Participating Artists



Kisito Assangni is an artist and curator currently living between London and Paris. His artworks and projects primarily question post-globalization impact and psychogeography. His works have been shown internationally, including the Institute of Contemporary Arts, London; Arnot Art Museum, New York; Musée des Arts Derniers / Galerie Octobre, Paris; The Illinois Institute of Art, Chicago; New Art Projects, Beijing; Sint-Lukas Gallery, Brussels; Arad Art Museum, Romania, Museo ExTeresa Arte Actual, Mexico City among others. Kisito is The Director/Curator of Time is Love Screening – annual international video art exhibition.

Interview with Kisito Assangni:

Tell us about your work. How did you hit your works issue?
My aim is to create a simple visual definition of the moment through video, photography and drawing. With all the instruments that technology provides, I just want to be an analyst of its processes and exegete of ideological constructions.

Why do prefer video as your favourite art media?
Today video art as social visual structure has become more available to the audience and the new technologies have interfered in the lives of all the peoples.

What are the main themes of your work?
Post-globalization impact and psychogeography.

How do you get to your main issues?
I collect ideas from my personal anxiety, conversations, songs, newspapers, books and films to re-contextualise the contemporary significance.





2012 May 7 – July 27, Infinity Loop and Images of Eggs, with Mette Ussing (sculpture), Cath Alexandrine Danneskiold-Samsøe Gallery, Copenhagen
2011 June 30 – September 30, Graphite on Paper, Strandgade 10, Copenhagen
2011 June 21 – August 20 (Extended to August 27), The Journeyman, Cath Alexandrine Danneskiold-Samsøe Gallery, Copenhagen
2010 February 1 – April 30, The Man Without Qualities, CDS Art & Visibility – Gallery for Contemporary Art, Copenhagen


2012 March 16 – 18, The Postal-Collage Project No. 1, Ramon’s Tailor, 628 Jones Street, San Francisco California
2012 February 25 & 26, The Postal-Collage Project No. 1, exhibition reception at the Shuman Block, 2571 Shattuck Avenue, Berkeley California
2011 April 5 – 8, Fragments, Arnot Art Museum, Elmira New York
2010 October 16, Stories of the Sun God, Valerie Green/ Dance Entropy, Queens New York
2010 September 26, Stories of the Sun God, Triskelion’s Collaborations in Dance Festival, Brooklyn New York
2010 May 15 – August 20, Stained Sheets, Strandgade 10, Copenhagen

my work issues comes from working. images and what they are, is a main concern in my work. i occupy myself with how images can be made, and why we make them and how respond to them. i don’t prefer video to other mediums, but video generates a narrative out of images and stretch the changes of images out in space and time, where as in painting and drawing there is an accumulation of time invested in a single analog object, we can touch with our eyes.



Beate Gördes – born 1961 in Herten, Germany.

1987-1992 study fine arts / painting at the FH Cologne.

Since 1992 lives and working as a freelance artist in Cologne.

Various exhibitions at home and abroad.

Ausstellungen (Auswahl)

Exhibitions (selection)

2011/2012 VIDEOHOLICA International Video Art Festival, Varna, Bulgarien

2012 25BILDER/SEKUNDE, Videospace für zeitgenössische Videokunst, Mannheim

2011 LICHT, Kunstverein Plauen e.V.

2011 MAGMART, video under volcano, International Videoart Festival, Neapel, Italien

2011 BLUE BANANA Video Art Contest, Landau

2010 KETTLE FULL OF DIAMONDS nachtspeicher23 e.V., Hamburg

2010 TRANSFERA cable tv, Madrid, Spanien

2009/2010 KURZFILM D, Filmmuseum Düsseldorf


Tell us about your work. How did you find your works issue?

I am searching the poetic moments in the everyday. I catch moments and situations of ordinary life which not seem worthy for a second glance. I give the images a new aesthetic value. I focus my attention on only one situation, one single sequence; trivial events, minor movements, volatile changes or just the hint of a story.

Why do prefer video as your favourite art media?

With the technology of video editing I can filter out brief moments. I use the tools of modern digital video-editing in the same way as I use pens, paints and brushes. At the beginning of my work with moving images I also discovered the endless possibilities of digital sound production. My sound-compositions are an important stylistic device and complements the often diffuse-melancholic mood in my videoworks which I want to express.

What are the main themes of your work? How do you get to your main issues?

