2018年5月20日 星期日

36th Asolo Art Film Festival:The In-Between State of Mind (June 6-10, 2018)

36th Asolo Art Film Festival (June 6-10,2018)
Eastern Europe/Russia Video Research Project

The In-between State of Mind

Curator: Yunnia Yang

Artists: Milos Tomic (Serbia)/AES+F(Russia)/Goran Radovanović(Serbia)/Šejla Kamerić(Bosnia)/
Nika Oblak &Primoz Novak (Slovenia)/Vlad Buzaianu(Romania)/ Anastasija Piroženko (Lithuania)/Boris Kozlov(Serbia)/Marius Gherasim(Romania)/Katarzyna Kozyra(Poland)/Ciprian Mureşan(Romania)/Zaneta Vangeli(Macedonia)/Mina Mileva & Vesela Kazakova(Bulgaria)/Călin Dan, Iosif Király and Dan Mihălţianu(Romania)/ Blue Noses(Russia)/Igor Grubić(Croatia)/Jan Pfeiffer(Czech Republic)/Gentian Shkurti(Albania)/ Olson Lamaj(Albania)

Sponsor: National Culture and Arts Foundation(Taiwan)

Official Site: http://www.asoloartfilmfestival.com/

Global Village” is the term that Marshall McLuhan brought out in 1962, presenting the concept that the human relations all over the world get closer by means of various social media and social networking to improve mutual understandings about humanistic thoughts and cultural differences. By 1989 the international community had been divided into two principal camps (capitalist and socialist) , which lead to misunderstandings , confrontations and even unavoidable sacrifices. After the collapse of the Soviet regime, these post-socialist countries make efforts to integrate themselves into the world through the Perestroika, subsequent democratification and neolibralism. Such kind of integration is that the Eastern European countries expected much more to be a member of the European Union and most of them succeeded to fulfill this dream. Russia also enjoys economic prosperity and becomes one of the BRICS countries. The optimistic atmosphere spreads out in the global age, making us believe that we' ll have better future thanks to this integration. In fact, transitions and transformations in political, economical, social and cultural aspects are still overlingering in everyday life of the locals, whose states of mind are haunted by the sense of in-betweenness. The video research project “ The In-between State of Mind” is dedicated to the artists, who experience the drastic change after the end of the communist regime and witness how people embrace new capitalist lifestyle, perceiving the alternative evolutions out of this binary system and responding to this postsocialist condition with visual lyricism, witty irony and creative imagination.

The new world discloses enormous temptations, which people might get lost in and distort personal values ( Marius Gherasim's “ Lost”). In a highly materialistic society, everything could be commodity to buy and sell; dreams are no exception (Vlad Buzaianu's“ Dreams on Sale”). The artistic subversions against the consummerism might be delicately demonstrated in a sense of humor . Poverty is an complex issue for the ex-communist countries to get rid of (Goran Radovanović's “My Country), but for their people inspirations to find out alternative solution to live (“Going South”by Nika Oblak& Primoz Novak). Longing for the better life of the West, assimilation into the western lifestyle is just like a country-wide movement (Anastasija Piroženko's “Syndromes of Mimicry). The globalisation is not necessarily bad or good; it matters if it can reflect the fundamental concepts of humanism such as multiculturalism and biodiversity (Boris Kozlov's “The Postmodern Pioneer Plaque”), especially for this region full of rich cultural heritages. Mutual love goes beyond any political definitions about sexes, genders, races, religions, species,etc. ( Goran Radovanović's “Enclave”) War can cause massive destruction and turn the whole world into hell immediately(Miloš Tomić 's “Clay Pigeon”). Although Mankind understands well such terrible consequence, egoism is stronger than altruism in reality. Nowadays, bellicose psychology can be widely observed in the virtual world of video games. As the borderline between the reality and the virtuality is removed, the cruel action of killing could occur to any video gamer, even a little child (AES+F's “Last Riot”). War trauma shadows over one's whole life during peacetime, and it is also a collective memory for the witnesses to warfare(Šejla Kamerić's “1395 Days Without Red”).

