Tuesday, September 11, 2018

"Divided We Stand", Busan Biennale, 8 September-11 November 2018, Busan, South Korea

Design: Kwon Joonho (Everyday Practice). Courtesy of Busan Biennale.
Busan Biennale 2018
Divided We Stand
September 8–November 11, 2018

Busan Biennale
South Korea

T +82 51 503 6579

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The Busan Biennale reveals the list of artists for its 2018 edition. The 65 participants from 34 countries were selected by Artistic Director Cristina Ricupero, Curator Jörg Heiser and Guest Curator Gahee Park, with the help of an advisory board including Jee-sook Beck, Youngwook Lee, Minouk Lim, and Manu D. Park, as well as further advice from Tarek Abou El Fetouh, Julia Grosse, and Yekhan Pinarligil.

Titled Divided We Stand, the theme of the 9th Busan Biennale is that of split territories as reflected in artists’ work from around the world. The exhibition will take place at the Museum of Contemporary Art Busan and the former Bank of Korea in Busan. The two venues reflect the biennale’s theme: at the newly opened museum, the main focus is the Cold War era and its uncanny return in the present, while at the former Bank of Korea building, alternate futurist scenarios will unfold, looking at our current state of being through the lens of science fiction. The exhibition architecture for both venues has been designed by mnlp architects (Seoul/London).
The initial list of artists is as follows:

Basel Abbas and Ruanne Abou-Rahme (Cyprus/USA), Bani Abidi (Pakistan), Chantal Akerman (Belgium), Dora Longo Bahia (Brazil), Maja Bajevic (Bosnia and Herzegovina), Khaled Barakeh (Syria), Yael Bartana (Israel), Jean-Luc Blanc (France), Oscar Chan Yik Long (Hong Kong), Onejoon Che (South Korea), Mina Cheon (South Korea), Chin Cheng Te (Taiwan), Sunah Choi (South Korea), Phil Collins (UK), Christoph Dettmeier (Germany), Mauricio Dias & WalterRiedweg (Brazil/Switzherland), Smadar Dreyfus (Israel), Eva Grubinger (Austria), Joana Hadjithomas & Khalil Joreige (Lebanon), Ramin & Rokni Haerizadeh and Hesam Rahmanian (Iran/Iran/USA), Flaka Haliti (Kosovo), Kiluanji Kia Henda (Angola), Andy Hope 1930 (Germany), Hsu Chia-Wei (Taiwan), Young Zoo Im (South Korea), Joo Hwang (South Korea), Yunsun Jung (South Korea), Nikita Kadan (Ukraine), Wanuri Kahiu (Kenya), Amar Kanwar (India), Hayoun Kwon (South Korea), Oliver Laric (Austria), Minwhee Lee & Yun Choi (South Korea), Gabriel Lester (Netherlands), Minouk Lim (South Korea), Laura Lima & Zé Carlos Garcia (Brazil), Lin + Lam (USA/Canada), Liu Ding (China), Marko Lulic (Austria), Fabian Marti (Switzerland), Augustin Maurs (France), Metahaven (Netherlands), Nástio Mosquito (Angola), Henrike Naumann (Germany), Marcel Odenbach (Germany), Melik Ohanian (France), Ferhat Özgür (Turkey), Kelvin Kyung Kun Park (South Korea), Susan Philipsz (UK), Adrian Piper (USA), Min Jeong Seo (South Korea), Bruno Serralongue (France), Tayfun Serttaş (Turkey), Hito Steyerl (Germany), Jan Svenungsson (Sweden), Tamura Yuichiro (Japan), Javier Téllez (Venezuela), The Propeller Group (Vietnam/Vietnam/USA), Suzanne Treister (UK), Lars von Trier (Denmark), Nomeda & Gediminas Urbonas (Lithuania), Jane and Louise Wilson (UK), Ming Wong (Singapore), Ulrich Wüst (Germany), Zhang Peili (China)
Further information is available upon request.

Press contact: juhwa.moon [​at​] busanbiennale.org
Busan Biennale

Friday, April 07, 2017

"LOOP Fair 2017 - Barcelona", May 25-26 2017

LOOP Barcelona

Olivia Mihaltianu, Film métrage, 2016. Super 8 film transferred to HD Video installation, 1:40 minutes. Courtesy Anca Poterasu Gallery (Bucharest). 

