Homeland 2022 Master (AW2)

For the past nine years, Homelands has lived up to its name and its remit, welcoming original film and video artworks from all over the world, each of them exploring the nature of home and community, what it means to have or not have a home ‘land’ but also what it means to be human. This year artists also had the theme of 'Through Light and Shade' to respond to. The isolation wrought by the pandemic is visible in many of the entries, achieved through highly original computer-realized imagery, distorted, layered, glaring and interwoven as well as live performance and sometimes a stylized mix of the two.

For the past nine years, Homelands has lived up to its name and its remit, welcoming original film and video artworks from all over the world, each of them exploring the nature of home and community, what it means to have or not have a home ‘land’ but also what it means to be human.

This year artists also had the theme of 'Through Light and Shade' to respond to. The isolation wrought by the pandemic is visible in many of the entries, achieved through highly original computer-realized imagery, distorted, layered, glaring and interwoven as well as live performance and sometimes a stylized mix of the two.


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Homeland 2022

‘Through Light and Shade’

Black Mill, Damer House Gallery,

Damer House Gallery and Castle,

Castle Street, Roscrea, Co. Tipperary.

23/09/2022 to 04/10/2022


Facebook Damer House Gallery

Therry Rudin, Silverbarn,

Ballybritt, Roscrea, E53XW71.

Email: homeland.projection@gmail.com

Barcelona Loop Festival, City Screening

Alalimón Galerie, Mèxic 19, Local Z 08004 Barcelona.

10/11/2022 to 21/12/2022


The Source Arts Centre, Cathedral St,

Townparks, Thurles, Co. Tipperary, E41 A4E8.

March 2023


Homeland 2022, ‘Through Light and Shade’

Black Mill, Damer House Gallery, Damer House Gallery

and Castle, Castle Street, Roscrea, Co. Tipperary.

23/09/2022 to 04/10/2022


Facebook Damer House Gallery

Therry Rudin, Silverbarn, Ballybritt, Roscrea, E53XW71.

Email: homeland.projection@gmail.com

Barcelona Loop Festival, City Screening, Alalimón Galerie,

Mèxic 19, Local Z 08004 Barcelona.

10/11/2022 to 21/12/2022


The Source Arts Centre, Cathedral St,

Townparks, Thurles, Co. Tipperary, E41 A4E8.

March 2023


Artists participation

Irish selected Artists:

Sarah Edmondson, Eduard Fulop, Stephen Gunning, Niamh McGuinne,

Mark Kent, Thaís Muniz, Patricia Hurl/Therry Rudin.

Selected Barcelona Loop 2021 Artists:

Claudio Correa, Francesca Llopis, Elisabet Mabres, Ramon Villegas.

The Irish and Barcelona Loop selected Artist, is curated by Therry Rudin,

pre-selected by Patricia Hurl, Kate Walsh and Jennie Doherty. Final

selection Àngels Garcia, Natalia Foguet independent curator Barcelona and

Rebeca Mendez, Co-Director Alalimón Galeria with Lindsay J Sedgwick,

award winning screen writer/writer and illustrator Dublin, in collaboration

with Loop Festival Barcelona 2022 and Damer House gallery Roscrea,

Co Tipperary.

Homeland 2022

‘Through Light and Shade’

‘Homeland’ takes place every year in Damer House Gallery. This Year’s Homeland

screening is taking place in the beautiful historical building Black Mill, in Roscrea Town

whilst Damer House is being renovated.

The Homeland video selection in Silverbarn Studios, Co. Tipperary in collaboration with

Damer House Gallery, is dedicated exclusively to video art and film. This is the first time

we are celebrating the premier of ‘Through Light and Shade’ Homeland 2022 with Ireland’s

Culture Night ’22.

Mission Statement

The Homeland film/video selection is dedicated exclusively to video art and film.

This annual event aims with to bring together professionals in all fields in the sector,

filmmakers, performance art, writers, directors and producers within a space within

international association. Homeland has become a national benchmark event, an

active platform for the diffusion, creation and management of video art for fans and


We continue this year Homeland City Screening with Alalimón Galería Barcelona,

and thankful, the directors of the Alalimón Gallery, Isabel Lázaro/Rebeca Méndez for

facilitating the program Homeland. We further establish our relationship with the

Alalimón Galeria.

