working with both analogue and digital materials, her films often form from portraiture and narratives exploring themes of domesticity, intimacy, and displacement. Her films have screened at San Sebastián International Film Festival, Sheffield Doc/Fest, European Media Art Festival, among others.

Bryan ‘Giuseppi’ Rodriguez

"Que Linda"

short film

In ‘Que Linda’, shot in the summer of 2018, Miguelito, aged 17, collects unconscious bodies of heartbroken, desolate men in Callao, Peru. 

Directed by Bryan G. Rodriguez
Artistic director: Alonso Izaguirre
Sound designer: Mauricio Escamilla


Born in Callao,Peru, and now based in London, Bryan 'Giuseppi' Rodriguez Cambana carries a multidisciplinary practice through the kinesthetics of Afrodiasporic genres of music such as Hip-Hop and Salsa, in relation to surreal imaginings/memories of personal narratives; seeking to develop a language born out of the dysfunctional marriage between the performances prescribed by these genres (their visual culture) and a Fine Art context - participating in a conversation about movement, desire, bodies, color, race and poverty.Giuseppi's work has been exhibited in various galleries, museums and festivals, including The Queens Museum in Queens, New York, ENCUENTRO in Mexico D.F, The International Festival of The New Latin American Cinema in Havana, Cuba, and was more recently the 2018-19 recipient of More Art's Public Art Grant in New York City..

Qigemu (April Lin und Jasmine Lin)

"Reality Fragment 160921"

short film

Reality Fragment 160921 is Qigemu's debut film. Using footage they collected during a summer together, they decided to create a film, writing and editing through Skype calls between Los Angeles and Stockholm. Thus, the piece simultaneously materializes this iterative process of reflection as well as its result. Due to its organic conception, Reality Fragment 160921 transcends the boundaries of distinct genres, encompassing docu-fiction, experimental narrative, and video art in its structural form and use of aesthetic storytelling mechanisms.


七个木 Qigemu 七個木 was a duo consisting of lovers April Lin and Jasmine Lin exploring the interstices of movement, visual media, identity, and the global Asian diaspora as respectively, Chinese-Swedish and Taiwanese-American.

Alexander Isaenko


short film

EXISTO MINIMA is a shore line, where the brief presence is an analysis of personal history. Here, on the borderline between statics and dynamics, within the frame of someone's own 'drama', one phase of crisis evolves into the next one. It unfolds from the teenager's feeling of adulthood, to the middle-age crisis, where the meaningfulness is totally devalvated.


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

Sarah Lasley

"How I Choose to Spend the Remainder of My Birthing Years"

short film

Blending personal narrative with shared pop cultural experience, the artist makes manifest a longheld childhood fantasy set within the love scene from "Dirty Dancing" (1987). "How I Choose to Spend the Remainder of my Birthing Years'' juxtaposes pre-pubescent sexual desire with that of a woman descending her sexual peak. Fantasy is both a balm to religious piety and an act of resistance to reproductive pressures put upon women approaching middle age. Here the digitally simulated image, in its wavering verisimilitude, exposes our willingness to desire to believe.


Sarah Lasley is a filmmaker and interdisciplinary artist from Louisville, Kentucky and an Assistant Professor of New Media at University of Texas San Antonio. Her films have screened internationally at film festivals and universities, notably the Cannes Art Film Festival in France and National Chiao Tung University in Taiwan. Her museum and gallery exhibitions include the CICA Museum in Korea, Leslie Hellar Workspace in New York City, and LAXART in Los Angeles. She was recently included in the KMAC Triennial at the Kentucky Museum of Art and Craft and in Video Snack at Virginia Commonwealth University. Lasley worked as an animator for Martha Stewart Omnimedia and title animator on Todd Haynes’s Academy Award Nominated film Carol, Panda Bear, and MGMT music videos. Her theatre credits as a projection designer include the Baryshnikov Arts Center, Harlem Stage, and Ars Nova in New York City, and she is the projection designer for Brenna Palughi’s theatre company, Virago. She is recipient of the Toby Devan Lewis Grant from Yale School of Art, where she taught as a Lecturer for over a decade. She holds an MFA from Yale School of Art and a BFA from University of Louisville, and was a resident at the Skowhegan School of Painting and Sculpture in 2004.

Bianca Hisse

"The future is classy, crisis is sexy"

installation art

Six fast-paced timelapse videos compose Bianca Hisse’s work ‘The future is classy, crisis is sexy’.