Media, tourism, and commercialism are fetal factors to influence the cultural understandings about the postsocialist countries. Stereotypes and fairytales both are prevailing attitude. In today's world it is hard to find the truth, even history could be constructed. To break these cultural illusions, the artists use the approaches of mingling fiction and reality (subREAL's “Draculaland3”), parody(Katarzyna Kozyra's “Summertale”), topology (Jan Pfeiffer's “Support Points IV”), negation (Gentian Shkurti's “Color Blind in Tirana”), and demythification (Olson Lamaj 's "How stars are born?”). Nonetheless, the constructed illusions still remain in the minds of the people under the communist regime over decades. The artists resort to the fundamental questions about non-humanity ( Ciprian Mureșan's “Dog Luv”), negative theology (Zaneta Vangeli's “The Judge”), human rights (Igor Grubić's “East Side Story”), and legacy of totalitarianism( “The Beast is Still Alive” by Mina Mileva & Vesela Kazakova), crucial for the contemporaries to figure out the real world where they live in.

As to artistic creativity, the artists are never slaved by the overwhelming new media to lose their own originality, and neither get assimilated by the western aesthetics. The low tech might compete the efficiency and the convenience of advanced technology in our contemporary world, but gives us a touch of humanity and laughters out of irrationality and illogicality (Blue Noses' “Absolute Blue Noses”). We can see how their creativity brings us unexpectable imageries (Milos Miloš Tomić 's “Clay Pigeon”) , and conceptual illuminations (Ciprian Mureșan's “Dog Luv”, Zaneta Vangeli's “The Judge”). With the help of new media, the artists could explore the new visual languages to interpret the contemporary living conditions and to throw down a challenge to us to contemplate The In-between State of Mind (AES+F's “Last Riot”, Marius Gherasim's “ Lost”, Vlad Buzaianu's“ Dreams on Sale”, “The Beast is Still Alive” by Mina Mileva & Vesela Kazakova).


1.Clay Pigeon / Milos Tomic (Serbia) / 2005/ 6 min. 41sec.

"Clay Pigeon" is love story with scary moments.Couple in love game before unexpected but fatal goodbye. Solider and a girl, on the grass. And under the grass.

Miloš Tomić

Miloš Tomić is filmmaker with few other passions: Collage making, bad music playing, collecting precious trash from the street... He was born in Belgrade, Serbia in 1976. where he studied film direction, than animation in Prague, at FAMU. Drifting between diary films, voayeristic ones and elaborate animations in combined stop-motion technique. Miloš Tomić's works have been presented for the exhibition “ Nothing between us” with Vladimir Peric at the Serbian Pavilion of the 55th Venice Biennale in 2013. 

