This is an interactive installation creating a skin image, with wrinkles and rifts. It explores the colors and textures we are made of. Merges our past and present; our heritage, surroundings, nature, culture and visitors contribution.

Bio

Anna Carreras is a creative coder and digital artist interested in experimentation on interactive communication focusing her work on the use of generative algorithms, creative code and interactive technology as a means of communication and an experience generator.

The project through a talk/discussion and an exhibition in the local context of Agros village, seeks to investigate the current ecological emergency as a consequence of Colonialism.

Bio

Stelios Kallinikou lens-based practice intersects space & place, time & history, as manifestations of multiple interweaving discourses of meaning by examining key issues such as the environment, the effects of colonisation, technology and the politics of image.

The project consists of a series of practical games which attempt at discovering alternative strategies for forming collectivities. Based on intuition, impulse, and deep listening, the workshop embraces the multiplicity of interpretation allowing for the foundations of care and support to render the appearance of chaos into order. The workshop is open to all regardless of previous related experience.

Bio

Dimitris Chimonas is an artist, theatre-maker, and performer. His work investigates theatre conventions, devices, and frames through their use and abuse. He has attended the Home Workspace Program at Ashkal Alwan in Beirut (2018-2019), and graduated from the Acting & Contemporary Theatre course at East15 Acting School in London (2012-2015).

Márcio Carvalho primarily focuses on collective technologies and practices of remembering examining public life and archives, autobiographical memory and collective memory.

Bio

He uses performance art as a process-based practise and a tool to examine representational memories that are embedded in different urban and private settings.

Through audio-visual installation, Kia’s project will examine objects and symbols in the local society, that were inherited during the island’s British colonial rule, to investigate how intrusive foreign elements can transform current culture.

Bio

Kia Redman is a Barbados-based video artist and animator whose work explores alternative perspectives on colonial history, culture and belonging through narratives centred around paradise, womanhood and contemporary Caribbean identities.

Mónica develops artistic research projects around technology. She is interested in opening and inhabiting a conceptual rift around the techno-scientific challenges that are presented to us today. Her practice points towards techno-diversity, and addresses the urgent need for the decolonization of technology, through developing different pieces of electronic art.

Bio

Mónica Rikić is a new media artist from Barcelona. Her practice focuses on code, electronics and analogue objects to create interactive works framed as experimental games. Her interest lies in the social impact of technology, human-machine coexistence and the reappropriation of technological systems and devices.

Singh will seek the voices and vocal practices of the Agros community in a live performance and a series of drawings. The artist uses vocality as a tool to explore notions of heritage and identity/ies.

Bio

Nicola Singh is a performance artist and experimental vocalist. She utilises different approaches to improvisation. She also works across the visual arts – mostly with text, film and drawing.

“(Dearly) Beloved” is an act of remembering and connecting with a difficult past. Composed of acrylic formed by fire, the twisted figures echo human form and spirit.

Bio

Akeelah Bertram is a visual artist exploring heritage and identity through creative technology. Her works blend light, sound, sculpture and interactions to create immersive spaces that prioritise emotional experience.

Birds don’t sit in misery with a glass of wine and whine. They pick branches and build nests. A communitarian ritual or a performative land art workshop where participants are invited to walk gathering branches, twigs, feathers, straws, threads, and scattered pieces of grief and build a nest where they can fit in.

Bio

Sara Baga forges her artwork from her poetic gaze at the invisible within the world, while keeping the core of creation in human ecology. She creates with film, photography, voice and ritual, which she considers a powerful form of performance for inner alchemy and collective change.

Lara –a young filmmaker– finds herself in a non-place between Cuba and Mozambique. Over an imaginary balcony towards the Indian Ocean, Lara searches for answers to the long silence of her father. She feels the loneliness preceding the imminent demise of her father, Camilo. She begins to draw up paths that prevent her from the beginning to the end.

The Saharawi women face the thirst of the hamada, the curse of the desert, every day. They’ve built their refuge in a land where no one could survive before. For more than forty years they’ve been holding out and taking care of their people there. They ensure every drop of water is distributed according to the needs of each family… and they wait and desire a different future for their kids. But there’s an even more terrible thirst in their throats, for which they find no relief. The Saharawi represent one of the oldest refugee groups in the world, who fled their homes in 1975 as a result of the Moroccan occupation of their homeland in Western Sahara, a Spanish Colony since 1884. In the independence process, Spain practically abandoned and sold them to Morocco. Today, the conflict remains unsolved and the Saharawi refugees still live in five camps in the Sahara desert on the extreme southwest tip of Algeria, heavily dependent on international assistance.

A Line Was Drawn weaves together several sources of material including archive film and digital video. The work questions how our world is structured and how borders and boundaries are created to limit our movement. An integral part of the forming, imposing and maintaining of these delineations is the control over the narratives around them. Through its layered formats and sources of sound, A Line Was Drawn aims to question the construct of seamless documentary and news narratives tasked with conveying a particular narrative, to convince or entrench a point of view.

Ishtar is an experimental short film based on the gender fluid Mesopotamian deity. The film looks at the coloniality of gender and re-addresses how the UK has imposed the gender binary on PoC. It is an affirmation of our historical and present existence. Ishtar hosts a feast in an English country garden for five gender non-conforming/trans/non-binary siblings of colour. Each guest holds the history of their ancestors and their present-day selves.

A couple looks hopefully into the future. They soon discover the obstacles they must overcome to be accepted. As generations evolve their position alters in what was once a foreign land. A reflection on migrant assimilation and the shedding of identity.

Biographies of objects’ explore the possible futures of nationality within the transnational discourse through the prism of quantum physics and technology, while addressing pressing universal and existential questions of humanity in crisis. The work focuses on signifiers of cultural production, and their presence in the construction of national and cultural identity. As diaspora is understood as a phenomenon that encourages multi-local attachments, the work aims to relate to the digital space of online transnational communities. Being centred around a metaphor of an object of cultural significance, the work deconstructs the formation of cultural identity in multiple cultures. Based on the historical roots of the blue and white printed ceramics from Ancient Egypt, Persia and Mesopotamia through China, Russia, Europe and Britain, the AI narrator takes the viewer on the object’s journey through to the particles and the waves of the known universe, allowing to access the non-human centric viewpoint while questioning urgent socio-political matters.