Movement in public space is a recurring subject in her practice, this time suggesting a micro-action: to observe, slowly and persistently. In this work, Hisse appears in strategic points of various cities - squares, parliaments and historical sites -, spaces that normally carry a double function: They are not only scenario of tourist photos, but are also a stage of recent protests and political demonstrations. On the screen, the minimal gesture of observing unfolds into an accelerated, frenetic image of her ‘invisible’ performance. Delving into the language of daily communication - the selfie format, quick and short phrases, Instagram typography - the work reflects on how documented action, written language, and current politics of circulation are manifested on our everyday screens.

practice and work

In my recent works, I have been interested in looking at the body and choreography as a method of collective organization, and how it can infiltrate power structures of social life. Public space has always been an important element in my performances, and to a certain extent, the body is always trying to twist the unspoken rules of these spaces. I have been crawling, sliding, laying and rolling in various different contexts, looking into all possible forms of non-vertical movements, and most of the time as an unannounced action - so people are not expecting what they see. For me, performing is always a way to challenge normative behavior, to suggest that there are gaps and cracks in our spaces and that we can occupy them.


Movement in public space is a recurring subject in her practice, this time suggesting a micro-action: to observe, slowly and persistently. In this work, Hisse appears in strategic points of various cities - squares, parliaments and historical sites -, spaces that normally carry a double function: They are not only scenario of tourist photos, but are also a stage of recent protests and political demonstrations. On the screen, the minimal gesture of observing unfolds into an accelerated, frenetic image of her ‘invisible’ performance. Delving into the language of daily communication - the selfie format, quick and short phrases, Instagram typography - the work reflects on how documented action, written language, and current politics of circulation are manifested on our everyday screens.

Her works have been exhibited across Norway and internationally, including: Museum of Modern and Contemporary Art Rijeka, Galerija Miroslav Kraljevic, Galerija Nova (Croatia), BABEL Visningsrom for kunst, Kunstnernes Hus, Tromsø Kunstforening, Small Projects (all in Norway), Centro Cultural São Paulo and others. Recent shows include 133. Statens kunstutstillingen, Høstutstillingen, and the 19th Mediterranea Biennale (San Marino, 2021).

Biba Cole

"Pulp of the Sea"


Biba Cole (UK) is an interdisciplinary artist currently based in The Hague (NL). Positioning failures as generative actions, she gives value to slippages from known languages. She will perform her latest work 'Pulp of the Sea', exploring the practices of surfing, falling over, and writing. She examines the relationships between her own body, water, and writing, as vessels that are continually overflowing. The moving body has no edges: it leaks, expands, and retracts. Through hand-cut animation, excess material is highlighted as the flickering edges of her body merge with visceral painted environments. The film slips beyond its own edges as two performers move together in a balancing act as they fall, leak, and warp imagery. Filled with suspense and the not-yet, each performance is unique.

performance by Biba Cole. 
soundtrack by Biba Cole & one-four.


Biba Cole (UK) is an interdisciplinary artist currently based in The Hague (NL). Positioning failures as generative actions, her practice revolves around ‘slippages’ from known languages. Swimming in pools of excess material – questions of productive action, consumption, language, disgust, and desire emerge.

Greta Alfaro

"He Had Got Certain Vibes"

short film

A humble still life about the fragility and drama of the everyday and domesticity and the indiferenciation between real life and life in the screen.


Greta Alfaro (Spain, 1977) is a visual artist. She works mainly on video, installation, photography and on site-specific projects. Her solo exhibitions include Decimocuarta estación (2019) at the Fundación BBVA, Madrid, In Ictu Oculi (2019) at the Flint Institute of Arts, Michigan; El cataclismo nos alcanzara impávidos (2015) and European Dark Room (2014) at Galeria Rosa Santos, Valencia; Still Life with Books (2014) at Artium, Vitoria, Spain; In Praise of the beast (2013) at Hiroshima City Museum of Contemporary Art, Japan; and In vencion (2012) at Ex Teresa, Mexico City. Among her solo site-specific exhibitions are I Will Not Hesitate to React Spiritually (2019), with Roaming Room and A Very Crafty and Tricky Contrivance (2012), with Genesis Foundation, both in London, an Co medias a honor y gloria (2016) in La Gallera, Valencia, Spain. She has taken part in numerous group shows in venues like the Whitechapel Gallery, Institute of Contemporary Art and Saatchi Gallery in London; Centro Cultural Banco do Brasil in Brasilia; The Bass Museum of Art in Miami; the Conciergie in Paris, Künstlerhaus Bethanien in Berlin; and La Casa Encendida in Madrid; and in film festivals such as the International Film Festival Rotterdam 2011, Rencontres Internationales Paris Berlin 2020 and 2012, Punto de Vista International Documentary Film Festival of Navarra 2013, and Kassel Documentary Film Festival 2020.

Mariusz Sołtysik


short film in the category ‘Trash’

”Invaders” is the ironic video project which, based on old, american popular TV Sci-Fi series from 60’, expresses the commentary about us = humans. We behave as the ”Invaders from dying planet”, who wants to take over the earth and destroy as a narrator expressed. I stood before my camera and recorded myself till the moment I first blink. My focus was to try to keep open eyes without blink as long as possible. Every day I am still astonished when I watch or read the news from our planet – what we do!


