Genève for the occasion. The second edition of the Biennial of Moving Images under his artistic direction took place between November 2016 and January 2017, it was this time co-curated by Cecilia Alemani, Caroline Bourgeois and Elvira Dyangani Ose. In the context of the Biennial of Moving Images, works by Sophia Al Maria, Karimah Ashadu, Ed Atkins, Alexandra Bachzetsis, Marie Kølbæk Iversen, Donna Kukama, Salomé Lamas, Arvo Leo, Andrew Hardwidge, Isabelle Lewis, Heather Phillipson, James Richards, Tracey Rose, Jeremy Shaw, Wu Tsang, Emily Wardill, Emilie Jouvet, Bodil Furu, Phoebe Boswell, Pauline Boudry / Renate Lorenz were commissioned and produced. Writing in Frieze about the 2016 edition of the Biennial, art critic Pablo Larios stated that the Biennial of Moving Images accounts “(…) too, for video as a political tool: a handy, accessible, democratic (or anti-democratic) medium of forensics and surveillance, reportage and testament – and, increasingly, an inexpensive form now making filmmakers of amateur-experts across the world. It is in this broad and global sense that the Biennale of Moving Images excelled.” In 2017, he curated “From Concrete to Liquid to Spoken Worlds to the Word”, an exhibition that explores the emancipation of language through historical and contemporary positions, from the earliest typographic and sound works of concrete poets to poetic experiments in the digital era. Extending his researches on writing and scriptures in contemporary art, he co-curated in 2020 “Scrivere Disegnando. When Language Seeks Its Other”, an exhibition about writing and its shadow side, looking back over a number of practices, from the early twentieth century to the present day, in which writing leaves the function of communication behind and moves into the sphere of the illegible and unspeakable. As the very first collaborative project between the Collection de l’Art Brut in Lausanne and a contemporary art institution, this exhibition brought together a diverse range of personalities: from “outsider” artists, some of whom carried out their work while institutionalized, all the way to “official” artists, some of whom played key roles in twentieth-century avant-garde and neo-avant-garde movements. He will curate the Swiss pavilion of the 2024 Venice Biennale. Andrea Bellini is the president of the artistic committee of MIRE, an artistic programme, unprecedented in its scope, for the dissemination of works of moving images in the railway stations of the commuter rail network Léman Express. Andrea Bellini is member of CERN’s Cultural Advisory Board, the Scientific Committee of Museo