IVAHM

2017 daz disley – Sometimes

UK
5:30

Sinopsis:

 Sometimes

 Not Always.

 But Sometimes.

 Without Warning.

 Whilst not explicitly about mental health per se … “Sometimes” explores those days :

 when nothing seems to work -

 when it’s best just to go back to bed -

 when the expectation to conform to

 the patterns of others’ views of your self

 and your view of the self you want to inhabit …

 simply refuse to cooperate …

 those days when … just

 fuck-it : I can’t do this anymore.

Bio: Working across a range of modalities, daz was a musician and sound engineer before becoming a surround-sound & sound-art facilitator and systems consultant. Software tools he has developed have featured in both ComputerMusic and MusicTech magazines (for which he’s also been a contributing author), and he was instrumental in developing the SoundSpiral 52-channel inflatable Surround-Sound and Arts venue for the London2012 Cultural Olympiad. As a visualist and performer he combines his musical aptitude with live-patching and video manipulation, and as an artist works regularly with photo and video, for which he often creates bespoke code and tooling. Currently resident artist with xchurch/ Slumgothic (Gainsborough) daz has taught as a visiting artist (live-art, visuals, technology) and presented to a variety of conferences in the sound-art & experimental music fields.

2017 Diego Faskner Silveira – Nuvem Bola de Estática com Máquina de Pressão BW

BRAZIL
3:38

Sinopsis: Nuvem Bola de Estática fue creada en dos etapas. La música fue creada en 2013 a partir de fragmentos de diferentes tipos de música utilizando síntesis y grabaciones de audio. El video fue creado en 2015-16 para dialogar con la música, y para cada material sonoro fue pensada una imagen en movimiento. El video alterna entre fragmentos grabado en teléfono móvil e videos de dominio publico hallados a la internet.

Bio: Diego Silveira (03/01/75) comenzó a estudiar los tambores en 1987. Estudió en la licenciatura y maestría en la composición de la UFRGS con Antônio Carlos Borges Cunha yel doctorado con Celso Loureiro Chaves. He participado entre 1997-2006 de los grupos Relógios de Federico y Faskner (con quien grabó cuatro álbumes) y entre 2006 para 2011 del grupo Sinuca de Bico (con el que grabó un álbum). Diego participó en la edición 2004/2005 del proyecto Itaú Cultural Rumos y de la XV Bienal de Música Contemporánea en Río de Janeiro en 2005. Su musica Fragmomentum ganó mención en un concurso realizado por el Niew Ensemble de Amsterdam en 2010. De 2008 a 2013 dirigió el Grupo de Música contemporánea Porto Alegre (POA-GMC) y desde 2013 dirige el proyecto Experimental Porto Alegre (EPA). Además de la composición, Diego trabaja con el vídeo y el arte sonoro. Su video Bola de Estática com Máquina de Pressão BW participó en 2016 de la exposición Hotel Europa realizada por la asociación Concordia de Enschede, Holanda. Además de la EPA, actualmente Diego es un miembro del grupo Remendola de Chave.

2017 Duygu Nazli Akova – gyes

TURKEY
3:11

Sinopsis: In Greek mythology, during the chaotic times of the first godly beings before the cosmos was formed, Gyes was one of the three sons of Gaia and Uranus who had one hundred arms and fifty heads. The first of this video art trilogy which represents the three giant names of mythology – Gyes (terror) Kottos (anger), Brianos (strength) – is Gyes; present in the world on a major scale, and represented in Turkey, especially in Istanbul as an futuristic image through the horrific point urban transformation, changing living spheres and unjust living conditions have reached. Today, Istanbul has become a giant construction site where the terrifying reflections of the applied urban politics can be seen through the disappearance of ethnic identities, and the gap in the living conditions of individuals. These terrifying images of the new living spaces are part of the utopic world aimed to be created through the process of modernization, turning into the fantastic dystopic hero Gyes, which has the scary potential to take over the world in the future.