I am a visual artist (based in Poland) working across a wide range of forms, namely sculpture, installation, video, drawing, painting and photography – presenting my work in various contexts — from gallery spaces through site-specific to public realm. I am the author of documentary movies, from 2011 lecturer at the Academy of Fine Arts in Krakow (Poland) on the Intermedia Faculty. I exhibited my works (more than 100) in Poland and abroad in such countries as Belgium, France, Germany, Italy, Ireland, Iceland, Sweden, India, Australia, Taiwan, Chile and the USA.

Andrew Neil Hayes

"Animals Beginning With P"

short film in the category ‘Trash’

Andrew Neil Hayes is a film maker and performance artist based in Bristol, UK. Sometimes he makes films that are performances and other times he makes performances that are films.

His work focuses on the absurdity of the human condition. He frequently wears a suit (as any self respecting professional should), however he likes to see the formal attire as an instrument for freedom rather than restriction. Especially when he can tear it up and cover it in mud or drown it in a lake or set fire to it. The five elements have inherent importance.

His latest film that is a performance, contrasts the modern man with Pigeons, Praying Mantis, Possums and Pigs.


I'm a film maker and performance artist based in Bristol, UK. Playing with the constraints of reality such as time and place, is a particular obsession of mine.

I think of it like fishing for answers. But you only get good answers if you ask good questions, like why don't Dogs wear ties? - I'm sure Laurie Anderson could answer that.

Zoe Dittrich-Wamser

"back to"

installation art

For the exhibition at KiZ Zoe Dittrich-Wamser is installing a phone video. The interaction of fingers with a surface, as experienced interacting with others via phone is linked to a more secretive way of messaging: writing with a finger on somebody’s back. Language gets passed on in a rather sensual way giving space to the layers beneath the mere information.


Zoe Dittrich-Wamser, born 1993 in Gießen, living in Düsseldorf. Studied fine art in Bremen and Düsseldorf, degree in 2019.

Veneta Androva


short film

AIVA is an artist, animated by algorithms. But above all she is the soberingly limited male tech vision of what more diversity in the arts could look like. In her paintings AIVA prefers the vertical, to some acclaim. A naive and cliché-ridden “art documentary” lets us participate in her work. Precisely observed, with sparse gestures and trenchant wit, Veneta Androva reflects a current status quo in her computer-animated future fiction.

(André Eckardt, DOK Leipzig 2020)


Veneta Androva work mixes media sources with paintings, all linked through animation and simulated environments. Born in Sofia, Bulgaria, in 1985, she obtained a degree in history of art and philosophy from Humboldt University Berlin and also graduated in fine arts from Weißensee Academy of Art Berlin.

Vitalii Shupliak


short film in the category ‘Trash’

Touch the material side of the device. Dialogue through glass. Who is more real now?


Vitalii Shupliak (*1993, Ukraine) mainly working with video, installation and spatial activities, founder of the "Pi" Gallery. Based in Poland. Studied art in Lviv (UA), Gdańsk (PL), Poznań (PL) and Braunschweig (DE). Mainly addresses the issues of tensions, broadly understood boundaries, migration and identity, build works of economical form, but with broad concepts.

Sherie Sitauze

"mbedzi land, our land, queens land"

short film

For the black person, the traumas of the past, far and near, will always persist into the present –and, more than likely extend themselves into the future*. For me, it begins around 1270AD: the Mapungubwe Kingdom and VhaVenda of southern Africa. I am in a constant cycle of coming to terms with my ancestral past while simultaneously seeking it in order to mobilise it within the present day. All the while being a long-term resident on this very foreign, western and British soil. Soil I have conditioned myself into understanding as one of my homes since the age of 6. 

*s/o to Jacques Derrida for putting into words feelings I once did not know existed words for.


Sherie Sitauze: b. Bulawayo, Zimbabwe. currently in London, U.K. studying a masters in Fine Art at Goldsmiths, University of London. Sherie’s artistic practice is multidisciplinary and heavily embedded in, and refers itself to post-colonial theories and concepts, it aims to establish and reproduce –if possible, the precolonial histories of Southern Africa.

David Wittinghofer


installation art

„ … i / always / wanted / to dance / > / just / to dance / but / i am not a dancer … “

A person moves, fragmentarily and eratically on an empty stage and is accompanied by a voice that speaks about dance. At the same time, further dancers can be seen in a trashy thunder-storm of images that are connected to various fragments of speech. The two-channel video-installation beyond / performances examines and interprets the relationship between dance actions and linguistic reflections on them through the appropriation of movements and statements by others. An “I”, which is composed of the voices of four choreographers and dancers, speaks from an admiring external position about individual observations, wishes and ideas of dance, thereby setting other figures in motion.