2.Last Riot / AES+F(Russia)/ 2007/ 26 min 22 sec

The virtual world generated by the real world of the twentieth century is growing exponentially, like an organism in a Petri dish. Crossing its own borders in to new zones, it absorbs its founders and mutates in to something absolutely new. In this new world real wars look like a game on www.americasarmy.com. Prison torture appears more like the sadistic exercises of modern-day Valkyries. Technologies and materials transform the artificial environment in to a fantasy landscape of a new epoch. This paradise is a mutated world where time is frozen and the past is neighbor to the future. Its inhabitants are devoid of gender, becoming more like angels. This is a world where the severe, the vague or the erotic imagination appears natural in the artificial unsteadiness of 3D perspective. The heroes of the new epoch have only one identity, that of participants in the last riot. Each fights both self and the other, there’s no longer any difference between victim and aggressor, male and female. This world celebrates the end of ideology, history and ethics.
The conceptual architects Tatiana Arzamasova and Lev Evzovich and the multidisciplinary designer Evgeny Svyatsky originally formed AES Group in 1987. Exhibiting abroad from 1989, the group expanded its personnel and name with the addition of the photographer Vladimir Fridkes in 1995. AES+F’s recent work has developed at the intersection of photography, video and digital technologies, although it is nurtured by a persistent interest in more traditional media — sculpture especially, but also painting, drawing and architecture. Deploying a sophisticated, poetic dialogue among these media, and plumbing the depths of art history and other cultural canons, AES+F’s grand visual narratives explore the values, vices and conflicts of contemporary culture in the global sphere.
AES+F achieved worldwide recognition and acclaim in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with their provocative, other-worldly Last Riot (2007), the first in a trio of large-scale, multichannel video installations of striking originality that have come to define both the AES+F aesthetic and the cutting edge of the medium’s capacities. The second of the series, The Feast of Trimalchio (2009), appeared in Venice in 2009, and the third, Allegoria Sacra (2011), debuted at the 4th Moscow Biennale in 2011. United as The Liminal Space Trilogy, this tour-de-force series was premiered in September 2012 at the Martin-Gropius-Bau, Berlin, and the Moscow Manege, the Central Exhibition Hall of the artists’ home city. Some pictures and sculptures from the Trilogy were shown at Padiglione Venezia at 55th Biennale di Venezia. The whole Trilogy including pictures and sculptures was shown in the Museum of Fine Arts in La Chaux-De-Fonds, Switzerland (June–September 2014). Most recently all three videos were shown at Albright-Knox Art Gallery, Buffalo, NY (June-September 2015). Also in 2015 AES+F had presented the project Inverso Mundus at 56th Biennale di Venezia. Their most recent videoinstallation Psychosis was presented first time in program of the Art Night Venezia in 2017.
AES+F received Sergey Kuryokhin Award 2011, the main award of the Kandinsky Prize 2012, the main award of the Nord Art Festival 2014, and Pino Pascali Prize 2015 (18th Edition) — all for the project Allegoria Sacra. AES+F were awarded Bronze Medal (2005) and Golden Medal (2013) of Russian National Academy of Fine Arts.

3. Enclave / Goran Radovanović(Serbia)/ 2015/ 92 min.

With this film I want to explore the essence of the Serbian/Albanian dispute, which resulted – fifteen years ago – in war, destruction and crimes. But I want to raise the following question: is coexistence still possible between these two communities in a reality marked by the presence of enclaves, isolated islands of Christian minority surrounded by a sea of Muslim majority? It is an antiwar film based on the eternal and edifying story about forgiveness and love.

Goran Radovanović
Born in Belgrade in 1957. Graduated art history from Belgrade’s Faculty of Philosophy in 1982. Between 1977 and 1980 he sojourned in Munich on a scholarship awarded by the Goethe Institute. After his return to Belgrade, he has worked as writer and director of both feature and documentary films.He is a member of the European Film Academy, Berlin and Film Artists Association of Serbia.Currently works as guest professor at EICTV (International Film and Television School), San Antonio de los Banos, Cuba. “Enclave” was selected to present Serbia for the Foreign languange Oscar in 2015. 

4. 1395 days without red/Šejla Kamerić(Bosnia)/2011/63min

A woman makes her own way through an empty city. The city is sarajevo, and the route the woman is taking became known as became Snipper Alley during the siege of the city endured by its citizens for 1395 days between 1992 and 1996. The woman, played by the Spanish actress Maribel Verdu, is reliving the trauma of the siege. It is the individual journey in the collective memory of the city. “1395 Days without Red”was conceived, developed and filmed as a collaborative film project by Šejla Kamerić and Anri Sala. The project has given life to two separate films.

Šejla Kamerić

Šejla Kamerić works with various media such as film, photography, objects or drawings. The all-pervading element in her work are her – often uneasy – memories. She is using them as a power source by sharpening the focus of the present through the burden past. Based on her own experiences, memories and dreams, her work takes us to glocal spaces of displacement and discrimination. The sadness and beauty, hope and pain that shines out of her works are part of the stories we share. The weight of her themes stands in powerful contrast to her individual aesthetics and to her choice of delicate materials. Her film “1395 Days without Red” premiered at 2011 Manchester International Festival. She lives in Berlin and in Sarajevo.

