now/here

A dream to be in the middle of nowhere - in space, time, in the mind. In a blank space - familiar and unfamiliar at the same time. To find tools to examine the surroundings and to be able to create it anew. The sense of locality is scattered and resembles a personal nowhere - a metaphorical space composed of elements we care about and are potentially ready to defend. In the age of imagination crisis, when the references are blurred, perhaps we could try learning from the weather, instead of working against it, to understand fluidity again - of any form and kind. Balancing between the real real, the reflected real, the reimagined real and the unstable real - "now/here" is about reconnecting with the surroundings and defining locality, questioning value and memory independency by placing it in a virtual realm and examining morphing and decay of digital representation of reality.

Ecce Ötzi

Two members of a Carnival association made a paper-mâché head that depicts the cryodesiccated corpse of Ötzi the Ice Man, Europe’s oldest known natural mummy. When Carnival is cancelled, they have to decide upon the fate of the distorted effigy. The head, nonhuman but disguised as a Vitruvian man, misrepresented in paper-mâché and spinning around his own axis, becomes charged with personal and political values. Questions around the futility and folklore of Carnival merge with questions about our human nature and position in this world. In recordings of auditions for a fictional play, Levi van Gelder dislocates the Iceman from an environment of scientific objectivity, historical religiosity and consumerism to reconsider the artefact’s epistemological conditions and ambiguous ontological status. In an exploration of how values are transmitted from symbol to person, from person to person, Ötzi becomes a medium to unearth frictions between compounds of reality and fiction, representation and misrepresentation, in a game of encounter and failed adaptation.

Once Again, Inside a romance Utopia

This video is part of an ongoing research, called ‘Romance Utopia’, that has gotten out of hand; spilled over into a digital archive (@romance_utopia), a radio show, a collection of essays and this videowork. In an attempt to cut the associative chain between romantic expression and intrusion, Romy asked four friends to tell her about their romantic objects. In the conversations that followed, there was a transformation in each of them somehow; a feeling of detachment while talking about their object. A practice of remaking their objects with clay seemed to carry the potential to revalue their memories and approach its romantic sensibility with heartiness again.

Chained: Chain Diet

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

ES IMPOSIBLE, NO PUEDE SER

La Ruta del Bacalao was a club scene that appeared magically and disappeared tragically between 1977 and 1993 along the highway CV-500 near Valencia, Spain.

Andrea Gonzalez went to look for vampires where the images were missing. Set in a car trapped at full speed on the CV-500, the script is a fictional reconstruction of the ruins of a future in a past that cannot be. Something too good to be true, something that cannot be because it is impossible and is condemned to disappear; the film crosses archeological and speculative means to sculpt an impossible dreamscape outside of time.

A rhizomatic search into the memory of voices in the dark. There is no cause nor effect; there are only remains and missing parts. The film strives for alternative models of narration that respond to the complexity of capturing something that is not here anymore.

The children who eat sunflower seeds

"It has been decades since, On two sides of the river, The children of two nations, Are swimming in the rusty tubs of their ancestors"

RE-VEIL YOURSELF

This work reveals the inner layers of the Saudi woman that are usually hidden from the public eye. It is intended to show that beneath the veil, lyes a modern woman that should not be perceived as a victim. By revealing what's beneath this outer layer, the audience gains an insight into her world.

EVERYTHING IS VALUES (E1: The Courage to Walk Away)

Today we encounter the world through the prism of digital apps owned by tech giants. Seemingly neutral, their smooth interfaces mask specific subjectivities of knowledge. They create new topographies of action, enabling or disabling terms by which we engage with the places around us. The video Unrendered Road traces the road between two ancient cities--Jerusalem and Jericho. A journey that Google Maps will not show you -- an unrendered road. By assembling conflicting perceptual readings, the reliance of existing knowledge systems are questioned, including regulations and legislations, on geo-political power structures and sedimented historical inequities. The resultant ‘editing’ of reality is made manifest through the interface by which we navigate a conflicted border zone. Tali Liberman is a research-based designer who questions socio-political narratives and structures. By dismantling the subjectivity portrayed in objectivising disciplines and tools, she unpacks forms of knowledge that shape one's perception of so-called reality.

Unrendered Road

Today we encounter the world through the prism of digital apps owned by tech giants. Seemingly neutral, their smooth interfaces mask specific subjectivities of knowledge. They create new topographies of action, enabling or disabling terms by which we engage with the places around us. The video Unrendered Road traces the road between two ancient cities--Jerusalem and Jericho. A journey that Google Maps will not show you -- an unrendered road. By assembling conflicting perceptual readings, the reliance of existing knowledge systems are questioned, including regulations and legislations, on geo-political power structures and sedimented historical inequities. The resultant ‘editing’ of reality is made manifest through the interface by which we navigate a conflicted border zone. Tali Liberman is a research-based designer who questions socio-political narratives and structures. By dismantling the subjectivity portrayed in objectivising disciplines and tools, she unpacks forms of knowledge that shape one's perception of so-called reality.

Chained: Bikers Necklace

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

Do what you love

Do what you Love is a project about the current condition of the immaterial worker, trying to find certainty in the era of New Work. In a world of self-optimization, the viewer joins Jacuto, a gig economy worker, on a morning run through Rembrandt Park

So Settler, Are You a Pioneer?

‘So Settler, Are You a Pioneer?’ captures the structures of a rapidly changing peripheral neighborhood: material remains of an obsolete infrastructure, luxury apartments, and piles of bricks that once used to house people. The work re-assembles and digitally preserves sites that are often overlooked in tales of linear progress.

The piece is a journey through distorted urban landscapes, an assemblage of partial perspectives. By adapting the cartographic technique of photogrammetry, Wouter aims to question the authorities who decide what is and what is not in focus.