An alternative narration was constructed from fragments of voice-over commentary from a 1980s US television program about postmodern dance and served as a template for a new montage of the footage. This chronological manipulation of audio also influenced the associated images, now interrupting or advancing the dance choreographies through rapid image jumps. The individual fragments of movement were subsequently interpreted by a dancer on camera and could therefore also be strung together in accordance with the alternative and newly recorded text version. 

The found footage video and its performative reconstruction correspond to a text-based choreography, which only becomes visible through the technical means of video editing. beyond / performances proposes what there is still to be discovered beyond what is shown as well as what else could have been said about it.


born 1991, lives and workes in Linz (AT)

since 2009 exhibitions, screenings, projects and performances 

since 2014 study of Fine Arts - applied cultural studies, Linz Art University

Diploma, Fine Arts - Experimental Art, university of art and design Linz

2018 studio grant Salzamt, City of Linz

2019 Talent promotion bonus for interdisciplinary art forms, Province of Upper Austria

Sarah Trad

"10 Celebrities You Didn’t Know Were Arab!"

short film in the category ‘Trash’

The video shows Arab celebs like Salma Hayek and Shakira who, respectively, portray SWANA (South West Asian / North African) people in acting roles and perform ululation at SuperBowl half-time shows. Zoe Saldana, who also proudly promotes her heritage, is included because of the profound power she holds as a role model to Black Arabs, who are often erased from the Arab community. Ariana Grande is included for how her racial identity has fluctuated over the past decade from Italian to "Mixed", after taking a DNA test that said she was also Greek and North African. Although the DNA test probably reflects the hundreds of years of migration between Mediterranean Europe and Northern Africa, the DNA test affected Grande’s aesthetic, which some identify as “blackfishing.” Although some of these celebrities do not overtly identify as Arab, they expand perceptions of what Arabs can look like as well as raise questions of racial appropriation and authenticity.


Sarah Trad is an artist and curator whose work focuses on the juxtaposition between subjective and objective emotionality, navigating daily life with mental illness, the individual's relationship to pop culture and decolonizing Western understandings of the Middle East and Arab Americans. The living embodiment of the correlation between chronic depression and binge-watching practices, her video work appropriates and manipulates "profound but overlooked" moments from movies, music videos, and the internet. Sarah's video work takes media representations of Middle Eastern, North African and Arab American individuals and manipulates them using computer effects programs to create new abstract works. Through this change in context, she hopes to break down misconceptions of MENA and Arab American people and expose the beauty of her heritage and people. Her work also explores the concept of “inherited grief;”that through biological or behavioral means, trauma is passed down through prospective family generations so that family members might experience the residual effects of trauma they did not personally witness. Specifically, her work focuses on how the death of her grandfather, an Arab American, caused ripples of mental illness and skewed racial identity through her paternal family. Sarah has a BFA from Syracuse University and studied at the Film and Television School of Performing Arts (FAMU) in Prague, Czech Republic. Sarah’s work has been shown at the Strangelove Time-based Media Festival (Folkestone, England), Woman Made Gallery (Chicago, IL), The Front (New Orleans, LA), Rendezvous With Madness Festival (Toronto, ON), Big Muddy Film Festival (Carbondale, IL), The Warehouse Gallery (Syracuse, NY), Kitchen Table Gallery (Philadelphia, PA) and the Everson Museum of Art (Syracuse, NY).

Alex Eisenberg and Anne Bean

"The Light of Day"

Featuring the work of Jeanette Iljon

short film

A series of tender exchanges between life long friends Jeanette Iljon and Anne Bean. Born eleven days apart to Jewish families in Zambia in 1950, they both went on to become artists in the UK in the early 1970s. 'The Light of Day' carefully recomposes Iljon’s avant-garde, feminist and social activist film works made in the 1970s/80s. It combines these with an almost lost interview, shot by Anne Bean in 2000 and new performance material that was made collaboratively with Alex Eisenberg in 2019 following Iljon’s diagnosis with dementia.


Anne Bean 
In a recently launched monograph on her work, Self Etc., the writer Dominic Johnson says: Anne Bean is a noted international figure who has been working actively since the 1960s. The art of Anne Bean makes strange our sense of time, memory, language, the body, and identity, particularly through solo and collaborative performances along a vital continuum between art and life. 

She has shown works in many galleries worldwide including, in London, Tate, Hayward, and Royal Academy and has received several large-scale awards such as a British Council Creative Collaborations fund, leading to ongoing international work with women from countries of conflict. A Tate/LADA Legacy: Thinker in Residence Award, resulted in an ambitious work, TAPS, including over 80 artists, engaged in improvisatory experimental practice. She was invited to be artist in residence at several institutions including Franklin Furnace, New York and Whitechapel Gallery, London and to collaborate with local groups in countries worldwide She has had several solo commissions with Matts Gallery, London including Radiant Fields, Autobituary and WAKE. Last year she had a solo show How Things Used to Be Now, with the gallery England & Co, London as well as showing with them at Paris Photo, 2019.