5. My Country / Goran Radovanović(Serbia)/ 2000/ 24 min. 

My Country” is a documentary made by Serbian filmmaker Goran Radovanović about the year 1999 in Serbia: extreme poverty, corruption, autocracy, ethnic problems, NATO aggression, manipulation of the population through mass media controlled by the state and…hunger for democracy…“My Country” has won many international film prizes, like The Best International Film of Carolina Film and Video Festival, (USA,2000), The best documentary film of Kansas City Filmmakers Jubilee(USA, 2000), The Best documentary film of Elektrozine ( Spain, 2000), Special Prize of North-South Media Festival(Switzerland, 2000),etc. This film is a part of video collection at Berkeley, College of Communication, Boston University, Russian & East European Institute of Indiana University, University of Toronto, University of Arizona, University of Washington, Monash University, University of Michigan, New York Public Library, Stanford University,Berkeley, University of Graz, University of London,etc.

6. Going South/Nika Oblak &Primoz Novak (Slovenia)/2009/31min.15sec.

Going South is a documentary about how Nika Oblak & Primoz Novak achieve a Guinness World Record by pushing wheelbarrows from Ljubljana, Slovenia, to Sharjah in the U.A.E., for 14.500 km in 3 years and 12 days.

Nika Oblak &Primoz Novak
Nika Oblak & Primoz Novak have been working as a collective since 2003. They use various media in order to create ambivalent artistic interventions and kinetic installations. Oblak and Novak have exhibited worldwide, in venues like the Sharjah Biennial (UAE), Japan Media Arts Festival, Tokyo (JP), Istanbul Biennial (TR), Biennale Cuvee, Linz (AT), Transmediale Berlin (DE), FILE Sao Paulo (BR)... They received numerous grants and awards, including the CYNETART Award by the Trans-Media-Akademie Hellerau in Dresden (DE). And most recently an honorary mention of art critics at the Biennale WRO, Wroclaw (PL).

7. Dreams On Sale/ Vlad Buzaianu(Romania)/ 2016/9 min.23 sec.
In a world where people are able to record, buy and sell dreams, many are starting to lose the ability of dreaming. Dreams have become a new form of art and a commodity for the rich class.

Vlad Buzaianu
Vlad Buzaianu lives and works in Bucharest. Here he graduated in business studies and psychology. “Dream on Sale” is his first film project. About this film, he says: “we tried to do something that was never done before: use dreams as a metaphor for our day to day lost dreams. It is a film for all the people struggling with their dead end jobs while asking themselves why they did not pursue any of their actual dreams. After 2 years of work we feel that we manage to end up with a fresh and interesting project that will take the viewer from reality to dreamworld and back.”

8. Syndromes Of Mimicry/ Anastasija Piroženko (Lithuania)/2016/ 18min.
What could possibly link a village nightclub, where a musician mindlessly recites popular Western melodies, a mute black man delivering flowers in a Hussar uniform, and a yoga class attracting people in search of religious identity? “ Syndromes Of Mimicrytackles the imitation of the Western concepts that occurred in Lithuania after regaining its independence. In the series of short sketches, the satire presents various attempts in the identity search in social, political and cultural field.

Anastasija Piroženko
Anastasija Piroženko is an audio-visual artist and filmmaker from Lithuania, currently based in Amsterdam. She holds a BA in Photography and Media Arts from Vilnius Academy of Arts (2012) and a MA in Film from the Netherlands Film Academy (2016). Anastasija’s artistic practice spans between film, video, and photography. The notions of home, community and utopia, are recurring themes in her work. Often, her films balance between fiction and real.