Coming Soon

Begins with a prayer from Quran that reads about Lot (Sodom and Gomorrah) and proceeds with Revelations by Madonna, “Coming Soon” reflects the clash between a homosexual man and compulsory military service in his country. A compilation of more than hundred footages from various sources, the work creates itself out of others’ entities. As a visualisation of joining to army where violence and masculinity goes hand in hand, “Coming Soon” roams on the edges of heteronormativity, justified brutality and pornography. If a military camouflage is to protect you from enemy, what would you need to put on your camouflage to protect yourself in the army?

Recurring Days

Recurring Days is a improvisational web series exploring the daily life of Lunda Stunda, a side character from the puppet play "Misrepresentations: Clitoris and Basketball". Lunda Stunda is a puppet from an alternate world. Their work consists of a continuous misrepresentation of the clitoral shape in various fields such as puppet-architecture, puppet-sculpture and puppet-painting.

Chained: Voulez – Vous + Drunk Chain

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

On sonic intimacy

For this ongoing project, Luca has phone calls with friends, loved ones and until then strangers. Sonically close yet physically far, they dwell upon the ways in which our bodies not only hear but also feel sound. It’s a collective investigation of the material impact of low frequencies and repetitive sounds. Sometimes the conversations enter intimate spaces in which (queer) healing experiences and tactics are shared.

In Transit + Move or Die

The video being shown in Het Hem for Sandberg Graduation Show 2020 has been tailored to the site and history of Het Hem, and starts with the proposed act of bringing the artwork on site. This scene is set through the passage where the bullets were once sent out from the ammunition factory, focusing on the relationship between the spaces of supply chain logistics and artwork transportation.

The video was made for the event WALKS in Bos en Lommer, organized by Studio for Immediate Spaces from June 12th to 14th, 2020. The audience could pick up the envelope with the video link at UPS access point in Bos en Lommer area, Atc Asia Telefoon Center, Gulden Winckelplantsoen 2, 1055 EL Amsterdam. This video is being made during the Covid-19 outbreak period, questioning what is still running and what has stopped. The video mentions the global operation of UPS which sponsored Great migration project of National Geographic Channel, connecting this 'move or die' campaign to the circulation of the video itself. The video was filmed in A10 Highway and the railway built on the dike in Bos en Lommer area, Amsterdam.

As far as I can remember

“Thought draws the imaginary of the past: a knowledge becoming. One cannot stop it to assess it nor isolate it to transmit it. It is sharing one can never not retain, nor ever, in standing still, boast about.“ (Edouard Glissant, Poetics of Relation) Transmission, translation, traces, loss. In an attempt to remember a house that lives on as a ghost in her family’s memory, Francisca Khamis Giacoman looks for ways of keeping the house alive, a house in motion, now in another shape, without time or territory.

all of the time

Filmed Summer 2017 in Kent, UK. Music: ASDA Live at Death Disko.

Morocco Residency 2020

How to edit a video with 12 people?

i think if we show this immigration will immediately give us the visa

“The ‘L’ of the lips are open The ‘O’ of the host The ‘V’ of the velvet The ‘E’ of my eye The eye in wonder The eye that sees The ‘I’ that loves you”

(Kate Bush, Why Should I Love You?)

Through reflecting on the in-betweenness of our love relationship (boundless, fluid, unconditional), but also on all other types of love unrepresented in the institute of marriage (restricted, solid, and loaded with conditions and consequences), we want to reclaim and re-appropriate the namesake and bureaucratic benefits of marriage to conform to our way of being, living and loving.

The Swimming Pool

The Swimming Pool was developed over the course of a two-year domestic ethnographic research involving many travels to Southern Spain. In an attempt to find what it means to practice care, Carmen Dusmet Carrasco developed an obsession with capturing her mother’s precarious journey towards retirement. What began as a socio-economic study of female poverty in Spain led to an intimate negotiation of a mother-daughter relationship.Projecting the imagination of a younger generation onto a future that is unfolding, the film is an intergenerational prism. In its rawness, it unapologetically poses a confessional question: How can younger generations take care of the elderly while safeguarding their own future?As a graphic designer, Carmen explores how the body is affected by socio-economic structures that condition its survival. In her debut film The Swimming Pool Carmen focuses on a body already living through precarious pre-retirement conditions.

The evidence of a non - harmonious being

[Sharp like shoulders. Soft like olives.

Sour like miso soup and old paprika. Sane like never before.]

A (non)poetic patchwork of old iPhone vids and sounds, cherishing the chaotic, bitter sweet and non-harmonious harmony that daily life is (or can be), when trying to grasp time & space on a gadget.

0223 621570

Starting from the deliberately impossible venture to reach Noorderhaaks, a completely deserted sandbank located in the north of Holland, this two-channel video attempts to sketch the physical experience of a place as an object that can only be reached by our imagination.

Through the combination of walk-recording with slippage of textual and visual language, the video demands to be pulled between spaces — an uneasy tension between bodily allegory and abstraction and brought back to an interiority or denying of space.

“0223 621570" arises from a series of recurring visits taken as personal methodology and is part of the installation "lands end: 0223 621570". Photo caption: Francesca Lucchitta

Chained: Masquerade

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

The haunted villa of Specses, pt.1: A Hike + pt.2: A Drive

Unfolding through dialogues during a hike and a drive on the island of Spetses, this project focuses on the narratives, rumours, oral histories and misunderstandings surrounding a haunted villa. Taking as a starting point the story of a female painter from the 1800’s who disguised herself as a man to study art and later on went mad and destroyed her works, the interlocutors in the video keep getting distracted by the landscape and the stories it carries. They drift from the main narrative, making assumptions, elisions and speculations. The politics and histories of the island are traced on the natural materials, the architectures, infrastructure and even the weather.

now/here

A dream to be in the middle of nowhere - in space, time, in the mind. In a blank space - familiar and unfamiliar at the same time. To find tools to examine the surroundings and to be able to create it anew. The sense of locality is scattered and resembles a personal nowhere - a metaphorical space composed of elements we care about and are potentially ready to defend. In the age of imagination crisis, when the references are blurred, perhaps we could try learning from the weather, instead of working against it, to understand fluidity again - of any form and kind. Balancing between the real real, the reflected real, the reimagined real and the unstable real - "now/here" is about reconnecting with the surroundings and defining locality, questioning value and memory independency by placing it in a virtual realm and examining morphing and decay of digital representation of reality.