Alex Eisenberg 
Alex Eisenberg is an artist and curator working with performance and video. His recent work includes White Sands Crystal Foxes, a film made in collaboration with Liz Rosenfeld about queer female desire (Zeiss Groß Planetarium, Berlin - post-production) and Personal Shopping (2019) a short film which he directed and appears in as the drag character Gaye Rimmer. Other recent film work includes: Backward/Forwards, in collaboration with Anne Bean (Hull City of Culture, 2017), Kicking in the Doors - a short documentary about Performance Magazine (2017) and a 16mm film Monument to Charlie Chaplin (Kings of England, 2014). 

Between 2012 and 2019 Alex was curator of special projects at Live Art Development Agency (LADA). Selected projects include Edge of an Era - performance art in the 1980s (2018/9), LADA Screens - a monthly screening programme (2014-19), Performance Magazine Online (Hull City of Culture/British Library 2017), PLAYING UP (Tate Modern, 2016), Glimpses of Before - performance art in the 1970s (2016) and Live Art and Feminism in the UK - (Google Arts & Culture, 2016). In 2017, Alex was a recipient of an Artist International Development Award (British Council/Arts Council England) where he was resident at Al-ma’mal gallery, East Jerusalem and worked on a project about performance art Palestine. In 2019, Alex was invited to be Associate Programmer at Battersea Arts Centre, London.



Jeantette Iljon
Jeantette (Jenya) Iljon was born in Livingstone, Zambia, in 1950 and went to the UK in 1969 to study at Sussex and subsequently Trent University and then the Royal College of Art, where her films, including Mantra, Focii, No Laughing Matter and Conjuror's Assistant were produced. She then worked as the workshop coordinator for the London Film-Makers' Co-op, an organisation which played a crucial role in establishing film as an art form in the UK and was a catalyst for a vibrant international art film scene. There, between 1980 and 1982, she helped to initiate a series of cheap, open-access courses there, organised and taught by women filmmakers for women filmmakers eager to gain more familiarity with their craft. 

She collaborated with choreographer Jacky Lansley on various projects, including slides and multi-media for, I Giselle, animating a magical invocation of the ghost dancers in the ballet, itself a wild feminist adaptation of the original, an attempt to create a completely different sort of mythology. The work toured the UK starting at the Drill Hall, London. Jenya also worked with Blood Group theatre company, initiated by Anna Furse, and with Poison Girls, the anarcho-feminist band. She is a founding member of Circles, the first women artists’ film and video distribution organisation.

In the early 1980s, she co-founded the 'Co-option' project , which was partially an attempt to broach the film/video, 'art/politics' binaries that had led to specialisation and separation in the feminist art and film community, and it was intended to appeal to women who, by reason of background or circumstances, did not habitually think of themselves as artists or filmmakers. As part of its community programming remit, the collective was commissioned by the newly set-up Channel 4 to produce a film about Sylvia Pankhurst . The group went to Ethiopia to film, interviewing Richard Pankhurst, Sylvia's son and many others involved in her life. After that, the group dispersed, and its facilities were made available to other women's filmmaking groups active at the time, including one that she set up with a group of women film-makers called Aphra Video. 

Jenya continued developing her own practice, collaborating on dance and multi-media pieces, participating in the Arts Council's Artist Film-Makers On Tour scheme, and teaching at Goldsmiths College. She subsequently took a teaching post at Hull Polytechnic, then continued teaching through Europe, Africa, China and Australia, making work whilst travelling.

Her work has been shown several times at LUX, London, which represents the country’s only significant collection of artists’ film and video, and is the largest distributor of such work in Europe. Most recently, 2019, her film Focii, 1975, was shown there alongside the work of the artist Tina Keane, both of whom were included in the original Circles distribution catalogue. Her work has also been screened recently at Tate Modern, followed by a discussion with herself and the other screened artists, moderated by Felicity Sparrow, former LFMC distribution worker and co-founder of Circles.

par1s1en, where are you? (Ahmad Masoud and Olufemi Atibioke)

"Ti amo mi amor Imolito"

short film

"Ti amo mi amor Imolito" (2020) is a short film by the artists' collective "par1s1en, where are you?" and represents a poetic declaration of love in a fragmentary narrative style. The use of different means of production and found footage, but also the aesthetics and authentic characters result in an unconventional film composition that defies any simple classification and questions prevailing viewing habits. 


Ahmad: Hamburger. Lives in Leipzig. All good.

Olufemi Atibioke: Personification: Somewhere between Ütersen and New York.

André Guiboux


short film

I expect the light to shine on me.

I expect an image to stare at me.

I expect a gesture to discharge me.

                              Sardanapale burns his kingdom so that nothing can survive him.

