For his work Ecce Ötzi, Levi van Gelder (Beneden-Leeuwen, The Netherlands, 1995) filmed two members of a Carnival association making a paper-mâché head that depicts the cryodesiccated corpse of Ötzi the Ice Man, Europe’s oldest known natural mummy. When Carnival is cancelled, they have to decide upon the fate of the distorted effigy. The head, which is exhibited by Van Gelder, becomes charged with personal and political values. Questions around the futility and folklore of Carnival merge with questions about our human nature and position in this world. In an exploration of how values are transmitted from symbol to person, from person to person, Ötzi becomes a medium to unearth frictions between compounds of reality and fiction, representation and misrepresentation, in a game of encounter and failed adaptation. —————————————————————————————— Through reflecting on the in-betweenness of their love relationship (boundless, fluid, unconditional), but also on all other types of love unrepresented in the institute of marriage (restricted, solid, and loaded with conditions and consequences), Francisca Khamis Giacoman and Levi van Gelder want to reclaim and re-appropriate the namesake and bureaucratic benefits of marriage to conform to their way of being, living and loving. In collaboration with Fabian Reichle, Dinamarca, Clara Rojas, Carmen Gray, Heleen Mineur, Hugo Rocci, Lizzy van Megen, Carmen Dusmet Carrasco, Andrea Gonzalez Garran, Martín La Roche, Amílcar Guzman, MAMI (Mariana Jurado Rico, Constanza Castagnet, Aimee Theriot), Emirhan Akin, Tina Bastajian, Lucie de Brechard, Tali Liberman, Armia Yousefi, Leila El Alaoui, Cosima zu Knyphausen, Juan Pablo Larrain and Carlos Ortiz.