Ecce Ötzi

Two members of a Carnival association made a paper-mâché head that depicts the cryodesiccated corpse of Ötzi the Ice Man, Europe’s oldest known natural mummy. When Carnival is cancelled, they have to decide upon the fate of the distorted effigy. The head, nonhuman but disguised as a Vitruvian man, misrepresented in paper-mâché and spinning around his own axis, becomes charged with personal and political values. Questions around the futility and folklore of Carnival merge with questions about our human nature and position in this world. In recordings of auditions for a fictional play, Levi van Gelder dislocates the Iceman from an environment of scientific objectivity, historical religiosity and consumerism to reconsider the artefact’s epistemological conditions and ambiguous ontological status. In an exploration of how values are transmitted from symbol to person, from person to person, Ötzi becomes a medium to unearth frictions between compounds of reality and fiction, representation and misrepresentation, in a game of encounter and failed adaptation.

Once Again, Inside a romance Utopia

This video is part of an ongoing research, called ‘Romance Utopia’, that has gotten out of hand; spilled over into a digital archive (@romance_utopia), a radio show, a collection of essays and this videowork. In an attempt to cut the associative chain between romantic expression and intrusion, Romy asked four friends to tell her about their romantic objects. In the conversations that followed, there was a transformation in each of them somehow; a feeling of detachment while talking about their object. A practice of remaking their objects with clay seemed to carry the potential to revalue their memories and approach its romantic sensibility with heartiness again.

Chained: Chain Diet

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

ES IMPOSIBLE, NO PUEDE SER

La Ruta del Bacalao was a club scene that appeared magically and disappeared tragically between 1977 and 1993 along the highway CV-500 near Valencia, Spain.

Andrea Gonzalez went to look for vampires where the images were missing. Set in a car trapped at full speed on the CV-500, the script is a fictional reconstruction of the ruins of a future in a past that cannot be. Something too good to be true, something that cannot be because it is impossible and is condemned to disappear; the film crosses archeological and speculative means to sculpt an impossible dreamscape outside of time.

A rhizomatic search into the memory of voices in the dark. There is no cause nor effect; there are only remains and missing parts. The film strives for alternative models of narration that respond to the complexity of capturing something that is not here anymore.

The children who eat sunflower seeds

"It has been decades since, On two sides of the river, The children of two nations, Are swimming in the rusty tubs of their ancestors"

RE-VEIL YOURSELF

This work reveals the inner layers of the Saudi woman that are usually hidden from the public eye. It is intended to show that beneath the veil, lyes a modern woman that should not be perceived as a victim. By revealing what's beneath this outer layer, the audience gains an insight into her world.

EVERYTHING IS VALUES (E1: The Courage to Walk Away)

Today we encounter the world through the prism of digital apps owned by tech giants. Seemingly neutral, their smooth interfaces mask specific subjectivities of knowledge. They create new topographies of action, enabling or disabling terms by which we engage with the places around us. The video Unrendered Road traces the road between two ancient cities--Jerusalem and Jericho. A journey that Google Maps will not show you -- an unrendered road. By assembling conflicting perceptual readings, the reliance of existing knowledge systems are questioned, including regulations and legislations, on geo-political power structures and sedimented historical inequities. The resultant ‘editing’ of reality is made manifest through the interface by which we navigate a conflicted border zone. Tali Liberman is a research-based designer who questions socio-political narratives and structures. By dismantling the subjectivity portrayed in objectivising disciplines and tools, she unpacks forms of knowledge that shape one's perception of so-called reality.

Unrendered Road

Today we encounter the world through the prism of digital apps owned by tech giants. Seemingly neutral, their smooth interfaces mask specific subjectivities of knowledge. They create new topographies of action, enabling or disabling terms by which we engage with the places around us. The video Unrendered Road traces the road between two ancient cities--Jerusalem and Jericho. A journey that Google Maps will not show you -- an unrendered road. By assembling conflicting perceptual readings, the reliance of existing knowledge systems are questioned, including regulations and legislations, on geo-political power structures and sedimented historical inequities. The resultant ‘editing’ of reality is made manifest through the interface by which we navigate a conflicted border zone. Tali Liberman is a research-based designer who questions socio-political narratives and structures. By dismantling the subjectivity portrayed in objectivising disciplines and tools, she unpacks forms of knowledge that shape one's perception of so-called reality.

Chained: Bikers Necklace

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

Do what you love

Do what you Love is a project about the current condition of the immaterial worker, trying to find certainty in the era of New Work. In a world of self-optimization, the viewer joins Jacuto, a gig economy worker, on a morning run through Rembrandt Park

So Settler, Are You a Pioneer?

‘So Settler, Are You a Pioneer?’ captures the structures of a rapidly changing peripheral neighborhood: material remains of an obsolete infrastructure, luxury apartments, and piles of bricks that once used to house people. The work re-assembles and digitally preserves sites that are often overlooked in tales of linear progress.

The piece is a journey through distorted urban landscapes, an assemblage of partial perspectives. By adapting the cartographic technique of photogrammetry, Wouter aims to question the authorities who decide what is and what is not in focus.

Coming Soon

Begins with a prayer from Quran that reads about Lot (Sodom and Gomorrah) and proceeds with Revelations by Madonna, “Coming Soon” reflects the clash between a homosexual man and compulsory military service in his country. A compilation of more than hundred footages from various sources, the work creates itself out of others’ entities. As a visualisation of joining to army where violence and masculinity goes hand in hand, “Coming Soon” roams on the edges of heteronormativity, justified brutality and pornography. If a military camouflage is to protect you from enemy, what would you need to put on your camouflage to protect yourself in the army?