                              I open a door and something else goes by, witness on hold.

                              We speak in one world but we see in the other.


Born in 1987, André Guiboux graduated from the art school of Grenoble with the congratulations of the jury. He lives and works between Paris and the south of France.

Erotic, political or oriented towards the sacred; the artistic practice of André Guiboux crosses a reflection on the role and power of images through a succession of passionate gestures which unloads him and attaches him to the world; in order to find, a moment perhaps, a primitive unity between things. His artwork has been exhibited at the 5th Orient'Art Express Festival of Oujda, the 17th Biennial of young creators of Europe and the Mediterranean in Milan, the 32nd Winter Festival in Sarajevo, during The Others the art fair in Turin with the Pauline Pavec gallery and recently at the frac-Centre Orléans.

Finn Rabbitt Dove

"vendor beast"

short film

Standing in the dim light, in a void of blue, dwarfed by a presence as strong as it is vulnerable - instincts are restricted by glass.


Born in London and currently based in Glasgow. Finn Rabbitt Dove’s work reflects an abiding interest in the interaction of human and nonhuman animals in a world of increasingly manufactured landscapes. Using a documentary-style approach to filming, with a reliance on field recording, elements of fantasy and humour subvert mass media's presentation of ‘nature’. Having a background in painting and zoology, he uses these fields of knowledge to speculate upon what this world is.

Charlotte Oeken

"Against the Romance of Community"

installation art

A blink of hovering, of latitude, of outbreak. Nothing is certain but uncertainty. Images are images, they need no narrative. Snapshots in which time lost its meaning. Something breaks, something else isn’t there yet. And in-between the feeling everything is possible. Dissolving identities. It’s a fight. As much as you think you know - you cannot foresee the unknown. So what can we learn from it? How can we embrace the idea of a visionless vision? And while we try to understand our surroundings, we forget what we are looking for. I am looking from above, I am looking from within. We are dreaming of an utopian place but we know it will never exist. And we give ourselves to this delusion while we wonder what or who is this „we“ we are talking about. I see you. I see you. I see you, yes, I do.


Charlotte Oeken is dealing with the deconstruction of collective narrative in her multimedia performances. She studied directing at ZHdK Zürich, Switzerland and at School of Visual Theatre, Jerusalem, Israel. She founded the performance collective „service not included“ and the music platform MuscleCat Records. Her works have been presented i.a. at Münchner Volkstheater, Theater Neumarkt Zürich, Machol Shalem Jerusalem. 

Gil-li Menkes is a multidisciplinary artist, currently based in Haifa, Israel. In her works she explores and investigates rituals, spirituality and healing powers. As a visual artist she creates collages and develops several alter ego and characters with which she performs in different events and performances. 

Connected Realities 
(Giorgi Gedevanidze, Phaidon Gialis, Seongmin Yuk)

"Connected Realities"

installation art

The proverbial adoption of other perspectives is the concept underlying the installation Connected Realities: The participants of the installation are connected to each other via VR headsets, but instead of seeing virtual realities they look through each other's eyes. Each headset shows the perspective of another participant in the experiment. What this circumstance means for further collaboration is shown in the subsequent Installation, in which perspectives literally collide.


Giorgi Gedevanidze, Phaidon Gialis and Seongmin Yuk are artists based in Cologne. They gathered with the interest of experimenting with the connection between the perspective and perception and the interaction between space and the physical body. A main interest behind their work is constructing interactive spaces and circumstances as well as the exploration of physical embodiment and communication. With the project ‘Connected Realities’, they are experimenting with their selfmade glasses in both an interactive and performative manner.

Jack Wormell

"Crumbs #3 (Cinema Trailer)"

short film in the category ‘Trash’

A parodic cinema trailer voiceover is paired with footage of a beach in south-west Ireland, filmed in the summer of 2019. The image and sound really have no connection with each other, which is the point, and hopefully the badly delivered bombast of the voiceover is humbled by shining banality in amateur camerawork, seaweed, surf, and sand. This is the third in a series of 16mm films called Crumbs, which I use to explore and experiment with different techniques and textures. The dog is called Monster. The camera had a broken shutter.


I make short, landscape-based films in which street signage, trees, architecture, and places such as parks, motorways, and urban edge lands, become charged and reactivated through camerawork, editing, text, voiceover, and sound collage. The boundary between the ordinary and the extraordinary is what interests me: the movement and colour of a congested city, the uncanny euphoria of the motorway, the inconsequential memories that places can summon. My films heighten these sensory moments in a euphoric reclamation of the everyday that uses ‘amateur’ aesthetics such as motion blur, exposure changes and frozen frames. The form of each film varies, from overtly humorous to more abstract and questioning in tone, but the intersection between the mundane and the transcendent is what underlies all of them. Films have been screened at London Short Film Festival, Barbican, Whitechapel Gallery, BFI, Transient Visions, Exploding Cinema, Flatpack Festival, and Aesthetica Film Festival. Live and work in London.