9. The Postmodern Pioneer Plaque/ Boris Kozlov(Serbia)/2016/ 7min.51sec.
In 1973 Carl Sagan created the Pioneer Plaque for the NASA Pioneer 10 mission. It was Humanity’s first message for extraterrestrial civilizations. Today, four decades later, the World gets together to collectively compose a new message…

Boris Kozlov
Born in Belgrade (1977, Former Yugoslavia). Living in Madrid (Spain). Combines creative work in advertisement with experimental filmmaking. Obsessively trying to crack the code of the psychotic farce also know as normality.

10. Lost/ Marius Gherasim(Romania)/2015/4min.39sec.
Lost” is a mixed collection of images that gather to form a claustrophobic rhythm revealing symbolic meanings. The old religion has lost its function. The mechanism and technology is forming a new spirituality. The ancient symbols are almost humorous. Sense and nonsense melts together for 'what is to come'.

Marius Gherasim
Marius Gherasim is a rockstar from Bucharest, Romania. Marius attended, at one point, with no recollection at all, the courses of the national university of arts of Bucharest having an interest in graphic arts. After a few etches (itches) he decided to abandon industrial design too and move to film. Now he is thirty two and residing near Bucharest, collaborating with his own demons, filming, photographing and painting from time to time.   

11. Summertale/ Katarzyna Kozyra(Poland)/2008/19min. 56sec.
An almost 20 minute long film “Summertale” was made in 2008 and it concludes a multi-dimensional and varied series “In Art Dreams Come True”. As it is the last instalment, logic requires to start at the end of the film. This is where we read that none of the people appearing in the film has anything to do with any of the fairy tales. Reading this information makes us laugh inwardly, because – technically – the story shot by Kozyra resembles a fairy tale. At first glance it brings to mind “Snow White”: industrious short-statured women resembling the seven dwarfs (despite the fact that there are only five of them), tiny beds in the little house are the same as in the Brothers Gimm’s tale, and the poisoned Maestro is revived with a kiss. In the fairy tale Snow White is woken up from her sleep by a man. Here, replaced with a woman. But is she really? Nothing about the artist’s work is as it seems. The sexy lady is somebody else… The ideal of a “real woman”, Gloria Viagra, is a man. Well-groomed short-statured women living in their Arcadia are not the embodiment of order and peace. Therefore, in this philosophical tale of a film disguised as a colourful fairy tale nothing is simple or straightforward. Horrific events are in a stark contrast to idyllic pictures and a slow unfolding of the plot. Clean and neat outfits of the characters – to the splattering of blood from the murdered. The metamorphoses continue: Katarzyna Kozyra initially appears as a woman trying to adapt to the little people and their lifestyle, only to morph into a sorceress inflicting severe punishment for the crime…

Katarzyna Kozyra
Katarzyna Kozyra was born in Warsaw in 1963, a sculptor, photographer, performance artist, filmmaker, author of video installations and artistic actions. Kozyra’s activities became crucial for the development of the new artistic movement known as Critical Art and they heavily influenced the shape of contemporary culture, often constituting a starting point for a broader discussion. In 1999, she received an honorable mention at the 48th Venice Biennale for the video installation Men’s Bathhouse. In 2011 she obtained her Doctor’s Degree at the Academy of Fine Arts in Warsaw. In 2013 the Huffington Post named Kozyra one of ten most important female artists of the new millennium.

12. Dog Luv/ Ciprian Mureşan(Romania)/ 2009/ 30min.56sec.
In the play "Dog Luv" of the dramatist Saviana Stănescu (born in Romania, lives in New York since 2001) dogs, led by Maddog, learn about mankind‘s history of torture and execution. Mureșan transformed the sinister play into a puppet completely in the darkness. In the classical puppet theater the puppeteers are dressed in black, in order to be confused with the back- ground to hide the fact that puppeteers are the real actors.