Recurring Days

Recurring Days is a improvisational web series exploring the daily life of Lunda Stunda, a side character from the puppet play "Misrepresentations: Clitoris and Basketball". Lunda Stunda is a puppet from an alternate world. Their work consists of a continuous misrepresentation of the clitoral shape in various fields such as puppet-architecture, puppet-sculpture and puppet-painting.

Chained: Voulez – Vous + Drunk Chain

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

On sonic intimacy

For this ongoing project, Luca has phone calls with friends, loved ones and until then strangers. Sonically close yet physically far, they dwell upon the ways in which our bodies not only hear but also feel sound. It’s a collective investigation of the material impact of low frequencies and repetitive sounds. Sometimes the conversations enter intimate spaces in which (queer) healing experiences and tactics are shared.

In Transit + Move or Die

The video being shown in Het Hem for Sandberg Graduation Show 2020 has been tailored to the site and history of Het Hem, and starts with the proposed act of bringing the artwork on site. This scene is set through the passage where the bullets were once sent out from the ammunition factory, focusing on the relationship between the spaces of supply chain logistics and artwork transportation.

The video was made for the event WALKS in Bos en Lommer, organized by Studio for Immediate Spaces from June 12th to 14th, 2020. The audience could pick up the envelope with the video link at UPS access point in Bos en Lommer area, Atc Asia Telefoon Center, Gulden Winckelplantsoen 2, 1055 EL Amsterdam. This video is being made during the Covid-19 outbreak period, questioning what is still running and what has stopped. The video mentions the global operation of UPS which sponsored Great migration project of National Geographic Channel, connecting this 'move or die' campaign to the circulation of the video itself. The video was filmed in A10 Highway and the railway built on the dike in Bos en Lommer area, Amsterdam.

As far as I can remember

“Thought draws the imaginary of the past: a knowledge becoming. One cannot stop it to assess it nor isolate it to transmit it. It is sharing one can never not retain, nor ever, in standing still, boast about.“ (Edouard Glissant, Poetics of Relation) Transmission, translation, traces, loss. In an attempt to remember a house that lives on as a ghost in her family’s memory, Francisca Khamis Giacoman looks for ways of keeping the house alive, a house in motion, now in another shape, without time or territory.

all of the time

Filmed Summer 2017 in Kent, UK. Music: ASDA Live at Death Disko.

Morocco Residency 2020

How to edit a video with 12 people?

i think if we show this immigration will immediately give us the visa

“The ‘L’ of the lips are open The ‘O’ of the host The ‘V’ of the velvet The ‘E’ of my eye The eye in wonder The eye that sees The ‘I’ that loves you”

(Kate Bush, Why Should I Love You?)

Through reflecting on the in-betweenness of our love relationship (boundless, fluid, unconditional), but also on all other types of love unrepresented in the institute of marriage (restricted, solid, and loaded with conditions and consequences), we want to reclaim and re-appropriate the namesake and bureaucratic benefits of marriage to conform to our way of being, living and loving.

The Swimming Pool

The Swimming Pool was developed over the course of a two-year domestic ethnographic research involving many travels to Southern Spain. In an attempt to find what it means to practice care, Carmen Dusmet Carrasco developed an obsession with capturing her mother’s precarious journey towards retirement. What began as a socio-economic study of female poverty in Spain led to an intimate negotiation of a mother-daughter relationship.Projecting the imagination of a younger generation onto a future that is unfolding, the film is an intergenerational prism. In its rawness, it unapologetically poses a confessional question: How can younger generations take care of the elderly while safeguarding their own future?As a graphic designer, Carmen explores how the body is affected by socio-economic structures that condition its survival. In her debut film The Swimming Pool Carmen focuses on a body already living through precarious pre-retirement conditions.

The evidence of a non - harmonious being

[Sharp like shoulders. Soft like olives.

Sour like miso soup and old paprika. Sane like never before.]

A (non)poetic patchwork of old iPhone vids and sounds, cherishing the chaotic, bitter sweet and non-harmonious harmony that daily life is (or can be), when trying to grasp time & space on a gadget.

0223 621570

Starting from the deliberately impossible venture to reach Noorderhaaks, a completely deserted sandbank located in the north of Holland, this two-channel video attempts to sketch the physical experience of a place as an object that can only be reached by our imagination.

Through the combination of walk-recording with slippage of textual and visual language, the video demands to be pulled between spaces — an uneasy tension between bodily allegory and abstraction and brought back to an interiority or denying of space.

“0223 621570" arises from a series of recurring visits taken as personal methodology and is part of the installation "lands end: 0223 621570". Photo caption: Francesca Lucchitta

Chained: Masquerade

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

The haunted villa of Specses, pt.1: A Hike + pt.2: A Drive

Unfolding through dialogues during a hike and a drive on the island of Spetses, this project focuses on the narratives, rumours, oral histories and misunderstandings surrounding a haunted villa. Taking as a starting point the story of a female painter from the 1800’s who disguised herself as a man to study art and later on went mad and destroyed her works, the interlocutors in the video keep getting distracted by the landscape and the stories it carries. They drift from the main narrative, making assumptions, elisions and speculations. The politics and histories of the island are traced on the natural materials, the architectures, infrastructure and even the weather.

now/here

A dream to be in the middle of nowhere - in space, time, in the mind. In a blank space - familiar and unfamiliar at the same time. To find tools to examine the surroundings and to be able to create it anew. The sense of locality is scattered and resembles a personal nowhere - a metaphorical space composed of elements we care about and are potentially ready to defend. In the age of imagination crisis, when the references are blurred, perhaps we could try learning from the weather, instead of working against it, to understand fluidity again - of any form and kind. Balancing between the real real, the reflected real, the reimagined real and the unstable real - "now/here" is about reconnecting with the surroundings and defining locality, questioning value and memory independency by placing it in a virtual realm and examining morphing and decay of digital representation of reality.