Kati and Jens Bruder (dipol-visuelles spannungsfeld)


installation art

"The viewer's perspective functions as a prerequisite for the construction of the "Other" within our cultural system." The discourse of spectatorship generally characterizes the gaze as desire and implies a split between "desiring subjects" on the one hand on the one hand, and "objects to be desired" on the other. This separation is increasingly overcome by the "transgression of the increasingly blurred boundaries between exclusive object constitution and coherent subject nature". "Seeing" and "being seen" are given a special role in the "structures of desire" of "Spectatorship (SYN.Idle)", as the object can function both as object and as subject or as both at the same time. The observing persons are part of the whole, without being able to determine this themselves. The, according to Plato, "divine quality" of the human being, "the viewing of the viewing person" is led ad absurdum in "the viewing of the viewing person who views the viewing person" and so on. The beholding of the beholders is an interplay of the constellations of the gaze and projection relations. By looking at the screen, the "subject" is synchronously switched, i.e. transformed into an "object" to be desired.


Kati Bruder Kati Bruder (1978, Graz) studied at the Academy of Fine Arts Vienna (graduated in 2015), where Peter Kodera taught her how to use a camera. Since 2003 she has been working as a freelance photographer with a focus on portraits. In her photo series Kati Bruder explores the ambiguity of visibility, searching for answers to the following questions: how do our social status and gender affect our visual perception? What are we allowed to see by whom? What role is played by the symbolic significance of the gaze and what poses do we strike as soon as a camera is pointed at us? Kati Bruder lives in Vienna and works internationally.

Among other accolades, she was awarded the Austrian State Scholarship for Artistic Photography in 2017 and in 2015 the Advancement of Photography Prize by the City of Graz, the Audience Award at the Wiesbadner Fototage, and the commendation of the ‘architekturbild’ European Architectural Photography Prize. Exhibitions at home and abroad include: MAK– Museum of Applied Arts, Vienna; Museum of Photography/Helmut Newton Foundation, Berlin; DAM – Deutsches Architekturmuseum, Frankfurt; Clervaux – cité de l’image, Luxembourg; Literature Museum, Odessa; StageOne, Zurich; Arebit Gallery and Getty Images Gallery, London; Alkatraz Galerija, Ljubljana.

Jens Bruder Jens Bruder (1977) studied Media System Design at FH Darmstadt (graduated 2003). He has been working with moving images in combination with sound since 1998, first analog as a VJ in clubs, later for theater productions and art installations. Jens Bruder combines creativity with technological know-how. As 'Head of Creative Engineering' he manages and develops international media installations with innovative strategies for the company Nous Wissensmanagement GmbH. Jens Bruder lives in Vienna and works internationally. 

With the innovation project NOUS Sonic he, together with his team, was awarded the 2nd place of the Austrian State Prize for Design and Communication. Video performances and installations at home and abroad: including Jewish Museum Berlin, Jewish Museum Vienna, MAK Vienna, Natural History Museum Vienna, Danmarks Borgcenter Vordinborg, IG Bildende Kunst Vienna, OÖ Kunstverein Ursulinenhof Linz, Urban Art Forms Festival in Wiesen, Club Delphin Vienna, WUK Vienna, ESC Graz, Burgruine Reinsberg Lower Austria, Louvre Abu Dhabi UAE, ...

Robin Lopvet

"Voyage, Voyage, Voyage"

short film

Robin Lopvet makes animation films made image by image in an experimental animation technique centered on the diversion of tools of digital retouching, technique of which he is the only user. This technique is a bridge between the still image and the video, which can be classified in what is called the «photographic film». In the audiovisual work presented here, in order to join the Web Hall of Fame, the painting masterpieces used have been dematerialized. They have lost their status as works of art that distinguished them from their reproduction in photography, and by the same time, their physical status as works of art, relegating them to the same rank as a trivial image. Without hierarchy or deference, Robin Lopvet gleaned all types of landscape images on the internet and animates them to make remixes; they are erased, overlapped and rebuilt in a "remix", in an organic and jubilant dance. Like the song Voyage, they have become heady refrains, of which one can have lost the reference, like words stripped of their works and recycled into a long Oulipian tirade. Drift of the consumption of products, Robin Lopvet makes paradoxically a tribute to these disembodied images.No more history, no more author, no more sacredness. Voyage, Voyage, Voyage, travels within a trivialized culture, upgraded version of a desire for escape, an infinite ritornello.


Robin Lopvet is a multimedia visual artist working on the issues of language games, economics of recovery, parody and playfulness. Everything he makes comes close to an immense and serious parody, without cynicism. He lives and works on the Internet.