Bio: Duygu Nazlı Akova is an artist and researcher based in Istanbul. She earned her master degree from Marmara University, Institute of Fine Arts, with a thesis entitled “Reality of War Photography”. She is currently working on her Ph.D. thesis at Yıldız Technical University, Department of Art and Design. She is working as a teaching assistant at Istanbul Kültür University, Department of Communication Design since 2006 and still studying on her individual works as well. As an artist, her work aims to create a dialogue rooted in critical discourse focused on political authority and social issues, through the use of photography, video and installation. By using the experimental language that puts viewer perception and the plurality of these media in the center, she examines issues such as human rights, freedom, social inequality, consumerism, urban life, immigration, media and justice. Her works had been selected for lots of important national and international exhibitions and festivals such as 5th Odessa Biennale, ISEA2016, ISEA 2017, VIVA, Les Rencontres Traverse Vidéo, Punto y Raya Festival in ZKM, MADATAC and IVAHM. She had also been granted several awards including success award given by Republic of Turkey Ministry of Culture in 2016.

2017 ELSA MONTENEGRO – HUNDRED SCULPTURES OF SEMBAH

INDONESIA
9:27

Sinopsis: en esta creación las mujeres representan un regalo a la divinidad planteando una pregunta: ¿Qué nos da Dios? ¿Que le damos nosotros a Dios? Sembah significa “rezada” en javanés, la creación del artista javanés Purjito muestra las diversas expresiones de las plegarias en las religiones javanesas anteriores y en la actual religión, el islam, a lo largo de la historia.

Bio: Es bailarina y coreógrafa de danza contemporánea.Inicia su trayectoria artística en Amsterdam en AHK, en el año 1997, pasando por Bruselas, Buenos Aires, Rio de Janeiro donde realiza su formación como bailarina y coreógrafa. Ha formado parte de diferentes compañías de danza contemporánea como , Cía Angelika Link (Bruselas), Nana Álvez y Aiton Ferreira (Río deJaneiro), Fura dels Baus (Barcelona), Increpazión Danza ( flamenco Valencia), Lanónima Imperial (Madrid). Empieza a realizar sus propios espectáculos en 2005, en los que destaca por su visión de la fusión con distintos estilos de danza, y en la experimentación de trasladar y exponer la danza fuera de los espacios convencionales.

Tiene un amplio recorrido artístico en la investigación de la danza en todas las áreas , tanto artísticas como terapéuticas, su faceta polifacética la ha llevado a realizarlos más diversos proyectos, como a indagar en conceptos contemporáneos con nuevas tecnologías, video danza y video arte, y en proyectos de investigación y creación de espectáculos con personas con discapacidad.

Ha trabajado con artistas plásticos y escultores extrangeros en diversos países como Indonesia y Brasil. Desde el año 2010 empieza a realizar sus primeros vídeos, dentro del género Video Danza, creando proyectos que han sido premiados y valorados tanto a nivel nacional como internacional.

2017 Fenia Kotsopoulou – IN SIDE OUT

GREECE
9:20

Sinopsis:  ”Between stimulus and response there is a space. In that space is our power to choose our response. In our response lies our growth and our freedom.” - Viktor E.

Frankl A triptych journey in search of a tension capable of restoring the fragmented nature of a “continuity constantly receding”. A physical and emotional experience of entering the “unknown” where discomfort and risk shape each response to external or internal stimuli. A process where music and movement are subject to a constant procedure of deconstruction and reconstruction.

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Bio: Fenia Kotsopoulou is a Greek cross-disciplinary artist based in the UK, whose practice encompasses performance art, dance, video and photography. She holds a Master of Fine Arts from the University of Lincoln, and a BA in dance from the National Dance Academy in Rome. She draws her inspiration from everyday life experiences, encounters and events, considering everything as possible source of inspiration, from the mundane to the extraordinary. Pivotal topics of her rhizomatic practice include: the body as a site of transformation and as the repository of emotions; personal and collective memory; performing documentation and alternative uses of archives; formation and deconstruction of (female) identity. In the past few years, as (dance) performer, producer and visual practitioner, her works and the work of close-collaborators have been shown at a wide array of festivals and art platforms, encompassing the fields of dance, experimental performance, live-art and video-art.