Ecce Ötzi

Two members of a Carnival association made a paper-mâché head that depicts the cryodesiccated corpse of Ötzi the Ice Man, Europe’s oldest known natural mummy. When Carnival is cancelled, they have to decide upon the fate of the distorted effigy. The head, nonhuman but disguised as a Vitruvian man, misrepresented in paper-mâché and spinning around his own axis, becomes charged with personal and political values. Questions around the futility and folklore of Carnival merge with questions about our human nature and position in this world. In recordings of auditions for a fictional play, Levi van Gelder dislocates the Iceman from an environment of scientific objectivity, historical religiosity and consumerism to reconsider the artefact’s epistemological conditions and ambiguous ontological status. In an exploration of how values are transmitted from symbol to person, from person to person, Ötzi becomes a medium to unearth frictions between compounds of reality and fiction, representation and misrepresentation, in a game of encounter and failed adaptation.

Once Again, Inside a romance Utopia

This video is part of an ongoing research, called ‘Romance Utopia’, that has gotten out of hand; spilled over into a digital archive (@romance_utopia), a radio show, a collection of essays and this videowork. In an attempt to cut the associative chain between romantic expression and intrusion, Romy asked four friends to tell her about their romantic objects. In the conversations that followed, there was a transformation in each of them somehow; a feeling of detachment while talking about their object. A practice of remaking their objects with clay seemed to carry the potential to revalue their memories and approach its romantic sensibility with heartiness again.

Chained: Chain Diet

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

ES IMPOSIBLE, NO PUEDE SER

La Ruta del Bacalao was a club scene that appeared magically and disappeared tragically between 1977 and 1993 along the highway CV-500 near Valencia, Spain.

Andrea Gonzalez went to look for vampires where the images were missing. Set in a car trapped at full speed on the CV-500, the script is a fictional reconstruction of the ruins of a future in a past that cannot be. Something too good to be true, something that cannot be because it is impossible and is condemned to disappear; the film crosses archeological and speculative means to sculpt an impossible dreamscape outside of time.

A rhizomatic search into the memory of voices in the dark. There is no cause nor effect; there are only remains and missing parts. The film strives for alternative models of narration that respond to the complexity of capturing something that is not here anymore.

The children who eat sunflower seeds

"It has been decades since, On two sides of the river, The children of two nations, Are swimming in the rusty tubs of their ancestors"

RE-VEIL YOURSELF

This work reveals the inner layers of the Saudi woman that are usually hidden from the public eye. It is intended to show that beneath the veil, lyes a modern woman that should not be perceived as a victim. By revealing what's beneath this outer layer, the audience gains an insight into her world.

EVERYTHING IS VALUES (E1: The Courage to Walk Away)

Today we encounter the world through the prism of digital apps owned by tech giants. Seemingly neutral, their smooth interfaces mask specific subjectivities of knowledge. They create new topographies of action, enabling or disabling terms by which we engage with the places around us. The video Unrendered Road traces the road between two ancient cities--Jerusalem and Jericho. A journey that Google Maps will not show you -- an unrendered road. By assembling conflicting perceptual readings, the reliance of existing knowledge systems are questioned, including regulations and legislations, on geo-political power structures and sedimented historical inequities. The resultant ‘editing’ of reality is made manifest through the interface by which we navigate a conflicted border zone. Tali Liberman is a research-based designer who questions socio-political narratives and structures. By dismantling the subjectivity portrayed in objectivising disciplines and tools, she unpacks forms of knowledge that shape one's perception of so-called reality.

Unrendered Road

Today we encounter the world through the prism of digital apps owned by tech giants. Seemingly neutral, their smooth interfaces mask specific subjectivities of knowledge. They create new topographies of action, enabling or disabling terms by which we engage with the places around us. The video Unrendered Road traces the road between two ancient cities--Jerusalem and Jericho. A journey that Google Maps will not show you -- an unrendered road. By assembling conflicting perceptual readings, the reliance of existing knowledge systems are questioned, including regulations and legislations, on geo-political power structures and sedimented historical inequities. The resultant ‘editing’ of reality is made manifest through the interface by which we navigate a conflicted border zone. Tali Liberman is a research-based designer who questions socio-political narratives and structures. By dismantling the subjectivity portrayed in objectivising disciplines and tools, she unpacks forms of knowledge that shape one's perception of so-called reality.

Chained: Bikers Necklace

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

Do what you love

Do what you Love is a project about the current condition of the immaterial worker, trying to find certainty in the era of New Work. In a world of self-optimization, the viewer joins Jacuto, a gig economy worker, on a morning run through Rembrandt Park

So Settler, Are You a Pioneer?

‘So Settler, Are You a Pioneer?’ captures the structures of a rapidly changing peripheral neighborhood: material remains of an obsolete infrastructure, luxury apartments, and piles of bricks that once used to house people. The work re-assembles and digitally preserves sites that are often overlooked in tales of linear progress.

The piece is a journey through distorted urban landscapes, an assemblage of partial perspectives. By adapting the cartographic technique of photogrammetry, Wouter aims to question the authorities who decide what is and what is not in focus.

Coming Soon

Begins with a prayer from Quran that reads about Lot (Sodom and Gomorrah) and proceeds with Revelations by Madonna, “Coming Soon” reflects the clash between a homosexual man and compulsory military service in his country. A compilation of more than hundred footages from various sources, the work creates itself out of others’ entities. As a visualisation of joining to army where violence and masculinity goes hand in hand, “Coming Soon” roams on the edges of heteronormativity, justified brutality and pornography. If a military camouflage is to protect you from enemy, what would you need to put on your camouflage to protect yourself in the army?