We are thanking Brendan Maher for his participation to the present the Homeland

Screening 2022 ‘Through Light and Shade’ in March 2023 in the Source Arts Centre,


This year selected artists are Claudio Correa, Francesca Llopis, Elisabet Mabres,

Ramon Villega, Sarah Edmondson, Eduard Fulop, Stephen Gunning, Niamh McGuinne,

Mark Kent, Thaís Muniz, Patricia Hurl/Therry Rudin.


Therry Rudin


Damer House Gallery

and Homeland

Video art is something which has been neglected in Ireland until recent years. This is

somewhat surprising, given Ireland’s international reputation in film and animation.

Video art however has not been a major feature of the Irish arts scene, particularly outside

the main cities and with some exceptions, has largely been regarded as a niche area.

Homeland has played a significant role in changing this. Since its inception in 2013, the

annual exhibition has showcased in Ireland at Damer House Gallery, in Roscrea,

Co. Tipperary. Established by artists Therry Rudin and Patricia Hurl, Homeland is devoted

exclusively to video art and film. Damer House Gallery has also been instrumental in

providing a dedicated venue to exhibit artists working in this field and submissions to the

open call has been increasing year on year.

Each year Homeland provides a theme for the open call. In previous years, themes have

included ‘Dog Days’ (2021), ‘Borderline’ (2020), ‘On Changing your Mind’, (2019) ‘Of

Memory’ (2018), ‘Blackbird Singing in the Dead of Night’ (2017), and this year’s theme

‘Through Light and Shade’. This gives enormous scope to submitting artists. Such a format

is very suited to video art, where a discernible narrative is not important and adherence to

the normal conventions of cinematic entertainment is not necessary.

Now a national benchmark event, Homeland provides a platform for the creation and

diffusion of the genre in Ireland. The exhibition provides an opportunity for established

and emerging artists to show their work in Ireland and since 2013 internationally, when

Homeland began a collaboration with the LOOP video and film festival in Barcelona.

This is something which continues to the present day. Following the launch in Damer

House Gallery, the exhibition goes to Barcelona each November as part of this important

international festival, bringing the work of the artists involved to a wider audience.

While Therry Rudin and Patricia Hurl who founded Damer House Gallery have stepped

down as directors of the board to concentrate on their own practice, the collaboration

between the gallery and Homeland continues and will remain a significant aspect of the

annual calendar. Future plans include seminars/workshops associated with Homeland and

we also intend to bring the exhibition to other galleries in Ireland in association with Damer

House Gallery.

Kate Walsh

Board Director

Damer House Gallery

August 2022


Homeland 2022

An introduction

For the past nine years, Homelands has lived up to its name and its remit, welcoming

original film and video artworks from all over the world, each of them exploring the nature

of home and community, what it means to have or not have a home ‘land’ but also what it

means to be human.

This year artists also had the theme of ‘Through Light and Shade’ to respond to – and

what a wealth of projects, of issues and ideas, styles and voices came forth! Judging any

creative competition is tricky – and so we are given criteria with which we are bound to

assess the final shortlist to make it as transparent and fair a process as possible. They are:

artistic quality, overall impact/script, directing, cinematography, original sound

and editing.

The isolation wrought by the pandemic was visible in many of the entries, achieved

through highly original computer-realised imagery, distorted, layered, glaring and

interwoven as well as live performance and sometimes a stylized mix of the two.

To give you a flavour of what Homeland 2022 has to offer:

In live action we had absurdism meets metaphor in the emotional slow release from hope

and courage to despair, resignation, acceptance perhaps, as a woman bales out a boat in a

field from Ellen Rose. At the other end, we had a mind, even a life unravelling from Therry

Rudin and Patricia Hurl, in a room with a table filled with blue glass, and Thaís Muniz

evocative performer-led exploration of what it means to be an immigrant in Ireland.

Then we had the sumptuous underwater fable from Rayleen Clancy, the bone-bare shadow

play from Mark Kent and the layered interplay of images suggesting both community and

isolation from Eduard Fulop. We had puppets and ponds, snails and psychedelic, speed

and stillness – every piece seeking to stimulate and awaken the senses. Because life, after

all, is often interesting, sometimes difficult and occasionally strange – especially when

viewed ‘Through Light and Shade’.

