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The actors will only be visible from time to time, when they step towards the edge of the roof to throw boomerangs.

They are in search of a suitable trajectory, the ideal form for their flying objects.

The new ‘digital light’ is the main medium used to transfer what is left of reality into a circulating digital visual culture.

Tobias Zielony’s documentary essay consists of photographs that he took of African refugees in Berlin and Hamburg.

On the rooftop terrace of an apartment block in central Cairo, they invited a group of workers to enact the privatisation of a public factory, interspersed with experiences from the actors’ own lives.

derives its tension from this dialectic interaction between the exposure and concealment of the actors, from the functionality of their activity and the aesthetic dimension of their choreography.

Instead, a number of the finished articles finds its way to street hawkers each week, another of the town’s shadow economies.

Olaf Nicolai has had an industrial roof hatch installed on the first floor of the pavilion.

They worked together to produce scenes that express the universally effective mechanisms of power in Egypt and its language, the everyday humiliation experienced at the hands of superiors, and the arbitrariness of the police.

For the sculptural work , Metwaly and Rizk have removed a number of the original marble floor slabs and replaced them with the tiles from the Cairo roof, onto which the factory floor plan has been drawn.

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