LOOP Fair 2017: 48-hour panorama of contemporary video and artist films 

May 25–26, 2017

Pelai, 28
08001 Barcelona

+34 932 155 260

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Thursday, May 25
Talks: 10am–noon
Professionals: noon–9pm
Vernissage: 7:30pm

Friday, May 26
Talks: 10am–1:30pm and 4–6:30pm
Professionals: 11am–4pm
General public: 4–8pm

Professional accreditation

The selection of videos and films presented in the annual LOOP FairMay 25 through 26, will include works by Lhola Amira (SMAC Gallery); Shigeo Arikawa (Galerie Mazzoli); Marcos Ávila Forero (ADN Galeria and Galerie Dohyang Lee); Ismaïl Bahri (Galerie Les filles du calvaire); Melanie Bonajo (AKINCI); Elke Andreas Boon (Annie Gentils Gallery); Sander Breure and Witte van Hulzen (tegenboschvanvreden); Tang Chao(Vanguard Gallery); Ali Cherri (Galerie Imane Farès); Hsu Chia-Wei (Liang Gallery); Sarah Choo Jing (A.I. Gallery); Aukje Dekker (Galerie Gabriel Rolt); Olivier Dollinger (Galerie Eva Meyer); Esther Ferrer (àngels barcelona); Anne-Charlotte Finel (Galerie Jousse Entreprise); Gianfranco Foschino (Christopher Grimes Gallery); Yona Friedman (Galerie Jérôme Poggi); Mats Hjelm (Cecilia Hillström Gallery); Erdal İnci (Art On İstanbul); Taro Izumi (Galerie GP & N Vallois); Ali Kazma (ANALIX FOREVER); Evangelia Kranioti (Galerie Sator); Glenda León (Galeria SENDA); Cristina Lucas (Galería Juana de Aizpuru); Lukas Marxt (Galerie Reinthaler); Olivia Mihaltianu (Anca Poterasu Gallery); Mohau Modisakeng (Galerie Ron Mandos); Marina Núñez (RocioSantaCruz); Damir Očko (EASTWARDS PROSPECTUS); Ferhat Ozgur (The Pill); Sasha Pirogova (Triangle Gallery); Tom Pnini (Chelouche Gallery for Contemporary Art); Renata Poljak (Galerija Kranjčar); Chen Qiulin (A Thousand Plateaus Art Space); David Raffini and Florian Pugnaire (Galerie Papillon); Sara Ramo (Travesía Cuatro); Leticia Ramos (Mendes Wood DM); James Rielly (New Art Projects); Rafaël Rozendaal (Steve Turner); Tercerunquinto (Proyectos Monclova); Nicoline van Harskamp (waterside contemporary); Steina and Woody Vasulka (BERG Contemporary); and Apichatpong Weerasethakul(Anthony Reynolds Gallery).

The videos and films aptly selected by the fair's committee—collectors Jean Conrad and Isabelle Lemaître, Haro Cumbusyan, Renée Drake, and Marc and Josée Gensollen—reinforce the relationship between the concomitant fields of contemporary art and cinema, while proposing a decentralized perspective of these practices—with participants from Colombia, Croatia, Greece, Iceland, Israel, Japan, Romania, South Africa, Sweden, Taiwan, Thailand or Turkey, as well as from other significant production centres, such as Amsterdam, Berlin, London, Los Angeles, Mexico City, Paris, or São Paulo.

The selection will offer an insight on the leading modes of critical thought and research explored by the artists. Simultaneously, this year the LOOP Festival and Talks will revisit early video art, while offering an opportunity to rethink the evolution and role that video took on in the definition of contemporary discourse, up until today.

Testifying to the constant growth of our sound community of collaborators, LOOP establishes different initiatives aimed at a specialized audience:

The LOOP Acquisition Award, given to a film that will be acquired and included in the LOOP Collection, and lent to the MACBA; and the LOOP Fair Award, to the best gallery proposal. Ferran Barenblit, Director of the MACBA, will chair the jury.

The SELECTED book, which this year will count on an editorial team's contribution. Formed by invited new and experienced curators and researchers, it will compile texts for a contextualized guide of the LOOP Fair.

VIDEOCLOOP, the new online showcase of moving image artworks that will be launched to foster the study and promotion of the medium through the videos and films that have participated at LOOP Fair during the last 15 years.