Ciprian Muresan
Born in 1977, Dej, Romania; based in Cluj, Romania. Quietly subversive, Ciprian Mureșan’s allegorical artwork reflects on post-Soviet life and questions artistic production. While best known for short, darkly humorous videos, Mureșan works across various media to communicate a sardonic worldview shaped by coming of age during Romania’s revolution and the political disarray that followed. His “Pioneers” (2010) series refers to the scandalous revelation that homeless children were living in sewage passageways, which came to symbolize Romania’s failed transition to capitalism. To Mureșan, these sketches of children sniffing glue constitute “the perfect image,” revealing the myths and hypocrisies of capitalism and communism alike. Meanwhile, Leap Into the Void, after three seconds (2004) adds a dark twist to Yves Kleins 1960 photograph of a man suspended in mid-air having leapt from a window. Sprawled on the pavement three seconds later, his sense of freedom and transcendence has vanished.

13. The Judge/ Zaneta Vangeli(Macedonia)/2001/102 min.

The Judge is an experimental narrative feature, which self-referential story with a rhizome-structured narration is about a young director, making his first movie called The Judge”. His movie is an unconventional portrait of the devil, very much interested into art and politics. This film is an attempt to focus on the apophatic principle, which is to approach the term God by differentiating and denying what He is not. One of the most significant and at the same time paradox reflections of the devil himself is that "...in fact there is no Chosen People, there is no Conspiracy, but only a simple projection of the ego..."

Zaneta Vangeli

Zaneta Vangeli is a multimedia artist, working on paintings, installations, video and film. Since 2008 she is professor of painting at the Ss. Cyril and Methodius University, Faculty of Fine Arts in Skopje, Macedonia. “The Judge” is her first film, which had its world premiere at the 59th Mostra Internazionale d'Arte Cinematografica in Venice in 2002. She had solo and group exhibitions/film festivals at the Moderna Museet, Stockholm, Museum of Modern Art – Ludwig, Vienna, Museum Fridericianum, Kassel, Casoria Contemporary Art Museum, Naples, Museum for Modern and Contemporary Art, Strasbourg, Museo da Imagem e do Som, Sao Paolo, The German Filmmuseum in Frankfurt/M. and others.

14. The Beast is still alive/ Mina Mileva & Vesela Kazakova(Bulgaria)/2016/ 90min.

For viewers irreconcilable with the crimes of Socialism and those who still believe in the idea. A young Bulgarian woman opens the secret service file of her grandfather. He sympathized with the Bulgarian Socialists in 1920s, but after seeing the damage the Communist Party caused, he joined the Goryani anti-communist resistance movement in the Bulgarian mountains. Using animated sequences and a semi-mystical dialogue between the granddaughter and her dead grandfather, The Beast Is Still Alive shows how young generations keep rediscovering communist ideology against the backdrop of discredited politicians and former agents of the secret service. 
Mina Mileva & Vesela Kazakova
The dynamic director&producer duo Mina Mileva and Vesela Kazakova deals with controversial issues. Their internationally acclaimed feature length documentaries “Uncle Tony” and “The Beast is still alive” have been banned in Bulgaria and their work has provoked major discussions throughout the European film industry.Mina graduated animated film directing in “LA CAMBRE” Brussels and Sofia’s Film Academy. She entered the British animation industry in 1996 working as animation director/animator and line producer. In 2008 Mina co-founded “Activist 38” with the multiple award-winning actress Vesela Kazakova. Vesela graduated acting and economics in Bulgaria.

15. Draculaland 3/Călin Dan, Iosif Király and Dan Mihălţianu(Romania)/1993/13min.

The stakes are mounted on stands and positioned around the monitor. Due to the limited means of the installation, it was necessary to use a video film as a resource for capturing the reality of Romania after the fall of the Berlin Wall, a reality too complex for a documentary approach. The video camera explores public spaces in Bucharest, a metropolis devastated by forty-five years of communism, which in the '90s was invaded by Western consumerism: old buses, Coca Cola adverts plastered over dilapidated facades, people endlessly chewing gum, gypsy children dancing in front of the film camera, people arguing around Ceauşescu’s grave. Rapid cuts alternate with long shots, such as the inside of an empty trolley bus traveling through the night; inserts are added with quotations from the tabloid press, which exploded onto the scene in Romania immediately after 1989, excerpts from Bram Stoker’s Dracula, chronicles about Vlad the Impaler, etc. The disparate images describe a country in which the ghosts of an oppressive past still haunt the present. Draculaland 3 treats with equal irony a Romania floundering in the absurdity of the transition from totalitarian regime to market economy and a West that applies a rigid, prejudiced interpretative framework to the same transition, bringing together the two viewpoints under the sign of the horror film subculture.

