Miloš Tomić (Serbia), Clay Pigeon, 6’41”, 2005

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 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 Perić at the Serbian Pavilion of the 55^th Venice Biennale in 2013.

Katarina Neiburga (Latvia), Press House (Music Video Version), Andris Indans (Sound), 5’14”, 2009

Press House is a twenty-two story building in Riga, built in 1978 to host different publishing houses, editorial offices of newspapers and magazines, as well as a printing house. Left abandoned since regime change due to dwindling profitability, Press House was once an important place where its workers were constantly negotiating the freedom of the press with the boundaries of censorship. The artist’s interest in Press House starts with the people who once worked there. As either complicit in or terrorized by censorship, they spent an impressive part of their lives on site.

Katrina Neiburga was born in 1978. She holds an MA from the Latvian Academy of Art in visual communications. She has been exhibiting since 2000 and has participated in the Sydney and Moscow biennales. In 2008, she was short-listed for the Ars Fennica Award and received the Purvitis Prize, which is the highest Latvian award in fine arts. For Katrina Neiburga, art is subordinate to a yearning for emotion, authenticity and the preservation of living memory. It is poetry that operates at the level of perception and feeling: pared to the bone, saturated with truth, searing and beautiful. One of Neiburga’s chief means of expression is her deeply personal iconography, which is evident in her video installations, both in exhibitions and as theatre set designs. She is interested in sociology, investigating preconceptions about the nature of things.

Marius Gherasim (Romania), Lost, 4’39’’, 2015

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 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.

Vlad Buzaianu (Romania), Dreams On Sale, 9’23’’, 2016

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 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 two 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 dream world and back.”

Boris Kozlov (Serbia), The Postmodern Pioneer Plaque, 7’51’’, 2016

In 1973 Carl Sagan created the Pionner 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 was 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.

Blue Noses (Russia), Absolut Blue Noses, 7’9”, 2002

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

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).

Igor Grubić (Croatia), East Side Story, 14”, 2006-2008

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 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).

Jan Pfeiffer (Czech Republic), Support Points IV, 3’18”, 2016

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 8 Henkel 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.

Gentian Shkurti (Albania), Color Blind in Tirana, 3’56”, 2004

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 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, Viena), K&S Gallery (Berlin) and Tirana Biennale 1. He lives in Tirana (Albania).

Olson Lamaj (Albania), How Stars are born?, 4’3”, 2015

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-comunist 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 kiestch 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.

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.

Anastasija Piroženko (Lithuania), Syndromes of Mimicry, 18′, 2016

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 Mimicry tackles 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 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.