Martin Sulzer

Wayward Canadian, Matthew, crushed by the isolation of being new to Berlin, turns his sexual desires toward Matthias that spiral into a dark fixation of assumed identity. Soon, this obsessive power struggle between the two, careens toward brutal passion and violence in a bid for dominance.

The young prince decides to take revenge:putting himself insane, he wants to enlighten the murder of his father. Hamlet travels to England for a year and returns to kill the 11 uncles and save his mother.

As a child in Vietnam, Thao’s mother often rescued ants from bowls of sugar water. Years later they would return the favour. Boat People is an animated documentary that uses a striking metaphor to trace one family’s flight across the turbulent waters of history.

YOU ARE BORING! discusses the troublesome nature of “looking” and “being looked at” in larger contexts including labour within the new economy, performer/spectator relations, participatory culture, contemporary art display and queer representational politics.

This is a large projection of aerial footage that has been shot by pigeons equipped with lightweight digital cameras. With heavy wind and the nervous flapping of wings the viewer gets only a fractured impression, though immediately identifiable, of a political demonstration.

Both abject through its texture and relatable in its fragility, WETWARE offers hyperreality without the common symptoms of alienation. A seemingly self-sustaining ‘organism’ is generated completely in digital through synthesis without reliance on ’real’ imagery. The resulting image is limitless, perpetually spilling outside itself. Suggesting a feed pulsating beyond a bodily surface or even any bodily context, the work examines digital intimacies while also referencing worship music in its relaxing albeit disorienting sonic composition.

How religious narratives, particularly the story of Sodom and Gomorrah, shape moral and territorial frameworks while exposing the instability of interpretation itself. By adhering to the biblical text yet acknowledging the multiplicity implied in “version,” the piece confronts the impossibility of pure transmission of divine meaning. Its motion-captured performance translates scripture into digital ritual, reflecting religion’s performative repetition rather than belief. The transformation of human movement into clay-rendered 3D data underscores both the futility and faithfulness of human attempts to reproduce the sacred, where visible imperfections become signs of humanity’s flawed mediation of a presumed perfect divine source.