Dionís Escorsa (Tortosa, Spain, 1970) moves effortlessly between the visual arts and filmmaking and his work is just as likely to be seen at exhibition spaces and galleries as at independent and experimental film festivals. He works regularly with the Rotor collective and combines his art and film work with designing and creating videos for theatre sets. His art career got under way in the early nineties when he started painting, but he was soon drawn to other art forms such as photography, installation and video. These interests gradually led him to use audiovisual language as a system for poetic and ideological activism. He uses this narrative to explore the codes for representing and perceiving images through experience and memory, creating lines of action where metaphors and symbols always play a major role. Bordering on activism, his art intervention projects work towards different kinds of social functions, including creating a room service for bombed buildings in Belgrade (Room Service for Bombed Buildings, 2004), setting up stands in Barcelona public libraries for distributing audiovisual work made available under a Creative Commons licence (Biblioteca Utòpica, 2005), devising new uses for Ciutat Vella rooftops through performance (Anatomia Aèria, 2005) and designing board games based on urban strategies to combat antisocial behaviour [(In)Civic, 2005], among others. His recent films include Zrak i Vrag (2011), For the Blinds (2013), Conscience Fiction (2014), The Skin of the Music (2014) and his first feature film, Y (2012). Working usually with nonprofessional actors, he uses his videos to explore specific geographical contexts through a metaphorical, dreamlike language that reveals the nonlinear nature of thought in a visual, conceptual fashion. He currently lives between Barcelona and Berlin.