I work on the visualization of certain moods and atmospheres where the boundaries of the real space vanish and open up itself for new rooms, for memories, dreams and emotions. I use film, video and sound as independent media and link it with my personal associations and chains of thought.


Cora de Lang

The transcultural nomad with Argentinian and German citizenship underwent her art-studies in Buenos Aires, worked and lived as a visual artist in Germany, India, Sri Lanka, Mexico, Spain and Nigeria for almost 30 years. In the last years she focuses mostly on conceptual art, video art and the blurred spaces between “traditional” art expressions and computer art. Her work , by art critics often characterised to be executed “in layers”, and encompasses elements as well as the spirit from figurative to abstract art involving increasingly photography and video. Her unrepeatable documentary film “The Truth is Unbelievable” was shown at International Film Festivals around the world. She is a member of several international artists’ groups collaborating over the internet.

Solo Exhibitions 2012 /11

.FACES@12, Autoren Galerie 1 , Munich – Germany (catalogue)
.Odu Iranti, Marstall- Freising , Munich – Germany (catalogue)
.Manos, Rochuskapelle, VII. Landshut Art Night- Germany

.Faces at Karina Smigla-Bobinski´s Studio in Munich,Germany

Group exhibitions 2012-2010

.Wenn der Hirsch wieder erscheint – Galerie 561 – Landshut , Germany
.Panoram Mix miradas diversas- Amics de la UNESCO , Barcelona, Spain
.Round Table (Collaboration ) Ramon´s Tailor Gallery, San Francisco, USA
.Dones x Dones – Centre Civic Barceloneta – Barcelona- Spain
.Round Table ( Collaboration ) Shattuck Avenue , Berkeley,California – USA
.Bilder, Briefe, Noten LXXV -Autoren Galerie 1 – Munich – Germany
.Global Village – Projekt 072 in Alkmaar, the Netherlands.
.Global Village- Château de Sully, Bourgogne,France.
.Global Village – Kulturhuset Brønden, Brøndby Strand, Denmark

.Sierra Leone Projekt 2012 – White Box, Munich, Germany

.Public Praxis. 20 Twenty/A Strange Land -video collaboration screened in Berkley, USA
.Paralelo 40 / Meridiano 40- SECRETOS Y CONFIDENCIAS,Castellón dela Plana, Spain –
.PRAXIS – 100 Circles -International Artist’s Cooperative Interlinked by Internet
.MUJERES – Secretos y Confidencias-Arte Esencia – Barcelona ,Spain
.Global Village –Contemporary art from 6 Continents- Grand Church of Alkmaar , Netherlands

Special Events 2012-2008
.Subject Matters- a “ Roundtable “collaboration- George Waters Art Gallery- Elmira College, New York , USA
.Soul Progressions- live sound – Barefoot- Colombo , Sri Lanka.
.Sierra Leone Projekt 2012 – WhiteBox – Munich , Germany
.FRAGMENTS 2011,  The Arnot Art Museum, New York – USA-Video  Collaboration Project
.The Journeys of Esmarelda –  a Project of the International artists Group Praxis
who met online- work in Progress


Tell us about your work. How did you find your works issue?

As art critics confirm again and again, it seems that I am weaving stories within my art incorporating memories, experiences, and pangs of nostalgia creating a visual text that oscillates between reality and the imagined world.I think that one can speak of clusters  of images, of layer upon layers sometimes  intertwined without full stop of images within one painting. By using so different media  the pictorial language will certainly change but is does so also within the same medium from series to series. To “understand” my work you may have to crack the code to unveil the whole story.Be careful, my extended work should not be read just as a tapestry of exoticized images depicting the world of South and North America, Africa , Asia and Europe, even if some critics analyzing my work feel reminded of Gabriel Garcia Marquez or of Isabel Allende. Some speak of a magic realism in my work. I think that boundaries between myths, dreams, fantasies and reality are created by the human mind to safeguard its “control” over the world, but all of this is interconnected, works in layers, is internet-working. Thus a dream can be the starting point of an art work as it can be a fantasy , a myth or an occurrence in the world today.
Why do prefer video as your favourite art media?
In reality  the different art media are a way to express my ideas in the best possible way according to the spectrum offered by the respective medium  – this change will depend on where I am at the moment and what I want to express -however, the media used are equally in value and choice for me.
What are the main themes of your work? How do you get to your main issues?
I did and I´m still creating my own world which is coined by my experience of life and interaction on the 4 continents where I live (thus one of the “labels” given to me by art critics: transcultural nomade) . Topics arise on this backdrop and from such experiences; they can be  some burning themes of our time like globalization and gender issues, but also nature and again and again encounters, interactions, majority versus minority, matters of religion, faith and otherness, particularly intercultural encounters.  Although not always visible on the surface.



