In the film My Pictures of You, American-Swedish artist Lisa Tan looks at photographs taken on Mars by NASA expeditions. These pictures are interwoven with filmed sequences from Earth, and Tan muses over the bewildering similarity of the topography on the two different celestial bodies. At the same time, she talks with a researcher who is responsible for the operations of measuring water, soil, and atmosphere on the Mars expeditions, and she lays out for him some poetic speculations about the two planets. Tan thinks of Mars as Earth’s death mask, imagining that we can see our own future in the desolate, dusty red planet.

Bojan Fajfric’s The Cause of Death looks into the Black Wave cinema and the unfinished Cultural Revolution of 1968 as a way to understand our present times. The ‘Black Wave’ was a prolific phase in the Yugoslav cinema in the mid 1960s and early 1970s that introduced the failure of the protagonist as a means of critical examination of the society rejecting the norms and ideals of an optimistic official socialist culture. The artist is appropriating texts and actions from five major Black Wave characters from Yugoslav film history and inserting them into the settings and conditions of his personal life. The work unites a collective and personal experience, while playing with the limits of theirs recognition in different contexts and challenging the belief in language of art as an agency of change in the social reality.

Inscriptions (One Here Now) by Ailbhe Ní Bhriain draws us into the vertiginous depths of a quarry interior. The camera traces the deep-time of geological sequences, the scars left by machinery on the rock surfaces, and the sprayed industrial notations that codify the commodification and disappearance of landscape. In these disparate forms of inscription the film finds a metaphor for the Anthropocene – the current geological era in which human behaviour is the dominant force shaping environment and climate. A composition of filmic and computer-generated images, Ní Bhriain's work creates also encounters with animals that are now threatened with extinction, and that look back at the viewer.

Wanda Wanton is an aspiring artist from Wieliczka / Poland, working as a teacher of polish language. After work, Wanda devotes herself to a peculiar passion: she just loves to destroy things, and calls her acts of vandalism “acts of art” or simply “sculptures.” Vandalism becomes her life philosophy: destruction creates new order, therefore all creation has to be based on destruction. Wanda Wanton can be seen as an alter ego of Dominika Olszowy. By bringing her to life, the artist expresses her socially unacceptable desires. However, “Wanda Wanton,” first and foremost, casts a spotlight on the relationship between human and the surrounding matter, and asks a question: can vandalism be an act of emancipation, freeing an individual from the oppression of the enforced order?

In Yao Qingmei's Sanzu Ding and its Patterns: Hypotheses on the Origin of the Hammer – Sickle Sign, Professor Yao, a specialist in ancient Chinese ideograms, presents six hypotheses on the origin and development of a mysterious symbol based on her extensive research in the fields Archeology, semiology and psychoanalysis. The symbol was used on ancient ceramic vessels (“Sanzu Ding”) and has a surprising resemblance to the communist motif of hammer and sickle. The work and the fictional character “Professor Yao” evolved from a series of performances and lectures at universities and art centers in China, France, and Germany.