Recurring Days

Recurring Days is a improvisational web series exploring the daily life of Lunda Stunda, a side character from the puppet play "Misrepresentations: Clitoris and Basketball". Lunda Stunda is a puppet from an alternate world. Their work consists of a continuous misrepresentation of the clitoral shape in various fields such as puppet-architecture, puppet-sculpture and puppet-painting.

Chained: Voulez – Vous + Drunk Chain

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

On sonic intimacy

For this ongoing project, Luca has phone calls with friends, loved ones and until then strangers. Sonically close yet physically far, they dwell upon the ways in which our bodies not only hear but also feel sound. It’s a collective investigation of the material impact of low frequencies and repetitive sounds. Sometimes the conversations enter intimate spaces in which (queer) healing experiences and tactics are shared.

In Transit + Move or Die

The video being shown in Het Hem for Sandberg Graduation Show 2020 has been tailored to the site and history of Het Hem, and starts with the proposed act of bringing the artwork on site. This scene is set through the passage where the bullets were once sent out from the ammunition factory, focusing on the relationship between the spaces of supply chain logistics and artwork transportation.

The video was made for the event WALKS in Bos en Lommer, organized by Studio for Immediate Spaces from June 12th to 14th, 2020. The audience could pick up the envelope with the video link at UPS access point in Bos en Lommer area, Atc Asia Telefoon Center, Gulden Winckelplantsoen 2, 1055 EL Amsterdam. This video is being made during the Covid-19 outbreak period, questioning what is still running and what has stopped. The video mentions the global operation of UPS which sponsored Great migration project of National Geographic Channel, connecting this 'move or die' campaign to the circulation of the video itself. The video was filmed in A10 Highway and the railway built on the dike in Bos en Lommer area, Amsterdam.

As far as I can remember

“Thought draws the imaginary of the past: a knowledge becoming. One cannot stop it to assess it nor isolate it to transmit it. It is sharing one can never not retain, nor ever, in standing still, boast about.“ (Edouard Glissant, Poetics of Relation) Transmission, translation, traces, loss. In an attempt to remember a house that lives on as a ghost in her family’s memory, Francisca Khamis Giacoman looks for ways of keeping the house alive, a house in motion, now in another shape, without time or territory.

all of the time

Filmed Summer 2017 in Kent, UK. Music: ASDA Live at Death Disko.

Morocco Residency 2020

How to edit a video with 12 people?

i think if we show this immigration will immediately give us the visa

“The ‘L’ of the lips are open The ‘O’ of the host The ‘V’ of the velvet The ‘E’ of my eye The eye in wonder The eye that sees The ‘I’ that loves you”

(Kate Bush, Why Should I Love You?)

Through reflecting on the in-betweenness of our love relationship (boundless, fluid, unconditional), but also on all other types of love unrepresented in the institute of marriage (restricted, solid, and loaded with conditions and consequences), we want to reclaim and re-appropriate the namesake and bureaucratic benefits of marriage to conform to our way of being, living and loving.

The Swimming Pool

The Swimming Pool was developed over the course of a two-year domestic ethnographic research involving many travels to Southern Spain. In an attempt to find what it means to practice care, Carmen Dusmet Carrasco developed an obsession with capturing her mother’s precarious journey towards retirement. What began as a socio-economic study of female poverty in Spain led to an intimate negotiation of a mother-daughter relationship.Projecting the imagination of a younger generation onto a future that is unfolding, the film is an intergenerational prism. In its rawness, it unapologetically poses a confessional question: How can younger generations take care of the elderly while safeguarding their own future?As a graphic designer, Carmen explores how the body is affected by socio-economic structures that condition its survival. In her debut film The Swimming Pool Carmen focuses on a body already living through precarious pre-retirement conditions.

The evidence of a non - harmonious being

[Sharp like shoulders. Soft like olives.

Sour like miso soup and old paprika. Sane like never before.]

A (non)poetic patchwork of old iPhone vids and sounds, cherishing the chaotic, bitter sweet and non-harmonious harmony that daily life is (or can be), when trying to grasp time & space on a gadget.

0223 621570

Starting from the deliberately impossible venture to reach Noorderhaaks, a completely deserted sandbank located in the north of Holland, this two-channel video attempts to sketch the physical experience of a place as an object that can only be reached by our imagination.

Through the combination of walk-recording with slippage of textual and visual language, the video demands to be pulled between spaces — an uneasy tension between bodily allegory and abstraction and brought back to an interiority or denying of space.

“0223 621570" arises from a series of recurring visits taken as personal methodology and is part of the installation "lands end: 0223 621570". Photo caption: Francesca Lucchitta

Chained: Masquerade

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

The haunted villa of Specses, pt.1: A Hike + pt.2: A Drive

Unfolding through dialogues during a hike and a drive on the island of Spetses, this project focuses on the narratives, rumours, oral histories and misunderstandings surrounding a haunted villa. Taking as a starting point the story of a female painter from the 1800’s who disguised herself as a man to study art and later on went mad and destroyed her works, the interlocutors in the video keep getting distracted by the landscape and the stories it carries. They drift from the main narrative, making assumptions, elisions and speculations. The politics and histories of the island are traced on the natural materials, the architectures, infrastructure and even the weather.

now/here

A dream to be in the middle of nowhere - in space, time, in the mind. In a blank space - familiar and unfamiliar at the same time. To find tools to examine the surroundings and to be able to create it anew. The sense of locality is scattered and resembles a personal nowhere - a metaphorical space composed of elements we care about and are potentially ready to defend. In the age of imagination crisis, when the references are blurred, perhaps we could try learning from the weather, instead of working against it, to understand fluidity again - of any form and kind. Balancing between the real real, the reflected real, the reimagined real and the unstable real - "now/here" is about reconnecting with the surroundings and defining locality, questioning value and memory independency by placing it in a virtual realm and examining morphing and decay of digital representation of reality.

