Giuria
Julia Draganovic si interessa di tutte le nuove strategie artistiche, è curatrice e critica d’arte contemporanea. Dal gennaio 2007 fino al febbraio 2009 è stata Direttore artistico del PAN Palazzo| Palazzo delle Arti Napoli. E’ stata project leader della collaborazione fra il PAN, il PS1/ MoMA New York e la Perna Foundation nell’ambito del progetto ART RADIO LIVE in occasione dell’inaugurazione della Biennale di Venezia 2007 e co-curatore della serie di conferenze internazionali “International Forum on Documentation and New Media Art”. Ha curato per il PAN mostre all’Istituto Italiano di Cultura New York, al Kaohsiung Museum of Fine Arts, Taiwan e all’Art Miami Video e New Media Lounge. Nata in Germania, curatore e critico, ora residente in Italia. E' stata recentemente Chief Curator del Museo PAN di Napoli. Ha ottenuto il Dottorato universitario in Storia dell'arte, Filosofia, Letteratura, alla Westfaelische Wilhelms Universtitaet, Muenster, Germania.

Juror 2010
Mark Gisbourne is a former Tutor, Courtauld Institute of Art, University of London; Lecturer, Slade School of Fine Art, University College, University of London; and Post-Graduate Senior Lecturer in Post-war and Contemporary Art, at Sotheby's Institute (Manchester University Master's Programme). A former President of the British Art Critics Association (AICA), and International Vice President. He co-organised the World Congress of Art Critics at Tate Modern, 2000. A curator and critic his many publications include Berlin Art Now (Thames & Hudson, English and German editions, 2006), Double Act: Two Artists One-Expression (Prestel, German and English editions 2007), and among his recent books are TERRAE 'Manel Armengol' (Turner Books, English and Spanish editions 2010); Martin Assig; Vasen, Gipfel, Menschen (Schirmer/Mosel English/German, 2010); Ann Wolff (Kerber, German and English editions). Books on photography documenting the building of Brasilia, and contributions to 'POLISH', a new book on Polish contemporary art are forthcoming. He currently lives and works in Berlin.

Is a curator of Chilean origin, now living in Berlin, specialized in moving image art. She has developed innovative displays for video art exhibitions, rescuing the experimental roots of the public and social first screenings as well as commissioning video artists to stage live their film making, as performance. She has curated “Comunidad Ficticia” (Matucana 100, Santiago, 2009); “Berlin change plus vite que mon coeur - Images mouvantes pour une vision actuelle” (Lille3000, 2009, Lille); “After the Light: Moving Image displayed at Night“ (Radialsystem, Berlin, 2008); “Where is the contemporary Art Today?” (Museo de Arte Contemporáneo, Sao Paulo, 2007); “TV. Room” (CCPLM and Bienal de Performance, Santiago, 2006) and “Videocracy” (Bienal de Videos y Nuevos Medios, Santiago, 2005). She has commissioned the film-performances “El Húsar de la Muerte” to Thomas Köner in 2006-2007, “IDLE BY“ to Trine Lise Nedreaas in 2008 and “Six Easy Pieces“ to Reynold Reynolds in 2009. She is currently preparing her upcoming project for Radialsystem in Berlin “Performing the Moving Image.

Professor of History of Contemporary Art at the University of Sassari, Italy, member of AICA and the Italian Order of Journalists. Among her recent publications are Antonio Marras. Il racconto della forma (Ilisso, 2003); Costantino Nivola, Ilisso, 2004; Urp! Dieci posizioni tra pubblico e privato (with Mark Gisbourne, Silvana 2006); Noi facciamo, loro guardano. Carol Rama e Antonio Marras (with Maria Luisa Frisa, 2006); Le reflet, le doute, la menace, (with Anne Alessandri, Christophe Domino, 2008); Giardini di seta. Vittorio Accornero per Gucci 1960-1980, (Agave, Sassari 2009). Writing for: Flash Art, Arte & Critica, Domus, Forme Moderne, La Nuova Sardegna.

She is interested in art practices that engage the social, political and emotional complexities of our experiences in the world. She works to build the collection of Canadian and international contemporary art at the National Gallery of Canada and has recently been focusing on the enrichment of the collection of contemporary drawing in preparation for a touring exhibition. She is also interested in opportunities within and outside the museum to bring artists, curators and other critical practitioners to Ottawa to present their work to local audiences.