Lindsay J Sedgwick

24th August, 2022


Sarah Edmondson – Visual

Kieran Sheridan – Audio

Title of Film: An Balún Bán

Length and Year: 3’42” (2020-23)

Artist Statement, Project

An Balún Bán is an homage to the 1950s fantasy short film Le Balloon Rouge. It is a

celebration of the creative collaborations, conversations and sense of community between

artists and within art spaces in Dublin. It highlights the importance of these working

relationships and friendships. The backdrop is Dublin’s north inner city, a quickly changing

landscape in which artists lose their place as it becomes gentrified. The characters move in

and out of shadows, interact with buildings and architectural features and pass back and

forth balloons in a cyborgesque fashion, conscious of their impending doom.

The visual artist includes symbols and iconography from the ongoing themes she explores

in her practice including her concerns about the commercialisation of the space race and

the pursuit of knowledge as a decoy for colonisation. The audio for An Balún Bán, designed

by Kieran Sheridan, blends field recordings, synthesisers, textural audio processing and

recurring rhythmical themes displaced throughout, each idea/theme influencing the

next. All in the impulse reaction to the visuals created by Sarah Edmondson. This film was

created with the support of The Darkroom, Dublin.


Director and Editor – Sarah Edmondson, Sound Designer/Composer – Kieran Sheridan

Performer – Chloe Brenan, Technical Support – Mella Travers, Founder/CEO/Art Director,

The Darkroom.

About the artist

Sarah Edmondson is a research-based, multi-disciplinary artist working in Dublin. Her work

is informed by her dual role as an artist and art educator in society. She is, thus, interested

in the evolution of knowledge and the impact photography and cinema have on our

understanding of the universe. Her practice is founded in the new media and disciplines of

the Fluxus artists and inspired by contemporary artists such as Hito Steyerl and Natascha

Sadr Haghighian. Recent exhibitions include Gormworm, Tapir Gallery, Berlin and [Hu]

Manned Mission, Lumen Crypt, London.

Kieran Sheridan is a sound designer/composer/audio-visual artist/photographer based in

Dublin. He is also one half of the music video series Chromatic. A multi-instrumentalist

and quite visually driven too, he pulls inspiration from the musicality in all sounds in the

world around him. Under the moniker Pink Letter, Sheridan released the immersive audiovisual

piece Movements. His photographic work was recently published in the photo book

series Monømania #5 in Japan and selected by The Darkroom for the upcoming Change

exhibition/book curated by Mella Travers.



Eduard Fulop

Title of Film: Gray Area

Length and Year: 3’09” (2018-2022)

Artist Statement, Project

Grey Area is my mental play ground.

Everything comes together in the conceptual borders of the Grey Area animation. It is

the birthplace of innovation and imagination in our minds. It is the space between the

conscious and the unconscious mind. In this case, new perceived information and old

memories work in tandem, are compared, analysed, and brought together, creating a

temporary, one-of-a-kind surrealistic world, before they settle into the prism of rationality

and logic and are given meaning, making sense of the surrounding stimuli that activated

the process from the beginning. The animation takes us through several micro stages of

the thinking process, from processing information, categorising it, selecting it, taking it

through emotional filters, memorising or omitting some of the contextual information,

or simply being detoured by another external or internal stimulus, completely changing

the inner mental scenery. Thus influencing the outer one. All these things happen

almost instantly, which is absolutely impressive. In both cases we will find informational

syncope. Both are influenced by apperception and the dynamic of the communication,

social, emotional stage of the individual. Simply added and understood that we take

what we want and like, and we remember what we can(‘t). The [can(‘t)] will stand for

erroneous information, its not that we are willingly lying, it’s just a process. I described this

phenomenon as “a palimpsest phenomenon” overlapping, over imposing new information

on to old one. Thus said, creating a collage, illogical for these short moments, but which

work out as connectors for a complex scheme.


Eduard Fulop



Stephen Gunning

Title of Film: In Shadows

Length and Year: Duration 6’20” (2016)

Artist Statement, Project

A photographic, sound exploration, filmed in Essaouira, Morocco during the Gnaoua

Music Festival.

The photos are set to a soundtrack, constructed from field recordings in form the

surrounding area.

The film employs a long take using a fixed high-angle camera, records the movement of

shoppers; they pass through a time-lapse, slow fades to emerge and disappear as mere


When stallholders light their lamps, a bright yellow glow suffuses the whole picture.

Creating an atmosphere that captures changes in natural light and subtle shifts in

movement. Stark light and deep shadow are visual strategies I explore to describe the

transition from day to dusk.

About the artist

Stephen Gunning is a Dublin based audio visual artist. A large proportion of his work has

dealt with the changing rhythms of cities and the human interactions within, which are

recurring themes in his video work.