Călin Dan, Iosif Király and Dan Mihălţianu
The Romanian art collective subREALwas established in 1990 in Bucharest by Calin Dan and Dan Mihaltianu, with Iosif Király joining immediately after. Active in installation, performance, conceptual photography, video and publications. Their work has been circulating in all major biennials and thematic exhibitions of the 90s, and is now present in public and private collections throughout Europe and the USA. Mihaltianu left the group in 1993. Based in Amsterdam / Bucharest. Draculaland 3” was subsequently presented at a number of exhibitions and festivals as an independent projection: Europäisches Medienkunst Festival, Osnabrück, 1993; OSTranenie. Internationales Videofestival am Bauhaus Dessau, 1993; Tschechisches Kulturzentrum, Berlin, 1994; Moderna Galerija, Ljubljana, 1994; Kunsthalle der Bundesrepublik Deutschland, Bonn, 1994; YYZ Artists’ Outlet, Toronto, 1995; Art Gallery, Windsor, 1996; Mendel Art Gallery, 1996; Articule, Montreal, 1996; Video In, Vancouver, 1996; Reina Sofia Museum, Madrid, 2010 / Transmediale, CHB - Collegium Hungaricum Berlin, 2009. 

16. Absolut Blue Noses/ Blue Noses(Russia)/ 2002/ 7 min. 9 sec.

The Blue Noses used «low-tech» methods to produce video clips advertising vodka «Absolut».

Blue Noses
The Blue Noses group originated in 1999.Viacheslav Mizin was born in 1962 in Novosibirsk.Alexander Shaburov was born in 1965 in Berezovsky town (Sverdlovsk Region).A number of other artists — Dmitry Bulnygin, Yevgeny Ivanov, Konstantin Skotnikov and others — also contributed to Blue Noses projects.The Blue Noses participated in the 1st, 2nd and 3rd Moscow Biennales of Contemporary Art, in the 50th and 51st Venice Biennales and other international exhibitions.The group co-operates with M. & Yu. Guelman Art Gallery (Moscow) «In Citu» Fabienne Leclerc (Paris), Galerie Volker Diehl (Berlin), Hans Knoll Gallery (Vienna, Budapest), Loushy Art & Projects (Tel Aviv), Art Issue (Beijing, Seoul), B&D Studio (Milan), Ethan Cohen Fine Arts (New York).

17. East Side Story/ Igor Grubić(Croatia)/2006-2008/14 min

East Side Story”employs a specific media language to speak about a social problem of our time - the problem of violence and intolerance towards the other and different. Juxtaposing different media representations, such as archival footage of documentary origin about the violence on the streets of Zagreb and Belgrade as a recent found footage material combined with the "staged" performance based live-action footage of a choreographed dance performance where the language of movement mimics the violent actions taking place on locations it really happened, Grubić achieves a dramatic effect.

Igor Grubić
Igor Grubić has worked as a multimedia artist since the early 1990s. His work includes site-specific interventions in public spaces, photography, and film. In 2000, he started to work as a producer and author of documentaries, TV reports, and socially engaged advertisements. His work has been exhibited in various international institutions and at different artistic and cultural events. He has been awarded several times. Exhibited f.e. at Manifesta 4 (Frankfurt); Tirana Biennial 2; 50.October Salon (Belgrade); 11.Istanbul Biennial;  4.Fotofestival (Mannheim); Manifesta 9 (Genk); Gwangju Biennale 20th Anniversary Special Project; 'East Side Stories' Palais de Tokyo (Paris); Thessaloniki biennale 5-Ident-alter-ity ; 'Zero Tolerance', MoMA, PS1(NY).