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Since 2004 she has been the director of Laznia Centre for Contemporary Art. Before that, she worked at the National Museum in Gdansk. She started her managerial career already as a student, organizing art projects, which subsequently allowed her to obtain an extra degree in culture management. Her main realizations: Zooming Films series (1989), the festivals: The World of Józef Szajna and The World According to the Themersons (1993). Main curated exhibitions: Around Kapizm School (1995, Artgenda for young artists promoting young artists within the European Capital of Culture Copenhagen 96 programme, Spektrum – Polish-German Creative Encounter Project - exhibitions in Gdansk and Regensburg (1999)and Space as the place (2007). Since 2005, she has realized the Outdoor Gallery of the City of Gdansk project. She obtained the Award of the Mayor of the City of Gdansk in category Culture. In 2008, together with the entire Laznia team, she obtained the Bronze Medal “Merit to Culture Gloria Artis”, awarded by the Minister of Culture and National Heritage. She contributes texts to art magazines and the catalogues of the realized art projects.

Cecilia Freschini is an independent curator and art writer based in China. In 2009 she was Director and Curator of the Chinese Pavilion at the 4th Prague Biennial, with the project “China Box”. After working partnerships with National Art Museums in Verona, Palazzo Forti, and in Bologna with GAM, and with private galleries, in 2005 Cecilia moved to China. Fascinated by the dynamic environment in China she has curatored several cultural projects between Europe and China. She has specialized in contemporary Chinese visual and performing arts, succeeding in organizing several exchanges and collaborations with international galleries, institutions, art fairs and magazines. Her writings on contemporary art and market appear regularly in Flash Art International, Exibart On Paper, Lobodilattice, Art Manager and Contemporary Art and Investiment, books and exhibition catalogues. Cecilia Freschini has graduated from the International Finance & Economy Department of Bologna University, with a specialization’s degree in Contemporary Art Management in 2004.

Editor and Director of art.es (an international art magazine: www.art-es.es) based in Spain. He is also an independent art critic and curator.

Art critic and curator based in Tel Aviv, Israel. From 2001-2005 she worked at Creative Time, New York’s most adventurous Public Art organization as a curator and producer, working with artists such as Laurie Anderson, David Byrne, Jenny Holzer, Kim Sooja, Ben Rubin and many others on enlivening the streets of New York. Since 2008 she has been working with Artis, a non-profit organization dedicated to supporting and promoting Israeli contemporary art. In February 2010 she curated “The Calm Before the Storm, New Video Art from Israel” at the Winzavod Art Center in Moscow. As a writer and critic she contributes on a weekly basis to Yedioth Aharonot, Israel’s largest daily newspaper. Other publications include Programma Mgazine, CMJ Magazine, Haaretz Daily newspaper and Maariv daily newspaper.

Helsinki-based art historian and curator Kati Kivinen has been working as curator for temporary exhibitions at the Museum of Contemporary Art KIASMA since 2003. Before she has been working as coordinator for the Finnish Fund for Art Exchange FRAME. In July 2009 Kivinen was appointed Artistic Director of AV-arkki, the Distribution Centre for Finnish Media Art, for the year 2010. She received her MA at the University of Helsinki in 2000 and her work as a freelance curator started in 1999. Her freelance projects include f.ex. the touring exhibition Don't Worry - Be Curious! The 4th Ars Baltica Triennial of Photographic Art (together with Dorothee Bienert and Enrico Lunghi), 2007-2008, and Touching from a Distance at the Crawford Municipal Art Gallery in Cork, Ireland, 2002. She is currently writing her doctoral dissertation in Art History at the University of Helsinki. Her doctoral studies are a part of research in Finnish video art installations funded by Academy of Finland. She is the vice president of the Finnish Society for Curators - SKY, and a member of the IKT - International Association of Curators of Contemporary Art since 2006.

Studies in art history and cultural sciences in Erlangen, Leipzig and Barcelona. Working for diverse exhibition projects, among others "Making things public - Atmospheres of democracy" at ZKM Karlsruhe; working for several years freelance at Gallery Anita Beckers, Frankfurt/Main, with an emphasis on video art. Since 2008 project manager for the video art festival VIDEONALE in Bonn.

New York based artist-curator and art producer. He has developed art projects nationally and internationally in collaboration with galleries and institutions. While based in Miami, Navarro worked in a variety of arts institutions, he was an associate curator at the Art Gallery System of the Miami Dade Collage, where he assisted in the development of the exhibition program. From 2001-2006, he was associate director for Bernice Steinbaum Gallery, worked in the development of nearly 100 exhibitions. Currently, Navarro is Associate Curator at No Longer Empty in New York City.

After having studied art of the Old Masters I developed an interest in contemporary art. Started by doing production work for young artists followed by working a.o. the Centraal Museum Utrecht, Ellen de Bruijne Projects, Amsterdam; TENT. Rotterdam; SKOR (art in public space), Amsterdam and as a curator at Museum Boijmans Van Beuningen, Rotterdam.

Colombian-born art curator and organiser; Now based in New York, where he has run art spaces and founded 'No Longer Empty', a non-profit organisation, active in promoting artists work in disused and abandoned spaces.

