“Images of ‘Italian Popular Bench’ have been realized in approximately 6 years, since autumn of 2000. They frame the same park bench in Finanze Square, in Rome. Since the beginning of the new millennium this bench has given rest and shelter to hundred of persons, becoming a witness of the passage and the meeting of people of all etnies”. Awards: Naoussa Video Fest,Greece, 2008 (AUDIENCE PRIZE and SPECIAL MENTION of the Jury); MO>VIarte 2008(SPECIAL MENTION), Palazzo Spada, Vigonza, Italy; CortoSardo (SPECIAL MENTION), Sassari, Italy, 2008; VI CORTI giano Video Festival, Roma, Italy (AUDIENCE PRIZE), 2009; Clorofilla FF,Grosseto, Italy (BEST SHORT FILM PRIZE), 2009; Premio Max Cavallo, Massafra, Italy (BESTEDITING PRIZE), 2010; Noemart FF, Collevecchio, Italy (BEST DIRECTION PRIZE), 2010; VFestival Mediamix, Firenze, Italy (2nd PRIZE), 2011; Ambiente in Corto, Paliano, Italy (1st PRIZE/BEST SHORT), 2012. Twickenham Alive Film Festival, Great Britain (INTERNATIONAL AWARD),2013; Festambiente-Mondi Possibili, Roma, Italy (ORIGINALITY AWARD), 2014.

Beginning in 2017, the demolition of the Netherland’s Central Bureau of Statistics office provided a type of slow cinema for railway passengers traveling between The Hague and Amsterdam.Over the following year, as the building was methodically deconstructed from the top down,I visited the site each month to document the gradual erosion. Using a drone and a digital mapping process, photogrammetry, I created an archive of virtual 3D models. As the building’s architecture and its inevitable collapse were reminiscent of author J.G. Ballard’s 1975 novel High Rise, I further sought to accompany this scene with the voice of a machine learning system trained on the complete corpus of Ballard’s writing. This recurrent neural network generates texts that describe the materials, invisible bodies, and possible narratives residing within the broken grounds of the building. This A.I. speaks about the ghosts hiding in the cracks of urban spaces. Made possible by The Modern Body Festival (NL), Yukun Zhu, Google Artists and Machine Intelligence (US), Maxwell Forbes, and the University of Washington Center for Digital Arts and Experimental Media (US). Narration by Kevin Walton.

Today, the world comprises of uncertainties and ambiguities. Science and civilization are notable to yield all answers or solutions to our satisfaction.At times, knowledge may comprise of power with impact that are beyond individual’s intuition and intellect. Often advancement in science have challenged moral codes and ethics as well as faith and religion. When science and technology are utilized in appreciate. They being harm and threat to humanity. The contradictory side of utopia is full of pessimism. Man’s quest to conquer distant galaxies, endless search for territories and colonies reflect his inner instinct for power, aggrandizement, and control. The imbalance of power between those who control and those under control has contributed to disorder and dilemma. In the era of confusion and distortion values of aesthetics and commonsense have been greatly.

Less than six months after the Monumental Arch of Palmyra was destroyed by ISIL in 2015,it was reborn as a 1/3 scale replica at the fingertips of the London-based Institute for Digital Archaeology. 3D modeled and robotically carved from Egyptian marble, the new arch is arefugee monument. It is built of easily disassemblable parts and crated all over the Westernworld, from London to New York to Dubai, to take part in highly mediated unveiling ceremonies as a proposed symbol of unity with Syrian citizens. My work, in which I digitally remove the arch from several of these unveiling scenes, looks to distill the essential neoliberal magic trick being offered up in the spectacle- the power to make heritage disappear and reappear as are colonized and placeless objects.