In the past, he has created audio-visual installations in unusual places that tend to resonate

on a social and a psychological level. Certain works have employed the language of

documentary filmmaking but within that he has tried to take a highly visual and poetic


He continues to explore new work through international residencies.

Some selected exhibitions include:

Optica, Festival Audiovisuel de Paris www.opticafestival.com.

Rencontres Internationales, Paris/Berlin.

Tulca Galway and EV+A Limerick City Gallery.

Mothers Tankstation, Dublin.

The Lab, Dublin and Context Gallery, Derry.

Upcoming projects include: ZKU Center for Art and Urbanistics, Berlin.



Niamh McGuinne

Title of Film: Secretion

Length and Year: 3’58” digital transfer to 16mm film (2021)

Artist Statement, Project

Positing a moment of flux where identity and form can undergo a shift is the theme of

this short film, incorporating sculptural installation, wearables and performance. The film

alludes to an engineered environment in which the subject undergoes a physical and/or

imaginative metamorphosis.

Inspired by the self-healing capability of snails and their hermaphroditic character the

protagonist collects their mucus to fashion a cape. The much sought-after secretion is

highly prized for its restorative qualities enabling the snail to repair cracks in its fragile

armour and is increasingly being harvested to treat damaged human skin, membrane and

tissue. While faith is fundamental to protect its transformative power, the act of hand

sewing the protective shell is in itself a form of trial, a test of dedication. Considered abject

by some, a desire to become snail-like is to defy sexual categorisation and to acknowledge

the importance of self-determination.

While human to snail transferrals are the subject of fantasy, the energy required as catalyst

to make the leap is garnered from Wilhelm Reich’s experiments in the 1950s and the

enclosures reference his Orgone Accumulator. Playing with scale, the snails charge the

accumulator which transfers this biological energy to its occupant providing the potential

for an activated experience.


A film by Niamh McGuinne, additional audio by AceTone Studio.

About the artist

My practice in visual art combines print, sculpture and film. I create interactive

installations, inhabitable or often wearable, whose function is not initially clear. Within

this ambiguity there is a suggestion of refuge from the unknown and invisible overload

of the everyday world, where we are bombarded with signs, signals and information.

The embodiment of psychological experience and the nature of somatic response is an

underlying theme in my work, addressing issues concerning how the body absorbs, holds

and disguises illness. A background in fine art conservation also informs my approach

whereby mechanisms of deterioration acting on/in the artefact mirror this assimilated

trauma and notions of perfection intermingle with questions regarding deviance,

acceptance and distorted perception. In part influenced by the immersive nature of this

background, I present an invitation to participate – either physically or imaginatively.

Niamh McGuinne lives and works in Dublin. She graduated from NCAD with an MFA in

Fine Art, 2020.



Mark Kent

Title of Film: cold room

Length and Year: 6’23” (2022)

Artist Statement, Project

The film takes place in a digitally constructed world using objects that have been scanned

and then manipulated to match the contents of the home of a 100-year- old man after his

home was opened up 20-years after his passing.

This becomes a stage set, an everyplace for our exploration of the past playing itself

out and a chance to encounter old ghosts. There is only an index of voids remaining

either manifest as unintended documents or false narratives. I try to force the ghost of

these places out to set up a possible encounter between these worlds, a stage for these

encounters of remembering and unbodied experience to play out.

These attempts at generating encounter is repeated over and over again; sometimes as

alternate versions, a mirror world in which to look and look again, to be certain to look

around and see the thing unknown.

This film is from a series of historical reconstructions of my home town between the end of

the famine and the start of the civil war.



Thaís Muniz

Title of Film: Darling, Don’t Turn Your Back On Me

Length and Year: 7’49” (2021)

Artist Statement, Project

I am an interdisciplinary artist and designer interested in the Afro-diasporic connections,

identity, belonging, migration and displacement. My art practices emerge from the need

to shatter the status quo when it comes to the representation of Black bodies, to empower

and rescue identities & histories, build bridges and open conversations. I use textiles,

storytelling, interactive performances, audio-visuals, workshops and urban interventions

to share narratives from an anti-colonial perspective – connecting people and uplifting

histories. A form of ‘Culture in Action’, the participatory element of my practice is key,

through intimate practices with public exchange.