Curator and co- Founder of No Longer Empty (NLE), a non-profit organization whose mission is to introduce high caliber art to a wider public by temporarily transforming vacant spaces throughout the city. Comprised of arts advocates, curators and artists, NLE is committed to connecting with communities through art and to exploring and unleashing creative expression. Founded in June 2009, NLE has completed six projects to date which have met with both popular and critical acclaim. Prior to NLE, Manon Slome was chief curator of the Chelsea Art Museum, overseeing exhibitions, symposia and catalogues. She was assistant curator and Director of Special Exhibitions at the Guggenheim Museum (1994- 2001).

Freelance curator, based in Almaty, Kazakhstan; Chair Person of the Board of Asia Art+ PF. She received a university degree in artistic-drawing at the faculty of the Kazakh Pedagogical University named after Abai, Almaty, and in cinema history.

An independent curator currently based in London. He is the co-curator of the 4th Young Artists’ Biennial in Bucharest and the founder of the nomadic exhibition, the International Guerrilla Video Festival, that aims to integrates art into the urban social landscape. He has previously worked with the Solomon R. Guggenheim Museum in New York, Cittadellarte-Fondazione Pistoletto, Italy and Independent Curators International, New York.

Selector Live Media Prize
Recognized as a pioneering force in the integration of dance and media, composer/media artist Mark Coniglio creates large-scale performance works that combine music, dance, theater and interactive media. With choreographer Dawn Stoppiello he is co-founder of Troika Ranch a dance theater company committed to creating hybrid, media intensive performances. They have been honored with a New York Dance and Performance “Bessie” Award, an honorary mention at Prix Ars Electronica, and an “Eddy” award from Live Design magazine. Coniglio’s artistic practice has included the creation of custom interactive systems that allow performers to manipulate video, sound, and light in real-time. His first breakthrough came in 1989 when he created MidiDancer, a wireless system that allowed a performer to interactively control music. His passion for giving control to the performer led him to create the award-winning software Isadora®, a flexible graphic programming environment that provides interactive control over digital media. A native of Nebraska, he received his degree in music composition in 1989 from California Institute of the Arts where he studied with electronic music pioneer Morton Subotnick.

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Alessandro Ludovico is a media critic and editor in chief of Neural magazine since 1993. He's one of the founders of the 'Mag.Net (Electronic Cultural Publishers organization). He also served as an advisor for the Documenta 12's Magazine Project. He has ben guest researcher at the Willem De Kooning Academy in Rotterdam. He teaches at the Academy of Art in Carrara. With Ubermorgen and Paolo Cirio he developed a couple of controversial (net) art projects (Google Will Eat Itself and Amazon Noir).

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Eric Dunlap is co-director of Forward Motion Theater founded in 1995 with media artist Holly Daggers. The company's is to explore the combination of movement and technology through live performance and digital media. FMT has created choreoworks that incorporate lasers, fiber optic costumes, electroluminescent lighting and live-mix video, incorporating themes of cloning, cyborgs, the mating rituals of Martian plant life, a futuristic human garden, and a bondage fairy tale. Using structured improvisation and formalized composition for each work to generate a specialized vocabulary of movement to relay these ideas. Eric spent his formative years touring nationally and internationally as a principle dancer with the Alwin Nikolais / Murray Louis Dance Company. Currently dancing with the Metropolitan Opera Ballet, he has worked with various companies in New York.
Eric is also curator of multi-disciplinary performance through FMT's EyeWash, an exhibition series featuring VJs and video artists working in collaboration with audio and movement artists. Through Eyewash, FMT has presented over 150 artists in the past six years.