The Healer consists of four photographic works with luminous signs, two parallel single- channel video installations, and a sound and video sculpture. The exhibition is a continuation of Kap Atlantis, a video-installation from 2003. In this work Hjelm explored existential dimensions of destructive historical legacies in reference to a dystopic vision of the future, inspired by Harry Martinson’s novel Aniara. With The Healer, Hjelm explores a similar strand by using narratives of futuristic prophecies that comment on the past as future memory. The main theme of the exhibition is based on the poem 22nd century by the artist Exuma, a Bahamian visionary,humanistic philosopher and people’s poet, that reflects a conception of the future as a false liberation. Whereas Harry Martinson’s novel drew on Vedic and Buddhistic traditions, Exuma draws on the more obscure Obeah cults in the Caribbean. Throughout the work, we hear songs of future prophecies that make us confront contemporary realities, as if they were warnings coming from a cautionary tale. In this exhibition, image, text and sound form a dense story about history and memory that operates as if in a crossroads, against the backdrop of physical and spiritual healing.

Restaging For The Time Being is the restatged documentation of a curated digital programme,For the Time Being (May 2019). Originally, For the Time Being was an experimental programme of photo-performance, conceived as a response to the everyday presence of social media. The project used Snapchat, an app devised to share intimate, disappearing images, as a central protagonist. In May, 2019, the project invited Agil Abdullayev, Feng Mengbo, Max Grau and Tamara Kametani and artist collective Agorama to reflect on the role of image sharing networks in their personal lives. In addition to the art programme, selected writers were invited to contribute texts that extend the themes of art production, memory and social media. The writings of Mediatheorist Katharina Niemeyer, curator Prayas Abhinav, digital curator and scholar Katrina Sluis,the winner of the teen-writing competition: Monica Okello and our artists can be accessed on www.forthetimebeing.co.uk. In Video Vortex, the documentation, website and writings of Forthe Time Being will be shown to host discussions around the approaches, value and problems of curation, documentation and re-staging in the networked culture.

A digital man who has never been in nature is hypnotised by what’s on his phone. Set in a virtual world composed entirely of ASCII characters, ‘Open Beyul Torrent’; follows the gaze of an autonomous camera as it navigates through a bleak, grey space, to focus on a man enchanted by the content on his smartphone. Having lived in a computer and never experienced nature,the man clings onto the only image of nature in his hands – a steady- flowing torrent, fit to be the backdrop of a beyul – as a window into the real world.

The project Ghostbusters consists of notes, quotes and images which are eclectically combinedin a live show which premiered on the 4th of September 2019 in Kunsthalle Düsseldorf. 2cameras filmed the main actor trying to lead through his idea of an entertainment show. Clipswhere prepared to be inserted into the show. In the beginnging we see how the host is gettingaccepted the do his show – under general discomfort. Alfred Weidinger and Jeanette Stoschekfrom the Museum of Fine Arts Leipzig play these deciders in the arts sector, reflecting abouttheir own role in it. Other clips show the host ́sassistants who are trying to find a person whoghosted her former life partner. But they get distracted and forget aobut their duty quickly.

The surveillance camera and the smartphone, one is passive and the other is active, represent two types of societies, disciplinary society and society of control as described by Gilles Deleuze.Recent advancements in techniques of control have largely blurred the boundary between the two societies. There’s no apparent difference between ruler and subjects, between passive and active, or between input and output. The artist believes the best way to portray this phenomenon is to take images of these surveillance cameras, to feel the surface of them, to analyze and compare the environment where they are placed, to clarify the ways by which they are inserted into the body of the city. Today, people can do anything in China with a smartphone in hand,including having the ability to make payments via services like Wechat or Alipay in even most unimaginable places and situations. A smartphone contains a whole life and has become life itself. Imagine scenes with a whole carriage of passengers, a young employee, a group of girls,all immersed in their smartphones, as the world around them has disappeared.

A multi-narrative experience in nine scenes. Story 3: Scenes 1-9 captures months of the protestin relation to racial discrimination and injustice in St. Louis, USA. The visuals are captured inslow motion, colorless, un-edited and displayed as a non-linear storyboard where viewers canbuild a narrative for themselves.A multi-narrative experience in nine scenes. Story 4: Scenes 1-9 captures one day of the protestagainst President Trump in St. Louis, USA. The visuals are captured in slow motion, colorless,un-edited and displayed as a non-linear storyboard where viewers can build a narrative forthemselves.