Since 2012 I have pioneered research on turbans and headwraps in Afro-Atlantic culture

and its place in art, politics and aesthetics, by creating Turbante-se, a movement and

platform that follows the mystery and beauty of turbans and headwraps in the

Afro-Atlantic diaspora. The movement explores traditions, meanings and usage of

these wearables as a tool and a connecting object. I’ve been working to empower

Black communities from all over the world with an array of practices and actions.

I’m Dublin-based since 2014, and my aim is to engage in interaction and dialogue –

propelling progressive narratives with a clear focus on those ignored or misrepresented

by art.


Direction, concept, text, video-performance and installation RHA Gallery, Dublin, 2021.

Text with notes from: Lino Bento, Nikki Moore, Jean-Pierre Ntezilyayo.

Photograph Director and Editor: Cristiane Schmidt.

Voices: Lino Bento, Kevin Raheem, Ellen Ballard, Maholin Navarro, Nikki Moore,

Reeta Cherie, Larissa Nascimento, Cintia Augusta, Priscila Altivo, Jean-Pierre Ntezilyayo,

Maria Mirza, Tatiana Santos, Zaïre, Pontso Mabuza, Vitor Hugo Silvestre, Thaís Muniz.



Patricia Hurl/Therry Rudin

Title of Film: the moon is set in motion and the golden plated stars appear

Length and Year: 7’58” (2022)

Artist Statement, Project

A film work that looks back on life, love and unfulfilled dreams. It is in many ways a

contemplation on the inevitability of dead.

The film received the Award ‘Best Creative’ Halicarnassus Film Festival, Bodrum, Turkey,

Session 22’.


Director/Cinematographic Therry Rudin, Performance Patricia Hurl.

We thank you Tyrone Guthrie Arts Centre for allowing to film at the Residence and for the

Arts Council Ireland, Agility Award.

About the Artist

Patricia Hurl & Therry Rudin’s work spans the disciplines of painting, multimedia and

collaborative art practice. They were both full members of Temple Bar Gallery and Studios

for a number of years and then moved to Silver Barn Studios, Co. Tipperary. Patricia Hurl

was a lecturer in Fine Art in DIT. Therry Rudin was a lecturer in Fine Art in IADT, Dún

Laoghaire. Patricia Hurl and Therry Rudin are in collaboration for the past thirty years.

In recent years their practice has developed into performance/Video.

Patricia Hurl and Therry Rudin started a non-profit Gallery in the Heritage Centre,

Roscrea, Co. Tipperary in 2013. They curated numerous artists with over eight years,

many from as far away as Australia, USA, Mexico, Barcelona, Holland. They ran Print and

Drawing workshops and also ran a very successful Active Retirement program. They also

collaborated with the local N.S. ‘Scoil Muire’ and developed Film/Video workshops. The

short Film/Video program ‘Homeland’ began in 2013. They were invited to collaborate with

the International Film Festival ‘LOOP” Barcelona. The Gallery is now run by the Board of


Both are members of Na Cailleacha since 2019. Na Cailleacha is a collective of five visual

artists, one jazz musician and a curator/writer.



Claudio Correa Vassallo

Title of Film: Disolvencia (Courtesy LAB36)

Length and Year: 2’49’’ (2021)

Artist Statement, Project

‘Disolvencia’, appeal with an ironic gesture to the relationship that is intertwined between

the sport ecstasy, the reduction of the celebrity to its idealized image and the criticism of

mass culture in our contemporary society. Effervescent tablets on which the faces of iconic

football characters have been engraved – legends such as Lionel Messi, Diego Armando

Maradona, Gerard Piqué or Cristiano Ronaldo – are dissolved in water and simulate the

sound emanating from the frenzy of the public who shouts in unison a goal or the victory

of their team to slowly melt into the whole.

These tablets are contrasted by a medal of the winged goddess of victory Nike that echoes

with the military decorations given during the Chilean dictatorship to civilians and military

with the legend of “Mission Accomplished” as recognition for performing “distinguished

services”. In this case, the medal rewards the athletes chosen for their ability to maintain

that idealized figure at every moment of their crusade in front of the acid gaze of the

scrupulous spectator.


Directed by Claudio Correa, Santiago, Chile, 2021.