Marty McCutcheon (b. October 25, 1967, USA) was raised in Central California, in a variety of locations including the coast and coastal mountains, the valley, and the foothills. He is a self-taught, multi-discipline artist, husband, and father of one, living and working in Berkeley, California.

He made his first moving pictures in 1992, experimenting with 8mm film, performing improvisational, music-backed, multi-projector presentations.

His only published work from the 1990s was as camera operator and co-editor of We Magazine no. 18, a “one-camera” video-poetry collection created in 1993 and published in 1994, by We Press, in Santa Cruz, California.

The bulk of his work from the 1990s belongs to an unpublished, five-part, six-hour, esoteric, musical video-journal, which chronicles routine events and other experiences between the months of February 1994 and August 1996. This work was the subject of a talk given at the Copenhagen Technical School, by Danish photographer, Hans Manner-Jakobsen.

McCutcheon is a founding member of, and contributor to, the Exquisite Corpse Video Project, an ongoing, international collaboration, based on its namesake, the Surrealist parlor game. He is the founder and operator of Berkeley Commonplace, a screening room and gathering place focused on local and global community building.


Nebe, who holds degrees in psychology and literature, is a self taught artist, born in Hamburg
but now located in Berlin. The different shades he conjures up haven’t gone unnoticed in the art
world, and seem to be on the rise. Paintings of his, touching on the topic of ritual sacrifice are
part of the Joop van den Ende Collection in Hamburg and “Philosophical Cartoons” is part of
the Collection of DIAF ( = Deutsches Institut für Animationsfilm). Important exhibitis include
Intrude Art and Life at the Museum of Modern Art in Shanghai in 2008, where Santiago
Capriccio, a short epilogue to the Philosophical Cartoon cycle, playing upon the “4th
Dimension” Video was chosen to be one out of 100 non-Chinese artists to be displayed on
public video screens in Shanghai. In the same year, the film was shown at the Edinburgh Art
Festival. The film “Climate Change Cartoons”was part of the exhibition “Letters from the Sky” which accopagned the Durban UN conference on Climate Change 2011 in South Africa and “Machine Fair”- a film about the mechanical site of a metropolis- has been shown at Museum of Modern Art, Moscow as part of “Now&After” screening in 2012.

Gaming into Mindfulness

“It’s a never-ending game of disintegration. I challenge the viewer by not living up to his or her expectations. I am denying the satisfaction of solving the riddle, hidden within the depth of my artwork.” By turning his filmic cabinet of curiosity into an intriguing jigsaw puzzle of hybrid geometric patterns, Joas Nebe teases the viewer into accessing his game. He believes: “Riddle games of this kind spark creativity and pass on the role of the artist to the viewer.”

Taking the Reason Prisoner

To Nebe, “fantasy and creative intelligence are important survival skills today.” So is chess, an analogy he keeps referring to: “Chess exemplifies my game with the viewer. In a world of shortening attention spans, it’s an ideal concentration-practice. One always has to think a few steps in advance.” By screening the insanity of our daily chase towards evolutionary bankruptcy, Nebe in a clever move takes the reason prisoner, only to appoint reason to be the king of his game of chess. He calls for a close review of the encyclopedia of our philosophical and cultural foundations. In his opinion reason has the potential to direct a path away from the horror vacui he is depicting: “The model of enlightenment has increasingly been discredited, wrongfully I believe. Today survival and coexistence are only possible if governed by the faculty of reason. Labeling and connoting intellectual categories help to bring new relations into sight and to gain unexpected terms of knowledge.”

The interview essay “Gaming Into Mindfulness” has been published in Humanize Magazine, issue 11, p. 20-31.

Mehr zu Joas Sebastian Nebe

EVRENSEL ÜRÜM (evros) 1980, born in Ankara


2012 Kare Art Gallery, “different touch” textile group art exhibition, Istanbul.

2012 Managed and trained a European Youth Project under the title “Creation 1to9”, Istanbul.

2011 W-AFPIAAP Interaction, interactive exhibition, formed an interaction place for the organisation, curated and attended the opening exhibition “welcome”.