LOOP Barcelona is a platform devoted to moving image practices in contemporary art. It organises LOOP Fair, the first art fair devoted exclusively to video art launched in 2003, and an annual festival and professional meeting point.

Don't miss out on it: professional accreditation here.


Saturday, April 01, 2017

"I Heard You Laughing", Zürich University of The Arts. April 6 2017.

Ferhat Özgür "I Can Sing", 2008, video still.

After the video series at Galerie Gregor Staiger-Zürich, we are happy to announce a talk and screening event at the Zurich University of the Arts to conclude the program.
Screening & Talk at Zurich University of the Arts (ZHdK)
With Myriam Ben Salah & Martha Kirszenbaum
April 6, 2017, 7PM
Bendaly Family, Do You Love Me? , 1978, 3:32 min
Meriem Bennani, Fly, 2016, 17:32 min
Fairuz, Laylit Eid (Jingle Bells), c.1965, 2:51 min
Sarah Abu Abdallah, Out to Lunch, 2013, 9:54 min
Dor Zlekha Levy, The Tarab Prince, 2014, 1:49 min
Ferhat Özgür, ‘I Can Sing’, 2008, 7 min
Fatima Al Qadiri and Khalid Al Gharaballi, MENDEEL UM A7MAD (NxIxSxM), 2012, 15:50 min
Googoosh, Pishkesh, live on Manoto TV, 1972, 3:30 min
Toni Areal KINO, 3. Floor, Room 3.G03
Artists from the Middle East are often associated with narratives of struggle and rhetoric of the past. Some end up making works that are almost a response to a Western “tacit commission”—as coined by Moroccan scholar Mohamed Rachdi—arbitrarily linking authenticity with traumatic storytelling. ‘I Heard You Laughing’ borrows its title from 14th century Persian poet Hafez’s book “I Heard God Laughing,” where he lauded the joys of love, humor and irony, three clogged pillars of Middle-Eastern culture that are making a controversial comeback in the works of a younger generation of artists from the region.
The screening reflects on the importance of popular culture, the omnipresence of technologies and the role of music and dance, while tackling a form of vernacular disorientalism and conveying a certain digital cosmopolitanism. It comprises selected music videos from iconic Middle-Eastern musicians of the 1950s-60s-70s alongside video works by contemporary artists that reflect the complexities of this often oversimplified ‘East-West’ configuration
MARTHA KIRSZENBAUM (b.1983, Vitry-sur-Seine, France) is a curator and writer based in Los Angeles, where she was the Director and Curator of Fahrenheit, an exhibition space and residency program (2014-16). She graduated from Sciences Po in Paris and Columbia University in New York, and worked at Media Department of MoMA in New York (2006-07), the Photography Department of Centre Georges Pompidou in Paris (2007) and at the New Museum in New York (2008-10). Additionally, she collaborated with the Center for Contem- porary Art in Warsaw, the Belvedere Museum/21er Haus in Vienna, the Marrakech Biennale, Palais de Tokyo in Paris and the Kunsthalle Mulhouse. Kirszenbaum is a regular contributor to Flash Art, CURA, Kaleidoscope and Mousse, and has led seminars on curatorial practice at the Université Paris VIII and Parsons, Paris.
MYRIAM BEN SALAH (b.1985, Algiers, Algeria) is a curator and writer based in Paris, where she has been coordinating special projects and public programs at Palais de Tokyo since 2009, focusing especially on performance art, video and publishing initiatives. She is the Editor in Chief of KALEIDOSCOPE magazine’s International Edition. She co-edits F.A.Q., a periodical image-only magazine with artist Maurizio Cattelan, and her writings have appeared in numerous international art publications. Her latest curatorial projects include Cool Memories (Occidental Temporary, Paris, 2016), Like the Desert Miss the Real (Galerie Steinek as part of « Curated-by », Vienna, 2015), Dirty Linen (DESTE Foundation at the Benaki Museum, Athens, 2015), Shit and Die (Palazzo Cavour as part of Artissima collateral program, Turin, 2014).
Hosted by BA Art & Media
Zürcher Hochschule der Künste
Zurich University of the Arts

Zurich University of the Arts, Toni-Areal, Pfingstweidstrasse 96, P.O. Box, CH-8031 Zurich

Wednesday, March 29, 2017

Ferhat Özgür, "Conquest", double screen video, 2017, still.