Maya Wallis

"I’m not sure if this feeling of being able to dance will come about again"

short film in the category ‘Trash’

Dressed in a red jumpsuit and boots, the artist sich die Künstlerin in her bedroomHer eyes are shut and the music, Hounds of Love – Kate Bush, is playing through headphones, the sound consuming her whilst she sings out loud and begins to dance. Exploring the bodily experience of excitement and its effects on the body, the artist tunes into how she feels when listening to the song. The dancing is unchoreographed, messy, unrehearsed - her instinctive reaction to the beat and Kate's voice. The short, one take film, originally planned as a live performance, was recorded during the Covid-19 Lockdown. Dancing in the middle of a pandemic, the artist attempts to find excitement amongst the uncertainty, the solo performance creating a strange sense of heightened intimacy.


Maya Wallis explores the bodily experience of excitement: its essence, intimacy and effects on the body. She focuses on analysing the internal adrenaline rush found in small acts such as listening to music, dressing and dancing in her room. She constantly questions how to allow an audience to witness these private moments contained within her body.

Heather Warren-Crow


short film

Between experimental film, video art, and performance art, reCAPTCHA (2020) is a disorienting story of bodily trauma. The text of the video is a message the artist sent to a Canadian city police department via an online contact form. To make the voiceover, the artist read this text aloud while listening to herself on headphones at a small delay. The echo makes the resulting voiceover disorienting, emphasizing the ways in which the story of an injury can't adequately be told.


Heather Warren-Crow is a performance artist based in West Texas in the United States. She has exhibited her work in galleries and performance spaces, on monitors and on stages, in Argentina, Brazil, Colombia, El Salvador, India, Japan, Mexico, Tanzania, Taiwan, Trinidad and Tobago, and across Europe and the United States.

Karl-Heinz Mauermann

"brain shots / was einem durch den Kopf schießt"

short film in the category ‘Trash’

A cross old man grumbles and prates about neighbours, country and people. He knows: Everything was better in the olden days. An English and German version of the video enhance each other and combine to a film that proves stupidity and loneliness to be international phenomena. The images used were derived from family albums, combined with found footage from archives.


Karl-Heinz Mauermann works conceptually. He designs order systems for a chaotic world and to this end makes use of the visual arts and their crossover areas to literature and music. He uses various media, from drawing to collage, computer graphics, room installation to video. In the mid-1980s he graduated in German language and literature, philosophy and art. Since then his work has been shown in a number of exhibitions both in Germany and internationally. In 1987 he received the Max-Ernst-Spipend special award for his video tape "Aren’t we drawing such lines whenever we move?"

Anna-Maria Nabirye and Annie Saunders

"Up In Arms"


Up in Arms is a transmedia performance project that removes the boundaries between process and product, utilizing performance, visual art, and social practice. Participants are invited to re-embody and re-create the iconic 1971 portrait of activists and friends Dorothy Pitman-Hughes and Gloria Steinem, which creates a space for meaningful dialogue around racism, feminism, and friendship. For hungry eyes festival the artists will be taking the archive documentation of the project, including the intimate portrait and dialogue experience for two people at a time, editing the sound and visuals separately and syncing it for the first time for this online audience. They will also hold a talk back discussion exploring the connections and disconnections in the work and their own relationship to it.


Anna-Maria Nabirye
Acting work includes the BBC, DNA Films & The National Theatre. Collaborative film works include Hold Your Ground (Film & Video Umbrella) & The Scar (London Film Festival).

Co-founder of AfroRetro a fashion and participatory company focusing on fashion as a stimulus for identity and cultural exploration; commissioned by Yinka Shonibare’s Guest Projects, The Black Cultural Archives, Southbank Centre & The V&A. Anna-Maria is currently on attachment with the Whitstable Biennale. 

Annie Saunders
Her company Wilderness, has presented its immersive performance The Day Shall Declare It site-specifically in Los Angeles and London. They have also presented work at REDCAT and the Getty Villa and created commissioned work for Asics and Mastercard. Annie has devised and performed original work with Neil Bettles, the Lyric Hammersmith, Bush Theatre, Latitude Festival, Queen Mary University, Boston Court Theatre, Son of Semele and Theatricum Botanicum. She is a core collaborator with Lars Jan’s Early Morning Opera on Holoscenes and other works.

Rebecca Gin
is an editor specialising in documentary. She has two decades of experience editing factual content, music videos, news, branded content and sport. Rebecca is happiest when her Venn diagram has intersecting circles of great footage and strong female protagonists. Her clients include Vice, i-D and Sky.

Lehni Lamide Davies 
is an Performance Artist, Creative Facilitator and Producer who works on performances, installations, exhibitions and participatory art projects. Her creative practice utilises multiple art forms (drama, story, song, image and movement) to uncover intimate narratives around wellbeing, identity and interconnectedness, bringing to life stories that are shared, nurtured and celebrated.