The work of the Israelian Keren Cytter focuses on relations, or on the impossibility of relations, as well as the impossibility of authentic film making. Her films constantly reflect on their own creation process, they disenchant, show that the 'magic light' isn't all that magical, but rather a construction - just like relations and sexuality... Cytter never does so with grudge or pessimism, but with playful and humoristic gestures that are touching and convincing. After working and living in Amsterdam and Berlin, she now resides in New York.

Inspired by early stereo imaging and the clash and collusion of socioeconomic forces, this suite of works seeks to dismantle cinematic codes while foregrounding projector and light as sculpture: a conscious corruption and interference of the apparatus to evoke the unexpected, reshaping representation into the realm of material and space. Using colour gels, masking, lens interference and projector movement in tandem with an exploration of binocular disparity, perspective, patterning and the film surface itself, APPARITIONS explores the transitional space between image and abstraction, nature and culture.

Visual rhetoric in a post-feminist era.

The use of selfies on the internet as an answer to the exploitation, sexualisation en objectification of the female body in today's consumer society manifests itself as a new tendency within (post-)feminism. This tendency is situated mainly on the internet and floods social media and blogs with snapshots of self aware teenagers in provocative poses and/or with eccentric looks. However, there is a thin line between the random selfie and the selfie as an activist tool for a feminist discourse, which has caused a lot of criticism and rejection from within the movement itself. Artists such as Katie Cercone, Amalia Ulman, Juno Calypso and Ann Hirsh make the distinction between cheap selfies and the intentional politicized self-recording in an artistic oeuvre.