Salomé Lamas is a Portuguese filmmaker, visual artist and educator.

For the last fifteen years and with a steady production of more than thirty projects Salomé Lamas’ work has been contextualized in visual culture, artistic studies, and film studies, exhibited, and distributed internationally in the fields of cinema (movie theatres, festivals, VOD streaming) and contemporary art (galleries, museums, art fairs, biennials).

She has been developing an artistic practice that explores the embedded relation between representation and the narrative power of social reality while proposing something different. Around, but not beyond, the real: beyond, but not besides, the fictional. To address the efforts to expand such interstice she refers to her work as critical media practice parafictions.

With a mixed background in cinema and visual arts, and a research informed by critical epistemology, transnational and subjective, focused on the possibilities opened up by the ecological thought, as well as the connection between artistic praxis, economic, aesthetic mutations, and contemporary philosophy, she’s been challenged to comply to a single orientation or to combine them in her action as an artist/filmmaker, but also as an educator, in various contexts, levels and geographies.

The multidisciplinary ethos underpinning her artistic endeavor, continually challenges the boundaries of visual narrative, to foster critical dialogues that prompt audiences to confront the intricacies of the human experience and broader societal dynamics, focused on Migration, Post–colonialism, and a critique of capitalism.

This research–based practice perpetuates a legacy of intellectual inquiry and artistic innovation and approaches critically the social and economic roles of media production, in the stages of development, production, exhibition, distribution and archive with outcomes ranging from films, audiovisual installations and publications.

https://salomelamas.info/

Sasha Litvintseva and Beny Wagner are artists, filmmakers, researchers and writers. They’ve been working collaboratively in moving image, installation, text, and lectures since 2018. Focusing on moving image as a tool for the active production of new worlds, their practice has been driven by questions about the thresholds between the body and its surroundings, knowledge regimes and power, modes of organizing and perceiving the natural world. Their collaborative work has been presented globally, including at the Berlinale, Rotterdam, CPH:DOX, Courtisane, Indie Lisboa, and Guanajuato film festivals, CAC Vilnius, Los Angeles Filmforum, Museum of the Moving Image NY, Transmediale, Sonic Acts, Berlin Atonal and Impakt Festivals, the Moscow Young Art and Wroclaw Media Art biennales, the Baltic Triennial and was featured on the Criterion Channel.

https://www.benywagner.com
https://www.sashalitvintseva.com

Vincent Meessen (born 1971 in Baltimore, USA, lives and works in Brussels) operates at the crossroads of contemporary art, moving images and research.

His artistic work is woven from a constellation of characters, gestures, and signs that maintain a polemical relation to the writing of history and the westernization of imaginaries.

Meessen is a founding member of various alliances including Universal Embassy (2001-2005), Potential Estate (2005-2011) and Jubilee -platform for artistic research and production. With “Personne et les autres”, a collective exhibition at the Belgian Pavilion  of the 56th Venice Biennale (2015), he has represented Belgium with ten invited artists from four continents. Other biennale participations include Cuenca Biennale, Biennale de Dakar, Berlin Biennale, São Paulo Bienal, Chicago Architecture Biennial, Biennale de Lubumbashi, Printemps de Septembre, Toulouse; Shanghai Biennale, Taipei Biennale. His films have been screened at film festivals including Berlinale, New York Film Festival, IFFR, IDFA, Hotdocs, FID and Fespaco.His work has been the subject of solo/duo exhibitions most recently at CIVA, Brussels (2023); Mu.Zee, Oostende, (2021) ; The Power Plant, Toronto (2019); Leonard & Bina Ellen Art Gallery, Concordia University, Montreal (2018); Centre Pompidou, Musée national d’art moderne, Paris (2018).

DORA GARCÍA is an artist, teacher and researcher who draws on interactivity and performance in her work, using the exhibition as a platform to investigate the relationship between artwork, audience, and place.