2011 Attended the training course as a member of W-AFPIAAP about video arts and music in Novi Sad Serbia, under the concept “Sing Equality-Bring Equalty” EU-YIA Programme

2011 Attended the training course as a member of W-AFPIAAP about performing arts and music in Sremski Karlovci Serbia, under the concept “Heuristic Game” EU-YIA Programme , holding youthpass for this TC.

2010 DYO brand sponsored painting competetion (national), awarded

2010 “Wall For Peace ” W-AFPIAAP in Istanbul Art Fair Artist 2010  31Oct.-10 Nov, Designer and Participant of the project.

2010 “Redbud” Tophane-i Amire, group event 2-30 July,
within Istanbul 2010 Culture Capital Programme, Istanbul, Turkey

2010 International Textile-Art event : “taboos in weaving of culture“,
3×1 m. entitled work SOS is exhibited in Modra Hisa Gallery, Ljubljana, Sloveni

Tell us about your work. How did you find your works issue?

For this video trilogy I used the handy cam shots during my trip to Germany/2012 summer,

I was setting my feedings from Germany as a video output while Joas Sebastian Nebe told me about the Proverb Project…. even our speech started in Berlin in August 2012, under a sudden rain 🙂

intersective feeding in a cube light 

was the prior heading for this trilogy, actually the main idea was to continue to discuss for the “feeling to be caged” where had been started with the prior videowork “the possibility to aware of being caged”, 4’50” which was shown in MOMA Acedemy 2.Mobile Film Festival in Wellington, New Zealand in 2012.

Under this main idea I selected my materials and composed them for 3 selected texts from the text pool as Joas offered, and formed 3 videos under:

1) “Keep your chin up”

2) “How you give is more important than what you give”

3) “The Department’s mission is to ensure a homeland that is safe, secure and resilient against terrorism and other hazards.”

The discussion was transformed from “nature” to more “cube” where the cube refers to the behavior which is “modern” for me.

Why do you prefer video as your favorite art media?

I honestly like to shift more interactive media than typical 2D video but yes still video is one of my favorites…

Unless keeping without a verbal tool inside because nowadays video art and cinema is extremely mixed in conception;  for me verbal language is still a national barrier to spread and share the information around…

Videoart (esp. digital) is hardly sold, thats one of the best feature I like where I can behave without any “number” pressure…

What are the main themes of your work? How do you get to your main issues?

Mainly Culture & Schizophrenia

Issues are all around you, just you need to do is to interact with them or not..

Still I am confused to give the correct answer, but I can say I have redundant energy inside me is to be regulated, that’s the deal indeed, that’s why I find myself to be ruled to make so called “art”…

Art is an obligation for me, like a cure which you dislike and love a lot, interesting…



Alison Williams is a South African video artist, filmmaker & painter based in Nelson Mandela Bay, RSA. Her works appear internationally in various Film Festivals, Galleries and Art Museums. She is concerned with visual emotion and the triumph of the human spirit, using mainly performance-based works with a strong tendency towards the dramatic. Her works are mostly one on one directions towards the viewing public, works produced in isolation or in remote areas. Her main focus is the production of psychological works that disturb normal modes of being. She uses travel and personal life experience in her art, as she believes that life and art are inseparable entities. She is also the founder and director of Human Emotion Project which screens many international artists globally in 2009/2010.

Selected exhibitions and listings: please see her website: direct link to selected exhibitions:

Interview with Alison Williams:

Tell us about your work. How did you find your works issue?

Blog with “making of”:

“Chicken” – An artist performance video by Alison Williams started conceptually on her 2008 visit to New York City. The realization that every human we meet in this over-crowded world has sexual organs produced this work in 2009 for the call for “disgust”. Sexual statistics and personal issues surround the artist with regards to rape, pornography, gender abuse and child abuse – all of the hidden thoughts that provoked in her a sense of outrage. Genitalia are a beautiful part of the body and of life, for procreation, for vital bodily functions and for pleasure/ lovemaking – yet there is this other darker side, this awful realization that they are abused, misused, not to be trusted. This work refers to a woman’s vagina as being a “chicken” but it is used in a broader sense, and is not intended to reflect “disgust” towards women in any way. This work shows “disgust” towards our lack of control, our human weakness and our sick society which results from that weakness/illness.
The artist is a very private person in reality and uses art performance to eradicate herself of various psychological issues as they arise in her life. Her “chicken” is very particular about other chickens and their mutual, willing interaction.

Why do prefer video as your favourite art media?

I don’t.

What are the main themes of your work? How do you get to your main issues?

Human rights, human emotions and gender-based art.


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