Ecce Ötzi

Two members of a Carnival association made a paper-mâché head that depicts the cryodesiccated corpse of Ötzi the Ice Man, Europe’s oldest known natural mummy. When Carnival is cancelled, they have to decide upon the fate of the distorted effigy. The head, nonhuman but disguised as a Vitruvian man, misrepresented in paper-mâché and spinning around his own axis, becomes charged with personal and political values. Questions around the futility and folklore of Carnival merge with questions about our human nature and position in this world. In recordings of auditions for a fictional play, Levi van Gelder dislocates the Iceman from an environment of scientific objectivity, historical religiosity and consumerism to reconsider the artefact’s epistemological conditions and ambiguous ontological status. In an exploration of how values are transmitted from symbol to person, from person to person, Ötzi becomes a medium to unearth frictions between compounds of reality and fiction, representation and misrepresentation, in a game of encounter and failed adaptation.

Once Again, Inside a romance Utopia

This video is part of an ongoing research, called ‘Romance Utopia’, that has gotten out of hand; spilled over into a digital archive (@romance_utopia), a radio show, a collection of essays and this videowork. In an attempt to cut the associative chain between romantic expression and intrusion, Romy asked four friends to tell her about their romantic objects. In the conversations that followed, there was a transformation in each of them somehow; a feeling of detachment while talking about their object. A practice of remaking their objects with clay seemed to carry the potential to revalue their memories and approach its romantic sensibility with heartiness again.

Chained: Chain Diet

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

ES IMPOSIBLE, NO PUEDE SER

La Ruta del Bacalao was a club scene that appeared magically and disappeared tragically between 1977 and 1993 along the highway CV-500 near Valencia, Spain.

Andrea Gonzalez went to look for vampires where the images were missing. Set in a car trapped at full speed on the CV-500, the script is a fictional reconstruction of the ruins of a future in a past that cannot be. Something too good to be true, something that cannot be because it is impossible and is condemned to disappear; the film crosses archeological and speculative means to sculpt an impossible dreamscape outside of time.

A rhizomatic search into the memory of voices in the dark. There is no cause nor effect; there are only remains and missing parts. The film strives for alternative models of narration that respond to the complexity of capturing something that is not here anymore.

The children who eat sunflower seeds

"It has been decades since, On two sides of the river, The children of two nations, Are swimming in the rusty tubs of their ancestors"

RE-VEIL YOURSELF

This work reveals the inner layers of the Saudi woman that are usually hidden from the public eye. It is intended to show that beneath the veil, lyes a modern woman that should not be perceived as a victim. By revealing what's beneath this outer layer, the audience gains an insight into her world.

EVERYTHING IS VALUES (E1: The Courage to Walk Away)

Today we encounter the world through the prism of digital apps owned by tech giants. Seemingly neutral, their smooth interfaces mask specific subjectivities of knowledge. They create new topographies of action, enabling or disabling terms by which we engage with the places around us. The video Unrendered Road traces the road between two ancient cities--Jerusalem and Jericho. A journey that Google Maps will not show you -- an unrendered road. By assembling conflicting perceptual readings, the reliance of existing knowledge systems are questioned, including regulations and legislations, on geo-political power structures and sedimented historical inequities. The resultant ‘editing’ of reality is made manifest through the interface by which we navigate a conflicted border zone. Tali Liberman is a research-based designer who questions socio-political narratives and structures. By dismantling the subjectivity portrayed in objectivising disciplines and tools, she unpacks forms of knowledge that shape one's perception of so-called reality.

Unrendered Road

Today we encounter the world through the prism of digital apps owned by tech giants. Seemingly neutral, their smooth interfaces mask specific subjectivities of knowledge. They create new topographies of action, enabling or disabling terms by which we engage with the places around us. The video Unrendered Road traces the road between two ancient cities--Jerusalem and Jericho. A journey that Google Maps will not show you -- an unrendered road. By assembling conflicting perceptual readings, the reliance of existing knowledge systems are questioned, including regulations and legislations, on geo-political power structures and sedimented historical inequities. The resultant ‘editing’ of reality is made manifest through the interface by which we navigate a conflicted border zone. Tali Liberman is a research-based designer who questions socio-political narratives and structures. By dismantling the subjectivity portrayed in objectivising disciplines and tools, she unpacks forms of knowledge that shape one's perception of so-called reality.

Chained: Bikers Necklace

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

Do what you love

Do what you Love is a project about the current condition of the immaterial worker, trying to find certainty in the era of New Work. In a world of self-optimization, the viewer joins Jacuto, a gig economy worker, on a morning run through Rembrandt Park

So Settler, Are You a Pioneer?

‘So Settler, Are You a Pioneer?’ captures the structures of a rapidly changing peripheral neighborhood: material remains of an obsolete infrastructure, luxury apartments, and piles of bricks that once used to house people. The work re-assembles and digitally preserves sites that are often overlooked in tales of linear progress.

The piece is a journey through distorted urban landscapes, an assemblage of partial perspectives. By adapting the cartographic technique of photogrammetry, Wouter aims to question the authorities who decide what is and what is not in focus.

Coming Soon

Begins with a prayer from Quran that reads about Lot (Sodom and Gomorrah) and proceeds with Revelations by Madonna, “Coming Soon” reflects the clash between a homosexual man and compulsory military service in his country. A compilation of more than hundred footages from various sources, the work creates itself out of others’ entities. As a visualisation of joining to army where violence and masculinity goes hand in hand, “Coming Soon” roams on the edges of heteronormativity, justified brutality and pornography. If a military camouflage is to protect you from enemy, what would you need to put on your camouflage to protect yourself in the army?