About the artist

My work has been presented in renowned museums and galleries, mainly in Latin

America, Europe and the United States, such as, the VIII Havana Biennial, Cuba (2003);

Back Yard, Americas Society, NY (2003); Shanghai Biennial, N11 Project, China, (2004);

Resistance, Fall and Madness, ACC Galerie, Weimar, Germany (2006); Era07 REGIÓN:

Fricciones y Ficciones, Blanes Museum, Montevideo, Uruguay, curatorship by Gerardo

Mosquera (2007); Ni pena ni miedo, MEIAC Museo Extremeño e Iberoamericano de Arte

Contemporáneo, Badajoz, Spain (2011); De naturaleza violenta, FLORA ars+natura, Bogotá,

Colombia, curatorship by José Roca (2013); Otros relatos, Centro de Arte Contemporáneo

La Consevera, Ceutí, Spain, curatorship by Fernando Castro Flórez (2015); Bellos Jueves,

National Museum of Fine Arts, Buenos Aires, Argentina, (2015); and, Libertad, Igualdad,

Fatalidad, solo exhibition, National Museum of Fine Arts, Santiago, Chile (2016), among

others. In my career I have received the Fondart: National Fund of Culture and Arts,

Chilean Government (CL, 1998, 2000, 2002, 2006, 2013, 2015, 2016, 2018); the Flora

Ars Natura Residency (Co, 2013), Third Place at the Bienal de las Fronteras, Tamaulipas

(Mexico, 2015); The Pollock-Krasner Foundation Grant (NY, 2015); a solo exhibition at the

National Museum of Fine Arts in Santiago, Chile (CL, 2016) and an Artistic Residence in

Hangar and Fabra i Coats, Barcelona (ES, 2018-2021).



Elisabet Mabres

Title of Film: See & to be seen

Length and Year: 9’ (2017)

Artist Statement, Project

A masked woman shows herself amid the density of the most populated part of Hong

Kong. She interacts with whoever dares to look at her. Some pretend not to see her, some

can sense her, someone gets scared or rejects her…The mask has become old, making it

seem less artificial.

Protected by facial latex, the woman exhibits herself. Both in the streets and indoors, both

day and night. The interference of meeting the ‘cage dwellers’ perturbs her to the point of

yielding to domination and captivity.

She manages to escape towards the new green territories of the unknown Hong Kong,

searching through traces of abandoned lives. It is now she who rummages with her eyes.

And the found objects, from ancestral China, reveal to her the need to carry other actions

in Shanghai.

Nothing ends, everything goes on…Elisabet Mabres.


Idea, Direction, Editing: Elisabet Mabres

Attendant: Ramon Antich

About the artist

Elisabet Mabres lives and works in Barcelona.

Graduated in Fine Arts, in the specialty of painting, she has freely experimented with all

graphic and three-dimensional resources, being in the installation and the sculpture where

she began to use the image and the text. With more than thirty years of international and

national exhibitions, it is in the last twelve years that Mabres has focused exclusively on

photography and video, transcending her plastic origins.



Francesca Llopis

Title of Film: White Tears

Length and Year: 8’10” (2018)

Artist Statement, Project

The artist explores the house of La Ricarda (or Casa Gomis, designed by Antoni

Bonet Castellana) as a kind of contemporary ruin, an oasis of beauty and culture in an

environment devoured by the noise and pollution of the planes from the nearby airport.

In honour of its history as a refugee for avant-garde music in the 1960s and 70s, Llopis

celebrates a dance that is both exorcism and carnal union, featuring music by composer

Barbara Held. Between mystery and humour; dreams and melancholy, the artist explores,

with love, the walls, gardens, lattices and furniture of this fascinating work of architecture

and landscape. Something akin to nymphs, like shadows, seeds or rivers of ink, embrace

and merge with architecture; drawing it, tracing it, interpreting it. In this way, the house is

once again inhabited and reveals its quality as a poetic artifact, showing that nature and

artifice can coexist with meaning and joy.


Directing/Edit: Francesca Llopis, Sound: Barbara Held.

About the artist

Frascesca Llopis creative universe developed from the early 1980s through different techniques

and formats, from painting and design to installation, photography and video art. Born in

Barcelona where she lives. She enrolled at Escola Eina to study painting and the poetics of

space. 1981: 1st artist residency in Palatz Culturi in Warsaw where the foreseeable coup d’etat

transforms her pictorial world. This was the turning point where the “journey” became a

central element in her artistic process. 1988: residency in the Académia di Roma and l’Écolle

des Beaux Arts de Nimes. Arnau Puig defines her painting as “semanticized constructivism”.