The Old Left and the New Right
April 4–July 13, 2017

The Extreme Centre: April 18–19, A symposium on the future of politics in populist times with Tariq Ali, Ágnes Heller, Srećko Horvat, Saskia Sassen, Andreas Speit, Teresa Forcades. Performances: Michael Portnoy, Laibach
Volksbühne am Rudolfplatz, Aachener Str. 5, 50674 Cologne

Ever since the end of the Cold War, the conventional categories of Left and Right have been in doubt, yet it is especially in the last five years that there has been a fundamental global shift. New populisms arise not only in Europe and the US, but also in the Middle East or in Asia, and often they defy clear political classification. Authoritarianism and plebiscitary democracy blend, as former leftwing constituencies are captivated by nationalist and protectionist agendas. Conservatives cast themselves as reformers or even radicals, appropriating cultural techniques for anti-establishment resistance traditionally associated with progressives and anti-capitalists. What does the rise of this new right mean to the old left, and where do these categories become meaningless or suspended? Is the matter so simple as a mere retribalization of politics? These are the questions that guide Academy of Arts of the World program of the spring 2017, PLURIVERSALE VI: The Old Left and the New Right.

Opening on April 4, the group exhibition Enigmatic Majorities at ACADEMYSPACE features works by Anne Arndt, Xiao Ke/Zi Han, Cristina Lucas, Ferhat Özgür, Anand Patwardhan, Tomas Rafa, and Chulayarnnon Siriphol, and addresses the global dimension of the current shift. In their films, artists face “the people” in moments when that category is celebrated or only just constructed as an “empty signifier” floating in space, ready to gravitate this way or that.

The cornerstone of the season is the symposium The Extreme Centre on April 18 and 19 at Volksbühne am Rudolfplatz with the participation of historian and author Tariq Ali, sociologist Saskia Sassen, philosopher Ágnes Heller, journalist and writer Andreas Speit, social activist Teresa Forcades and philosopher and activist Srećko Horvat. The symposium takes its title from a recent book by Tariq Ali and looks at the future of politics in populist times.

On April 18, at the end of the first day of the symposium, Academy is proud to premiere a performance by New York–based artist Michael Portnoy, who, with his usual touch of paradox and sense of humor, will artistically reflect upon current political debates, in particular so-called “character assassination," the deliberate destruction of reputations through the misrepresentation of facts. The symposium ends April 19 with a live performance by one of the pioneers of antifascist subversion, the legendary Slovenian group Laibach.

As a follow-up to the symposium, Academy Member Mark Terkessidis, journalist Richard Gebhardt and anti-fascist activist Bianca Klose explore the rise of right-wing populism and the simultaneous decline of old-school right-wing parties in a discussion at ACADEMYSPACE on May 11.

Later in the program, the Academy presents the German premiere of the most recent monumental film by renowned Indian documentary filmmaker and political activist Anand PatwardhanJa Bhim Comrade (May 30 at Filmpalette). Also premiering are new artistic productions and coproductions by the Academy, among them Katarina Zdjelar’s new film on German choreographer Dore Hoyer’s work in the GDR inspired by Käthe Kollwitz (June 20at the Kunsthochschule für Medien KHM) and Nature Theater of Oklahoma’s new film Germany: Year 2071 on June 25, the latter made in cooperation with Impulse Theater Festival. This year, the Academy also presents the results of its new experimental Open Call in the Paris region, initiated by Academy Member Monika Gintersdorfer.

On July 13, PLURIVERSALE VI ends with a lecture by British American political scientist Arun Kundnani on the relation of the right-wing with Islamophobia in the West and another Academy commission, a new sound performance by Academy Member Terre Thaemlitz, reflecting on the bourgeois, heterosexist notions of marriage, family and childbearing in their global dimension.
This season, the Academy also continues its educational program, the Youth Academy, with new guest artists, Bik van der Pol. A new reading group accompanies the entire program, following its themes with deeper readings.
Curated by Ekaterina Degot, David Riff, Aneta Rostkowska and the entire Academy team.

A full program of events will be presented shortly on www.academycologne.org.