García transforms spaces into sensory experiences by altering perceptions and creating situations of interaction, often using intermediaries (professional actors, amateurs, or people she meets by chance) to enhance a critical look at things. By engaging with the binary of reality vs. fiction and dwelling in questions of time—real, historical, cyclical, fictional—visitors become implicated (knowingly or not) as protagonists, either in the construction of a collective fiction, or in the deconstruction of conventions.

In this context, she has also always been interested in anti-heroic and marginal personae as a prototype to study the social status of the artist, and in narratives of resistance and counter-culture.

In this regard, García has developed works on the GDR political police, the Stasi (the lm Rooms, Conversations from 2006), on the charismatic gure of U.S. stand-up comedian Lenny Bruce (Just because everything is different it does not mean that anything has changed, Lenny Bruce in Sydney, one-time performance, Sydney Biennale in 2008), and on the origins, rhizomatic associations, and consequences of anti-psychiatry (Mad Marginal book series since 2010, which this book is also a part of, and the film The Deviant Majority, 2010).

In the last few years, she has used classical TV formats to research Germany’s more recent history (Die Klau Mich Show, dOCUMENTA 13 in 2012), frequented Finnegans Wake reading groups (The Joycean Society, lm, 2013), created meeting points for voice hearers (The Hearing Voices Café, since 2014), and researched the crossover between performance and psychoanalysis (The Sinthome Score, 2013, and Segunda Vez, 2017).

As an artist, Dora García has participated in numerous international art exhibitions, including Münster Sculpture Projects (2007), Venice Biennial (2011, 2013, 2015), Sydney Biennial (2008) São Paulo Biennial (2010), dOCUMENTA 13 (2012) Gwangju Biennial (2016). In 2019, she participated in osloBiennalen, Art Encounters Timisoara (Romania), and
AICHI Triennale, Japan. She lives in Oslo and Barcelona.

Roee Rosen (b. 1963) is an Israeli-American artist, filmmaker and writer. He is known for his multilayered and provocative work which often challenges the divides between history and the present, documentary and fiction, politics and erotics.

Rosen dedicated years to his fictive feminine persona, the Jewish-Belgian Surrealist painter and pornographer Justine Frank, a project that entailed fabricating her entire oeuvre as well as a book and a short film, Two Women and a Man (2005).

In 2010 Rosen created two films. Hilarious and Out, in which a BDSM session becomes a political exorcism. Out premiered at the Venice film festival, where it won the Orizzonti award for best medium-length film. The film went on the win numerous awards, including a nomination for the European Academy award.

Rosen’s film, The Dust Channel was coproduced by Documenta 14, where it was exhibited along with two historical text and image installations, The Blind Merchant (1989–1991), an artist book retelling Shakespeare’s The Merchant of Venice focusing on the figure of Shylock and Live and Die as Eva Braun (1995-1997), a work that stirred a political scandal when first exhibited at the Israel Museum.

Several retrospectives of Rosen’s cinema were held, among them at the Oberhausen film festival (2012), and FICUNAM festival, Mexico City (2018). In 2018 an expansive one person exhibition was held at Centre Pompidou, Paris, entitled Histoires dans le pénombre. The exhibition also included a full film survey.

Rosen currently works on a book on illness in the guise of coloring pages entitled Lucy is Sick, a part of which was published by Steirischer Herbst (2020).

Rosen’s latest film is a musical comedy combining fiction, animation and documentary element, entitled Kafka for Kids (2022). It premiered at the Rotterdam Film Festival. His 2022 solo exhibitions included the expansive Kafka for Kids and Other Troubling Tales at Kunstmuseum Luzern. Kafka for Kids is also the title of Rose’s latest book, featuring the script of the film and three essays. Rosen’s other recent titles on Sternberg Press include Live and Die as Eva Braun and Other Intimate Stories (2017), and Desire and Dust (2019). Rosen’s upcoming solo exhibitions will be at Kunstverein Hannover, 2024.

Rosen is a professor at Ha’Midrasha Faculty of Arts, Beit Berl College, in Israel.

www.roeerosen.com