1989: 6.8.89 Tiananment was 1rst intervention in the public space of Hospitalet in Barcelona,

where she dug a ditch as a tribute to the Chinese students, with the collaboration of sound

artist Barbara Held. 1999: Mal.laltes D’amor in Lübeck (Germany). 2002: 2 Habitacions Amb

Vistes, a social portrait of Barcelona. 2004: ETC, a reflection on the absence of women artists

in the history of art. 2015: Noseden Biennale, Japan, with the video installation Memòria Per

Un Iceberg as an archaeologist of the future and the installation Llibre De Llàgrimes (book

of tears). 2016: SakaiArtePorto, Japan, performance Traction Action. Llum! In the Montjuïc

Castle in Barcelona, Spain. 2018: Insektament Errants, gallery J. Naranjo. “Ajardina’t”, Picasso

Museum BIGDRAW and “Mediterranean Garden” (video monograph) at the Lumen gallery in

Kyoto. 2019: LLUMbarcelona festival, video installation “and you, what would you put under the

focus? 2020: Infiltrada at the Calders Bookshop, Barcelona and installs all his workbooks. 2021:

Dins Per Dins, MNAC (National Museum Catalan Art) she was part of ARTICS magazine and

between 1996-2020 she publishes the artist books Embolic Magnífic, Duc Una Ciutat Al Cap,

Duc Un Cuc Al Cap, Gotescauen, Secrets, Infiltrada, Etc.



Ramon Villegas

Title of Film: Una dona jove (A young woman)

Length and Year: 10’ (2022)

Artist Statement, Project

Right at the beginning of a stage creation process, Júlia Guimerà (actress) loses her father.

Inevitably, this will influence the project that feeds on the autobiographical fact and where

the stage and audiovisual world will complement and feed back.

Off Mother: “Ordinary reality has become very intense. We are really in a moment of

transition: we are going to give rise to the birth of another film.”


Direction and editing: Ramon Villegas Guix

Actress: Júlia Guimerà Cestero

With the participation of:

Lourdes Cestero, Claudia Cavaller, Ferran Surriba, Daniel Mallorquín, M nica Campillo.

Theatrical play team

Costume design: Laura García

Lighting and space design: Xevi Oró

Video recording: Xef Vila

About the artist

Ramon Villegas is from Manlleu (Catalunya). He has trained in the field of performing arts

as an actor and creator, he has worked in different television, theater and cinematographic

projects and with his own creations as “MMM+KBFP” (winner of the Call for support for

the creation of the Festival Festus 2009) or “Hombre Bala Unplugged” (with the support of

the VIC project of the Theater Institute in 2014).

He has directed the play “WASABI” by Mar Serra and collaborated on projects with

the visual artist Nora Ancarola at La Capella (Barcelona) and at the Lo Pati Art Center


His video piece “MORT (DEATH)” has been selected by different festivals.

Currently, he is presenting the double project (theatrical and cinematographic) “Una dona

jove (A young woman)”.



Thanks to

Patricia Hurl, for her extraordinary encouragement to have Homeland selected and

screened, Directors of the Alalimón Gallery, Isabel Lázaro / Rebeca Méndez, and

Emilio Alvarez (Director of Loop Festival Barcelona), City Screening, Àngels Garcia &

Natalia Foguet independent curators for their commitment to select the Irish Homeland

projection for the last years, Laura Arensburg (City Screen 2022 Coordinator), for her

patience and support of Homeland. LAB 36 for allowing us to have the film ‘Disolvencia’,

Barbara Henkes, the yearly editing of Homeland, on all the proposed projections.

Brendan Maher - Artistic Director, The Source Arts Centre, in supporting the projection in

the Source Arts Centre next year 2023. Lindsay J Sedgwick for selecting Homeland and

the great essay in this year catalogue. The advisers board of Homeland, Kate Walsh and

Jennie Doherty and Patricia Hurl. The Board of Directors, Damer House Gallery

Mary Hoctor, Jock Nichol, Kate Walsh, Nathan Campion and Roberta Notto in continuing

endlessly to support the project. Also would like to thank the artists participating in

City Screen 2022, Loop Festival Barcelona and Alan Bennis, for his Design. This year

in particular we would like to thank Josephine Donnellan Permission Office OPW for

allowing to use the beautiful building Black Mill and Kevin Lyons (OPW) to add to the

successful screening of Homeland.

A very special thank you to Melanie Scott, Arts Office, County Tipperary.





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