"Unfold / Katmanları Açmak', Arte Sanat-Ankara, 4 April-6 May 2017

Monday, November 28, 2016

"SHAME: 100 REASONS FOR TURNING RED", Exhibition 26.11.2016 – 5.6.2017, Dresden

Deutsches Hygiene-Museum Dresden

Curator: Daniel Tyradellis, Berlin Scenography: Roger Bundschuh, Berlin

Nobuyoshi Araki (*1940), Kurdwin Ayub (*1990), Leigh Bowery (19611994), Jörg Buttgereit (*1963), VALIE EXPORT (*1940), Christian Jankowski (*1968), Terence Koh (*1977), Leigh Ledare (*1976), Victoria Lomasko (*1978), Alex McQuilkin (*1980), Erik van Lieshout (*1968), Margret- Secret Diary (1969/70), Ferhat Özgür (*1965), Dennis O’Rourke (19452013), Bruce Richards (*1948), Rokudenashiko (*1972), Joanna Rytel (*1974), Sašo Sedlaček (*1974), Jan M. Sieber (*1975) und Ralph Kistler (*1969), Thomas Schütte (*1954), Helmut Schwickerath (*1938), Miroslav Tichý (19262011), Phillip Toledano (*1968), Oliviero Toscani (*1942), Danh Vō (*1975), Marie Voignier (*1974)

The sense of shame is a feeling we have been familiar with ever since we were children, and even as adults we encounter it time and again in all sorts of situations. No-one really likes to feel ashamed; on the contrary: shame is rather an unpleasant feeling. So perhaps it’s worth taking a closer look at what this emotion is all about. Most of the time shame can completely overwhelm us – and we don’t have to think long and hard about why we feel ashamed. And the reactions it triggers are nothing if not physical. We begin to sweat, we blush, or we hide our face. We reasons why and how much we feel ashamed can vary greatly from one person to the next. But shame is far more than a merely subjective emotion. Psychologists and sociologists have described its elementary significance for the proper functioning of society. 

Indeed, shame imperceptibly connects an individual’s self- perception with the values and rules of his or her community. So the capacity to feel shame also contributes to the inner cohesion of a particular society. In any case there is one thing that visitors to the exhibition will soon realise: it is a complete misconception to think that we live in shameless times, as some cultural critics would have us believe!

Alongside cultural-historical exhibits, documents and media, the exhibition also showcases works by the following artists:

The 100 Reasons
On your way round the central body of the exhibition you’ll come across all 100 reasons for being ashamed and even a few more:
1 Being looked at
2 Blushing
3 Being sized up
4 Cutting a poor figure 5 Not being normal

6 Flaws
7 Crooked nose
8 Being ill
9 Skin rash
10 BMI
11 Disrobing / Removing
one’s clothes
12 Being scanned
13 Touching
14 Masturbating
15 Being in love
16 Private parts
17 Farting
18 Tensing
19 Being curious
20 Foreign customs
21 Unveiling
22 Lack of respect
23 Incomprehension
24 Camera view
25 Defecation
26 Being naked
27 Short skirts
28 Being on display
29 Erection
30 Uncertainty
31 Being inducted
32 Being the focal point 33 Losing face

34 Having no voice 35 Quarrelling
36 Slighted honour 37 Indiscretion

38 Sin
39 Feeling of guilt
40 Being defiled
41 The holy of holies 42 Philanthropy
43 Secrets
44 Family
45 Two-timing
46 Pride
47 Forgetting
48 Public opinion
49 Monitoring
50 Lack of recognition 51 Disproportionality 52 Wittiness
53 Crossing the line 54 Being German
55 Remembering
56 Hate
57 Bigotry
58 Homelessness
59 Poverty
60 Helping
61 Image damage
62 Conformity
63 Unemployment
64 Addiction
65 Loneliness
66 Prudishness
67 Cohesion

68 Humiliation 69 Blackface
70 Dehumanising 71 Shitstorm

72 Anonymity
73 Big mouth
74 Making a mess 75 Behaviour
76 Embarrassment 77 Subtle differences 78 Long skirts
79 Cruising
80 Civilising process 81 Laughing
82 Naivety
83 Provocation
84 Perversion
85 Dirty mind
86 Condemnation
87 Shamelessness 88 Self-portrayal
89 ‘Soul murder’
90 Abuse of power 91 Nuclear family
92 Motherly love
93 Narcissism
94 Imperfection
95 Being different
96 Empathy
97 Making a fool of oneself
98 Artificiality
99 Authenticity
100 Shame 

