GORDON DELAP (IE)
Ora Obscura (2024)
video musicale 6’04” – CRM | MA/IN

FEDERICA FOGLIA (CA)
Negative / Positive Film (2023)
video musicale 14’ – CRM | MA/IN

CARLO SIEGA (IT)
Surfaces & Textures #2.1_earthy (2023)
video musicale 9’8” – CRM | MA/IN

VALENTIN SISMANN (FR)
Self-portrait (2024)
video musicale 4’54” – CRM | MA/IN

GORDON DELAP (IE)
Ora Obscura (2024)

I started out here by capturing some frames of plants and water and testing whether I could inject some instability. As the work progressed, I became concerned with perspectives in documenting nature: the intrusion of poking cameras in places where they are unwanted, the unreliability in narration and lack of authenticity in the audio artifact, the way that the camera bounds its subjects of interest to the exclusion of the wider context. The audio uses some well-trodden techniques used to produce sounds in – for instance – nature documentary. The work concludes by floating free from a fixed perspective, although the enclosures never depart.

FEDERICA FOGLIA (CA)
Negative / Positive Film (2023)

Negative / Positive Film is a hand-made, camera-less collage film composed of layers of erotic 16mm films from the 1920s, 1940s, and 1970s, intermingled with nature documentaries and layers of organic materials. This visual abstraction merges positive black-and-white film and its negative black-and-white counterpart - on the same film base. An abstract remediation occurs - female bodies are dislodged from their original erotic context and ripped away from their male co-protagonists. The film uses organic material, melted together with gelatine emulsion, first liquified then re-solidified, to produce a crystallized visual allegory of interspecies feminine bodies.

CARLO SIEGA (IT)
Surfaces & Textures #2.1_earthy (2023)

S&T #2.1_earthy belongs to a cycle of a work-in-progress investigation on the inner relationship between the real and its digital representation. It starts from the material concept of the Surface, a 'boundary' element that represents a space delimiter in nature, and its 'synthetic' counterpart, the Texture, interpreted as a visible quality expressed through the language of 3D Computer Graphics. Within this composition, sound and image share a similar and gradual process of transformation and transfiguration. From the realistic (real camera) footage, the gaze transforms into a digital environment (virtual camera) through colour grading, point clouds and self-generative digital textures.

VALENTIN SISMANN (FR)
Self-portrait (2024)

Self-portrait simply perpetuates the human obsession with finding his double through the question of representation. The latter is a moving, carnal body, and therefore opposed to the flat surface onto which it is projected. The work maintains this inability of representation to seize even its own reflection. The body is worked here as a flat plane of flesh. The main material of the work was obtained in a darkroom, by crushing my own body with a scanner. The artwork is a report with the task of exploring my flesh, of taking an overview of my body at a given moment. More than a plastic work, it's the necessity of an anatomical self-fiction.

GORDON DELAP (Ireland, 1979)
Gordon Delap comes from Co. Donegal in Ireland. He studied composition at City University, London, and Queen's University, Belfast. He has undertaken residencies at Nadine Arts Centre in Brussels, the Crescent Arts Centre in Belfast, the Technische Universitaet in Berlin, at Edinburgh University, and SCRIME, Bordeaux. He is currently lecturer in music technology at the National University of Ireland, Maynooth.

FEDERICA FOGLIA (Canada, 1985)
Federica Foglia is a transnational visual artist and writer. She holds a BA in Multimedia Languages and Digital Humanities: History of Art, Theatre, and Cinema from the University of Naples L'Orientale, an MFA in Film from York University, Toronto and is currently a Ph.D. student in Cinema and Media Studies at York University. Her works have been exhibited and won awards in several art spaces and festivals and her research has been supported by the Canadian Social Sciences and Humanities Research Council (SSHRC). She is also the recipient of the 2017 RBC Arts Access Fund Award for Newcomer Artists in Canada.

CARLO SIEGA (Italy, 1989)
Winner of the prestigious Kranichsteiner Musikpreis for interpretation at the Ferienkurse für die Neue Musik in Darmstadt, Carlo is a guitarist and multimedia artist devoted to re-interpretation practice in new music. After graduating in guitar, he obtained the MA with honours at the "B. Marcello" Music Conservatory in Venice, continuing his studies at the IrMus of the "C. Abbado" Music School in Milan, and the ICTUS Academy in Brussels, obtaining the MA of Arts in Contemporary Music. He is currently a PhD candidate in Performing Arts at the 'Anton Bruckner' Privatuniversität in Linz (MDW Vienna). He graduated with honours in Philosophy from Ca' Foscari University in Venice.

VALENTIN SISMANN (France)
Valentin Sismann is a French acousmatic music composer and a video artist. After making the film In Repetito Religare with Audrey Colard, he decided to work with the video medium. His work has been shown in Europe, Latin America, Asia and the United States in collective exhibitions (U Contemporary Gallery, CUVO), projections (Digital Graffiti, Light Matter) and concerts (Supersonique, petites formes). In 2024, he won the DJTAL Humain prize for his video Screensong and the petites formes prize for his piece Loinaître. Valentin Sismann's work revolves around a reflection on recording media and their writing possibilities.