Annika Aschberg

Un coup de feu résonne derrière une porte dans un couloir d'immeuble moderne où vit une famille, Roger le père, Nadine la mère, et Laurent le fils. Que s'est-il passé ? Est-ce un meurtre ? Est-ce un suicide ? Est-ce une tentative de meurtre ? Est-ce une tentative de suicide ? Est-ce un accident ? Nous allons vivre avec chacun de ces trois personnages, à tour de rôle, essayant de savoir et de comprendre ce qui s'est passé durant cette journée. Une journée qui commence comme la plupart des journées ordinaires.

A young woman comes to a remote island to get away from it all, taking refuge at a modern studio utopia. Her stay is jarringly interrupted by an acoustic installation artist. Tension between the contrasting personalities rises as differing lifestyles and expectations clash. Meanwhile nature and mysterious sheep close in on the labyrinthian house.

Anger, anxiety and happiness are embodied through Oleg as he visits the exhibition The Beautiful Escape at CFHILL Art Space in Stockholm. The film "addresses the controversial concept of self-consciousness, and what happens when the viewer sees the artwork."

Anger, anxiety and happiness are embodied through Oleg as he visits the exhibition The Beautiful Escape at CFHILL Art Space in Stockholm. The film "addresses the controversial concept of self-consciousness, and what happens when the viewer sees the artwork."

Hull, England, 1970. In a run-down commune in a tough port city, a group of social misfits - mostly working class, mostly self-educated - adopted new identities and began making simple street theater under the name COUM Transmissions. Their playful performances gradually gave way to work that dealt openly with sex, pornography, and violence. COUM lived on the edges of society, surviving on meager resources, finding fellowship with others marginalized by the mainstream. At the core of the group were two artists, Genesis P-Orridge and Cosey Fanni Tutti. As their work evolved, Cosey embarked on a career modeling for pornographic magazines, which she claimed for herself as a conceptual artwork, using it to forge a specific position in relationship to 1970s feminism. In performances, Genesis pushed himself to extremes, testing the limits of the human body.