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Claudio Sinatti, 1972, è tra gli artisti multimediali più affermati in Italia e tra i più conosciuti e apprezzati anche all’estero. Il suo lavoro si concentra prevalentemente sulle videoproiezioni di larga scala, sul design di dispositivi di videoproiezione e sulla visualizzazione del suono in tempo reale. Le sue opere sono video spettacoli e installazioni. La sua decennale attività e la ricchissima produzione artistica hanno sempre avuto il merito di guardare verso due orizzonti precisi, quello della produzione commerciale di qualità e quello della ricerca artistica più sperimentale.
Dopo una iniziale carriera di illustratore, fumettista e graffiti artist approcia il film e il video agli inizi degli anni 90 sperimentando con la pellicola e le videocamere di allora. L'ossessione per la documentazione video e la passione per la musica lo portano ad incontrare la band milanese Casino Royale, per la quale dirige nel 1996, assieme a Riccardo Struchil, il suo primo videoclip. Il video vince il premio come Miglior Videoclip al PIM dello stesso anno e lo porta a dirigere clip per tre anni ininterrottamente spostandosi tra Milano e New York per band come Eiffel 65, Sarah Jane Morris, 99 Posse, Neffa, Carmen Consoli, Articolo 31, Alex Britti,
Alexia, Africa Unite e molti altri. Nelle sue produzioni Sinatti si fa notare per un approccio ingegneristico alle riprese che lo spinge a progettare e realizzare diversi dispositivi di ripresa personalizzati. Nei suoi videoclip ci sarà sempre un elemento di sperimentazione tecnica forte, atteggiamento che riesce a mantenere anche con i musicisti più pop e che lo spinge ad intraprendere parallelamente una carriera artistica firmando alcuni dei progetti più importanti nel panorama della multimedialità audiovisiva italiana. È tra i primi in Italia ad interessarsi al vjing e live video e negli intervalli tra una produzione e l'altra inizia a sperimentare con proiezioni e videoproiezioni finchè, ristabilitosi a Milano nel 1999, fonda e anima il pionieristico collettivo video Sun Wu-Kung con il principale interesse di esplorare la manipolazione in tempo reale di immagini attraverso vecchie e nuove tecnologie.
Il gruppo è attivo fino alla fine del 2002 e coinvolge video makers, fotografi, animatori, pittori, musicisti e dj e vede la presenza di nomi importanti dell’underground milanese come Riccardo Arena, Bo130, Microbo, GGT, Tatiana, Sergio Messina, Painè Cuadrelli. Il periodo di attività del gruppo coincide con un importante incremento di prestazioni dei computer prosumer e Sinatti cambia i suoi strumenti passando dalla pellicola 16mm, i nastri vhs, i videomixer ai software.
Il nuovo mezzo lo spinge ad una ricerca focalizzata sull’uso alternativo delle macchine che sfocerà, anche in questo caso, nella personalizzazione e quindi nella programmazione completa dei propri strumenti, come nel caso del software Carillon. La ricerca di un controllo live sempre più preciso lo porta inevitabilmente al passaggio da un approccio manipolativo dei contenuti visivi ad uno più organico in cui le immagini sono generate direttaemente dai computer, in tempo reale.
Inizia una fitta serie di progetti performativi che lo vedono collaborare con artisti stranieri ed italiani come Christian Fennesz, Ulrich Troyer, Scanner, Stephan Mathieu, Deaf Center, Simon Scott, Olaf Bender, Andrea Gabriele, Retina, Pierpaolo Leo, Marco Messina della 99Posse, Teho Teardo, Franco Battiato e realizzare colonne visive per le tournée di Ligabue, Renato Zero e Negramaro.
Nel 2009 fonda il progetto performativo Live Video Ensemble in cui dirige una formazione di 10 elementi che generano assieme una unica immagine sonoreattiva.
Parallelamente al lavoro sui contenuti Claudio Sinatti si dedica all’esplorazione e alla
personalizzazione dei dispositivi di videoproiezione. Progetta e realizza complesse installazioni e allestimenti in cui immagini e superfici di proiezione sono strettamente connesse per creare illusioni percettive e ambienti immersivi, come nell’opera Chandelier installata in molti spazi pubblici tra cui la Rotonda della Besana a Milano. È tra i primissimi in Italia a realizzare video trompe l'oeil sulle architetture, trasformando le facciate di palazzi storici come il Duomo e la Triennale di Milano, il Duomo di Perugia e il Conservatorio di Madrid in edifici animati.
Alternando percorsi di ricerca personali ad esperienze commerciali, si muove tra festival, musei, eventi privati, concerti pop, televisione, moda, cinema, teatro...
Ha presentato il suo lavoro alla Triennale di Milano, al Sonar di Barcellona, al Netmage di Bologna, al Synch di Atene, al Batofar di Parigi e in numerosissimi altri festival in Italia ed all’estero. Ha lavorato per brand come Nike, MTV, Pirelli, BMW, Heineken, Rolex, Breil, Kenzo, Vodafone, Strenesse. Oltre al suo lavoro, tiene frequenti workshop e lectures ed insegna multimedia sperimentale in diversi istituti a Milano.

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Marco Mancuso graduated in Letters/Contemporary Art at Università Statale in Milan. Founder and Director of Digicult and the monthly magazine Digimag, projects about digital technologies crossing art, design, science, culture & society, he works as critic, curator & teacher skilled on networking activities and web 2.0 editing & communication strategies. With the art-agency Digimade is working for art festivals & events as guest curator and media partner, organizing exhibitions and cross media events, workshops, meetings and screenings, and is also working as promoter for some Italian and international artists. Marco Mancuso teaches "Multimedia Art Languages" at the NABA-New Academy of Arts in Milan and "New Media Art" & "Audiovisual Art & Design" at the IED-European Institute of Design in Milan, and he's invited as guest lecturer in many Italian Universities presenting theories concerning connections between history of experimental cinema, expanded cinema, live cinema, electronic music and contemporary digital audiovisual art, including the relationship to space, the sciences, the open source technologies and generative, interactive or architectural design installations.