18. Support Points IV/ Jan Pfeiffer(Czech Republic)/2016/ 3 min.18sec.

Support Points IV consist from two parts, in the introduction is main character women in the white, which taking care, protect small boy. In the second part is acting man in black, lines and symbols appear around him as advance of  will and future acts. Video is part of the project made by Pfeiffer call “ Support Points”.

Jan Pfeiffer
Lives and works in Prague. Studied at the Academy of Fine Arts in Prague (2006–2011), Prague College School of Art & Design (2002–2005) and the Cooper Union in New York (2011). He is represented by Drdova Gallery. He has taken part in numerous exhibitions in the Czech Republic and abroad. Prizes include the Essl Art Award CEE (2009), and the 8Henkel Award (2011). Pfeifer employs photography, video, drawing and animation as documentary tools, which he subsequently transforms in the concepts of his exhibitions and forms of presentation. He tends to target the topos of the location and its perception. The majority of Pfeiffer’s works are based on an analysis of everyday situations and how we experience them; they frequently refer to a specific location, to movement and its trajectory and to a search for one’s own place in the structures of reality.

19. Color Blind in Tirana/Gentian Shkurti(Albania)/2004/ 3min. 56 sec.

The Mayor of Tirana, a painter, decides to colorfully paint the facades of the city’s buildings by camouflaging this way the misery of the other side of the facade. It was clarified by said Mayor that the intention behind the painting or camouflaging of the facades was to nurture optimism among the citizens. The video was conceived as a fictional dialogue between a color blind individual, who does not perceive any colors as a result of an accident, and a girl who describes the colors of the city for him. The video is in black and white, so that it can put the viewer in the boy’s shoes.

Gentian Shkurti
Gentian Shkurti studied Painting at the Academy of Arts in Tirana, Albania. Worked two years as associate professor in Academy of Arts in Tirana, Albania. His works have been exhibitied at Centre Georges Pompidou (Paris), Documenta – Fridericianum Museum (Kassel), 54 Venice Biennale (Albanian Pavillion), Chelsea Art Museum (New York), Museum of Modern Art (Ljubljana) National Gallery of Kosovo, National Gallery of Arts (Tirana), Sammlung Essl (Klosterneuburg, Vienna), K&S Gallery (Berlin) and Tirana Biennale 1. He lives in Tirana (Albania).

20. How Stars are born?/ Olson Lamaj(Albania) /2015/ 4 min.3sec.

How stars are born? is a genuine act of presenting pure and simple the ideological battles that use the same signifies to transmit quite different ‘spirits of time’. Not relying at all on excessive discursive framing of artwork, one that the contemporary art suffers from heavily, Olson mashes three dimensions of “the star” in a confused imagery and narration. He only traces the ideological overlays of transition, a process which paints post-modern lifestyle over the layer of contested heritage of an ex-communist country and society, generating a condition of latent absurdity. The monuments of a ‘glorious past’ and the partisan stories of grandfathers continue to be present alongside commercials of a consumerist culture and kistch local manipulations with the US/EU symbols. The narration on star science stands in a position of complete absurdity to the ideological constructs of the meaning of ‘the star’. This is the predicament of transitional societies, no clarity for the past, and no viable future, always remaining with in the thick line of confusion.

Olson Lamaj
Born and raised in Albania, Olson Lamaj studied visual art in Milan where he has worked and lived for several years. He has participated in various exhibitions throughout Europe and in his native Albania. He works in several media including photography, video, painting and installation, though his work is typically serial photography executed over a long period of time. In addition, he makes site-specific work when inspired by a physical place. His training in the Italian academy has deeply impacted his practice, not only in his treatment of photography as an art medium, but also in his ability to notice and capture the absurdities, ironies, and contradictions that are a result of the unregulated and fast-paced change that characterizes contemporary urban Albania. As an artist who lives between two different worlds, Lamaj is sensitive to these transformations and shares the peculiar visions that this position affords him.