The video dance is inspired by the principles of Martin Luther King who had a dream: that all men could be equal and that people should not be judged by the color of the skin but by the content of their personality. The dream has not yet been accomplished: so much still needs to be done to accept the other, the different, the refugee, the one fleeing from misery, the civil war to arrive after so many sacrifices and so much pain on our lands considered as a new opportunity for live. The dream of these men and women with their children is a new life in a world where they are not yet fully accepted. Years later we realize how these words can be current today because this dream has not yet been accomplished and we are experiencing it in the first person with the problem of immigration. The performance tells the journey experienced by immigrants and all the difficulties encountered: thirst, hunger, torture, death and hope.

There is a narcissistic aspect in surveillance which empowers internet users to monitor theirbehaviours daily, overcoming the fear of being observed. Sharing structured, rationalized andcomplex private content with intimate details online places users in a digital (p)anopticon. Thiscontent is not easily read and is subject to multiple interpretation, hence it’s possible to findvarious starting points for speculative stories. “I Stalk Myself More Than I Should” is an archiveof expired memories that were meant to die within 24 hours. The work displays a selection ofInstagram Stories preserved through the use of screen recordings. Going against the nature ofthis feature, the project investigates appropriation, interpretation and representation, as well asqualities and hierarchies of humans memories shared and stored online.

A video trying to comprehend the advancements of algorithmic tracking technology in a visualaccessible language, and what it means for the human within that. Becoming quantified sets ofdata through tracking programmes, using available videos online that showcase the technologyon YouTube. These studies rarely imply what effects they will have on the individual themselvesor the implications of consent, and if and how this is given.

Aim Down Sights (2018) is a short film exploring terrorism in gaming culture. The work exploresroleplaying, both as victim and as terrorist, the dedication to these online identities, and theultimate blurring of realities. The aesthetics of terroristic images are endlessly recreated invirtual worlds, while the immersive gaming experience creates real subjective realities. Thework further explores how the experience of an online, image- based reality can affect personalidentities and even our perception of our concrete world, and the inherent tension between theaccepted (hyper)reality of gaming and the taboo of terrorism.

‘ERROR 500’ paints the mistakes and the systematic attempts to fix them. The movement isseen as a way out of a fragmented reality. The film was born from an experimental collaborationbetween a film director, a contemporary dancer and a music composer, within a mechanicalreality. Last March, ’Error 500’ ; was curated by NOWNESS as one of their picks and in April waspart of the ScreenDance Festival’s official selection, in Sweden.

Lost images in the night, pieces of dreams lost in the mind. We can create realities from this.Exp. 2019 – Brazil

SEISMOGRAPHICAL_ is a project that starts from the conversation with a unknown on Tinder.My profile image, and from which the conversation is generated, is part of the project. Thevideo manages the ephemeral and extraordinary ephimeral connections that are developed onthe net, at the cloud, an electric storm that can alter the state of mind through a screen. Thedialogue raises the artist’s work, as a vital idealist posture, and as life and art form part of a sameuniverse.

In the decades of the ’60s and’ 70s, Torremolinos (a small city in the south of Spain) was oneof the main locations for a film genre that developed during the Spanish Transition, calledel destape (the uncover). The disappearance of Francoist censorship and the tourist boom,the confrontation between a local repressed morality and more liberated ideas and attitudesimported from other latitudes, led to the appearance of an audiovisual phenomenon based onan explicit body language and a sexist sense of humor.Torremolinos Match originated in the analysis of the erotic-affective relationships ofthese audiovisual productions. This new video proposes a reconsideration of these filmsbased on some of the most representative scenes of the genre, reflecting on rolesand codes of contemporary representation. In the new versions the female roles areinterpreted by male characters the intention was to invert the subject-object figures ofthe gaze, bringing out the absurd and caricature quality of the situations.

A city under construction, buildings reduced to a fragile aluminum frame and made flexible,trees folded from paper and cars made of clay. The film Go Move Be (Gaan om te Zijn) intersectsbetween a digitally constructed simulation and a cardboard reality. Cameras in that world, theeyes through which we as spectators see, imitate the mechanical movements of CCTV, theflowing movements of drone cameras and the uncontrolled movements of a computerized eyerestlessly looking for the protagonist. Voices utter impressions about those movements, aboutdistance, memories, a future. Their mutual intonation suggests a shared interest, but thereseems to lack conscious exchange. The words hint at a structure that almost becomes solid.