A chest examination: is the gaze of science free of shame? X-ray examination, 1896.
© Deutsches Röntgen-Museum, Remscheid

Covering up the genitals I: Boastfulness?
Codpiece from a suit of armour, Nuremberg, 1540
© Germanisches Nationalmuseum, Nuremberg. Photo: Monika Runge

Groping: who’s embarrassed here – the passer-by or the artist? VALIE EXPORT, Tapp- und Tastkino, 1968.
© The Artist and sixpackfilm, VG Bildkunst, Bonn 2016

Covering up the genitals II: Prudishness?
Bruce Richards, Grand Tour, 2014.
© The Artist and Jack Rutberg Fine Arts, Los Angeles (CA), USA

Is it possible to be publicly ashamed?
Christian Jankowski, Schamkasten, 1992. © Courtesy of the Artist


Deutsches Hygiene-Museum Lingnerplatz 1
D-01069 Dresden, Germany 0351 4846-400
Tue to Sun and public holidays
10 am to 6 pm
Closed 24 and 25 December 2016 and New Year’s Day
Standard adult ticket: EUR 7 Concessions: EUR 3 Admission free up to age 16 Family ticket: EUR 11
From the city centre/Frauenkirche approx. 10 minutes on foot or take tram lines 1, 2, 4 or 12 to ‘Deutsches Hygiene-Museum’ or tram lines 10 and 13 to ‘Grosser Garten’ 

Thursday, November 10, 2016

Jubilee Event of Visarte in Lucerne - Switzerland, 07.11.2016

Block A     (22')     16:00 Uhr und 20:30 Uhr 

Max Philipp SchmidStella Händler, Knut Jensen, Christian Regenass, Combo, 1995, 6'58

Dominik Stauch, Coast to Coast, 2016, 6'14

Alexander HahnRandom Frequences I, 1981, 3'34

Pipilotti Rist,You Called Me Jacky, 1990, 4’00

Block B     (24')    17:00 Uhr und 21:30 Uhr

Zilla Leutenegger, Low Battery Day, 2011, 17"

Roman Signer, D’ont cross the line, 2002, 5'54

Simone Zaugg, Berg und Beton, 2013, 07'39

Myriam Thyes, Analytischer Tagtraum Nr. 4, 2014, 2'15

Michael Spahr, Globocity. Rise & Fall, 2009/2016, 7'30

Block C    (28')     18:00 Uhr und 22:30 Uhr

Yves Netzhammer, Die Möglichkeit nicht mehr haben, sich weniger ähnlich zu sein, 2003, 12'27

Elodie Pong, Je suis une bombe, 2006, 6'35

Jeanette Ehlers, Black Bullets, 2012, 05'05

Ursula Palla, Flowers 2, 2001, 2'23 

Block D    ( 27')    19:00 Uhr und 23:30 Uhr

Susanne Hofer, Le Jeu d'amour, 2001, 2'30

Ferhat Özgür, Remains of the day, 2013, 11'09

Renata Bünter, Mittwoch, 2014, 3'00 (ohne ton)

Silvie und Chérif Defraoui, Les Formes du Recit, 1980, 9'10

Zilla Leutenegger, I love you, 2011 15" (4 x gespielt – am Ende jedes Blocks)

Um Mitternacht nochmals alle 4 Blöcke hintereinander

'video art', tulla culture center, tirana-albania, 10 November 2016

13:30 COMPETITION | Video Art 1 | Tulla - Culture Center

Detour by Ivi Topp |2015| France | 6'
Za Andreja by Mary Marinpoulou |2016| Slovenia | 2'
Origin by Mary Marinopoulou, Charlène Biju |2015| Greece | 1'
Anarchy by Fani Zguro |2014| Albania | 10'
Film by Ilir Lluka |2015| Albania | 17'
Adam's Apple by Alketa Ramaj |2013| Albania | 4'
Exchange domination by Gentian Gjikopulli |2013| Albania | 4'
Tescani. No Limits by Ana Catalina Gubandru |2016| Romania | 9'
Under Collar by KOJA |2012| Kosova | 7'
Remains of the Day by Ferhat Özgür |2013| Turkey | 13'
Je Suis Malade by Cappella Dejan |2014 | 9'