A YouTube video, which is supposed to help the viewer against panic attacks and anxiety by focusing on his or her own breathing rhythm, served as the source material, which was graphically altered, filled with words and this way interpreted as a fleeting diagram of breath.

Pivoting between two stories of women and their relationships with objects—a Swedish woman’s marriage to the Berlin Wall, and a suffragette’s hatcheting of Velásquez’s The Toilet of Venus—Mary Helena Clark’s Exhibition is a maze-like tour through images and artifacts, a dense cryptography of the forms and objects that hold us in.​

Origami plays with perspectives and dimensions. Fractals and luminous geometry are here liquefied by the cathode ray tube of a hacked television set.

Other than the ocean, the rest of the planet was bathed in purple, which was due to the color of the vegetation. The change in the sun's radiation had probably caused the plants to evolve as they adapted to the new light.

In a near future, the artificial satellite Gilgamesh search the remains of man-made imagery in search of remembering something that has been forgotten.

Mainly shot in the peripheral areas of the ever-expanding Laem Chabang port in Chon Buri, Thailand, Notes from the Periphery interrogates the notion of territoriality, globalized networks, and ownership through fragmented relations of the affected sites and communities nearby, shipping containers that become a policing tool, and the life cycle of a barnacle.

The two best football teams of Yugoslavia met at the Maksimir Stadium in Zagreb on May 13, 1990. The match was never played.

Fragments untitled #6 vivisects media footage of the event. The film is part of Fragments untitled ongoing serial of works through which Doplgenger researches the politics of media images that participated in creating the historical narratives of Yugoslavia in the period of 1980-2000., especially media images that performed the pretext to the Yugoslav Wars and the breakup of Yugoslavia. Fragments untitled is based on the private archives of citizens who recorded the TV schemes in the 90s. At the same time these are the images that refer to contemporaneity.

Devil’s Peak reflects on recent unprecedented shifts in the socio-cultural fabric of the artist’s homeland of Hong Kong and a nagging anxiety that hangs over daily life in the former British Colony. Highly condensed glimpses of cityscapes and everyday life form a collage of overlapping poetic narratives and coded references. The film cycles through ominous sites of social tension, lush urban spectacle, relics of imperialist legacies, and places of personal significance—such as the artist’s 500-year-old ancestral village—at a rapid, frenetic pace. By interrogating highly subjective experiences in the context of a seemingly insurmountable change in the political and cultural fabric of his native city, Liu creates a site of remembrance for a time and place that may never be as it was.