Recurring Days

Recurring Days is a improvisational web series exploring the daily life of Lunda Stunda, a side character from the puppet play "Misrepresentations: Clitoris and Basketball". Lunda Stunda is a puppet from an alternate world. Their work consists of a continuous misrepresentation of the clitoral shape in various fields such as puppet-architecture, puppet-sculpture and puppet-painting.

Chained: Voulez – Vous + Drunk Chain

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

On sonic intimacy

For this ongoing project, Luca has phone calls with friends, loved ones and until then strangers. Sonically close yet physically far, they dwell upon the ways in which our bodies not only hear but also feel sound. It’s a collective investigation of the material impact of low frequencies and repetitive sounds. Sometimes the conversations enter intimate spaces in which (queer) healing experiences and tactics are shared.

In Transit + Move or Die

The video being shown in Het Hem for Sandberg Graduation Show 2020 has been tailored to the site and history of Het Hem, and starts with the proposed act of bringing the artwork on site. This scene is set through the passage where the bullets were once sent out from the ammunition factory, focusing on the relationship between the spaces of supply chain logistics and artwork transportation.

The video was made for the event WALKS in Bos en Lommer, organized by Studio for Immediate Spaces from June 12th to 14th, 2020. The audience could pick up the envelope with the video link at UPS access point in Bos en Lommer area, Atc Asia Telefoon Center, Gulden Winckelplantsoen 2, 1055 EL Amsterdam. This video is being made during the Covid-19 outbreak period, questioning what is still running and what has stopped. The video mentions the global operation of UPS which sponsored Great migration project of National Geographic Channel, connecting this 'move or die' campaign to the circulation of the video itself. The video was filmed in A10 Highway and the railway built on the dike in Bos en Lommer area, Amsterdam.

As far as I can remember

“Thought draws the imaginary of the past: a knowledge becoming. One cannot stop it to assess it nor isolate it to transmit it. It is sharing one can never not retain, nor ever, in standing still, boast about.“ (Edouard Glissant, Poetics of Relation) Transmission, translation, traces, loss. In an attempt to remember a house that lives on as a ghost in her family’s memory, Francisca Khamis Giacoman looks for ways of keeping the house alive, a house in motion, now in another shape, without time or territory.

all of the time

Filmed Summer 2017 in Kent, UK. Music: ASDA Live at Death Disko.

Morocco Residency 2020

How to edit a video with 12 people?

i think if we show this immigration will immediately give us the visa

“The ‘L’ of the lips are open The ‘O’ of the host The ‘V’ of the velvet The ‘E’ of my eye The eye in wonder The eye that sees The ‘I’ that loves you”

(Kate Bush, Why Should I Love You?)

Through reflecting on the in-betweenness of our love relationship (boundless, fluid, unconditional), but also on all other types of love unrepresented in the institute of marriage (restricted, solid, and loaded with conditions and consequences), we want to reclaim and re-appropriate the namesake and bureaucratic benefits of marriage to conform to our way of being, living and loving.

The Swimming Pool

The Swimming Pool was developed over the course of a two-year domestic ethnographic research involving many travels to Southern Spain. In an attempt to find what it means to practice care, Carmen Dusmet Carrasco developed an obsession with capturing her mother’s precarious journey towards retirement. What began as a socio-economic study of female poverty in Spain led to an intimate negotiation of a mother-daughter relationship.Projecting the imagination of a younger generation onto a future that is unfolding, the film is an intergenerational prism. In its rawness, it unapologetically poses a confessional question: How can younger generations take care of the elderly while safeguarding their own future?As a graphic designer, Carmen explores how the body is affected by socio-economic structures that condition its survival. In her debut film The Swimming Pool Carmen focuses on a body already living through precarious pre-retirement conditions.

The evidence of a non - harmonious being

[Sharp like shoulders. Soft like olives.

Sour like miso soup and old paprika. Sane like never before.]

A (non)poetic patchwork of old iPhone vids and sounds, cherishing the chaotic, bitter sweet and non-harmonious harmony that daily life is (or can be), when trying to grasp time & space on a gadget.

0223 621570

Starting from the deliberately impossible venture to reach Noorderhaaks, a completely deserted sandbank located in the north of Holland, this two-channel video attempts to sketch the physical experience of a place as an object that can only be reached by our imagination.

Through the combination of walk-recording with slippage of textual and visual language, the video demands to be pulled between spaces — an uneasy tension between bodily allegory and abstraction and brought back to an interiority or denying of space.

“0223 621570" arises from a series of recurring visits taken as personal methodology and is part of the installation "lands end: 0223 621570". Photo caption: Francesca Lucchitta

Chained: Masquerade

The project ‘Chained’ combines audiovisual media and jewellery pieces made of reconstructed everyday objects, investigating the role of artefacts as signifiers of identity In her project ‘Chained’ Fabian is making chains by reconstructing everyday objects identified as being important in people’s lives. Investigating the role of artefacts as signifiers of identity and as a potential way through that value can be created and expressed, she asked 60 individuals to name their most essential possessions, which they feel best represent themselves. Fabian condensed the outcome of the survey into a series of necklaces, analysing and reflecting on our material culture. The work visualises the lasting bond we have with our objects, using jewellery as an intermediary between the self and society and as a mediator of value and identity. Building on the tension between commodity and uniqueness, art and design in contemporary society, the project explores the controversies of everyday life and aims to create a dialogue on the necessity of our things.

The haunted villa of Specses, pt.1: A Hike + pt.2: A Drive

Unfolding through dialogues during a hike and a drive on the island of Spetses, this project focuses on the narratives, rumours, oral histories and misunderstandings surrounding a haunted villa. Taking as a starting point the story of a female painter from the 1800’s who disguised herself as a man to study art and later on went mad and destroyed her works, the interlocutors in the video keep getting distracted by the landscape and the stories it carries. They drift from the main narrative, making assumptions, elisions and speculations. The politics and histories of the island are traced on the natural materials, the architectures, infrastructure and even the weather.