Catalogue > List by artist

A Video improvisation with two Kodak Ektagraphic III E Plus slide Projectors with pax and transpax; connection for external control, FM oscillators with light sensors, square wave generators, FM receivers, a video projector, a digital recorder and a video lens operated by Maria Blondeel; green incandescent lamps, different light bulbs, a fluorescent tube, microphones, pick ups and various electric devices performed by Michael Vorfeld. Recorded at Hyde Park Art Center, Outer Ear Festival of Sound, ESS, Chicago, Illinois USA 2002 Produced by Blondeel/Vorfeld 2005

As a performing duo, Blondeel/Vorfeld has been operative since 1996: one an electronic sound artist and the other a percussionist, one projecting light and the other using light sources almost as objects. What one hears and sees is a contrapuntal dialogue between light controlled square waves and analogue, electric sounds accompanying or accompanied by a visual happening of light projected onto and into light, bright white and incandescently coloured yellow, blue or red. Maria Blondeel is an intermedia artist based in Ghent, Belgium. She has made sonic light installations, and site-specific works for vehicles, telephone and radio, participated in concerts and performances in collaboration with musicians, and produced works for CD and video. Her work has been shown in galleries, museums and festivals in Europe, the U.S.A. and Asia. Michael Vorfeld, based in Berlin, is a musician and visual artist. He plays percussion and self designed stringed instruments and works in the field of experimental music, improvised music and sound art. Realisation of electro acoustic sound pieces. His visual work concentrates on the use of light. He realizes light installations and performances with light, often site specific and in combination with instrumental or electric sounds. His list of activities includes numerous concerts, performances and exhibitions in Europe, the USA, Asia and Australia.

`CONTINUE PLAY?` is part of an ongoing series of gaming inspired projects and presents to you the popular 80`s arcade classics `BREAK-OUT` `ELEKTRAGLIDE` and `PONG` with enhanced AV accompaniment. JAYGO BLOOM`S particular `gameplay` technique provides the structure and tempo for an alternative Audio Visual response, one that is constructed from equally misguided and randomly downloaded `home music tutorials`.

Glacis The film explores the remnants of the French bourgeoisie, a world slowly but inexorably undermined by the forces of acceleration and globalised finance capitalism. dividing the sequences are still frames taken from the history of French aviation, the developments of which were a particularly bourgeois pastime of the 18th and 19th centuries enabled by family industrial infrastructure. The notions of speed and acceleration associated both with flight and post industrial capital are contrasted to slowness and investment associated with bourgeois values and the old industrial elites. Self professed Bourgeois are filmed in their family (secondary) homes performing role playing games that they themselves have chosen. These sequences are followed by "cinematic" sequences designed by the performers and produced by the film maker. The French aviation threads that bookend the chapters are accompanied by a narrated voice and composed of a single frame image. That image degrades over time. The degradation of the image is a result of algorithmic scripting that obliterates the traditional notion of decay by performing in fast forward, 1,000 years of the opening and closing of a jpeg image until the image itself is degraded to the point of being unrecognisable. This process formally performs the undermining - by technologies - of the temporal weapon of tradition and manners mobilised in the project of bourgeois hegemony. Glacis is an ancient military term that denotes a field of view unimpeded by obstacles where the enemy other is clearly visible, figured against the nothingness.

Ramon Bloomberg: Biography: Born 1971 Sheffield, United Kingdom. French / British nationality. Worked extensively as a film editor and film director on projects from fiction to documentary to music video and commercial. Currently PHD candidate Art Research, Goldsmiths College, London.

Some strange lights appear at night in the Mexican desert. The residents tell us what they’ve seen: fire, a fireball, lights flying, lightning falling from the sky and a flash. The singularity of each experience builds a complete story narrated by a choir of people. An encounter with this strange phenomena can be surprising, dangerous or even fatal. The night isn’t as dark as it seems. The desert is full of all kinds of living beings. This emptiness is the place for everyone. Desert Lights invites us to open our eyes wide in the twilight and to listen to the sounds hidden in the blackness. A horror movie, in the darkness of the desert.

Félix Blume (France, 1984) is a sound artist and sound engineer. He currently works and lives between Mexico, Brazil and France. He uses sound as a basic material in sound pieces, videos, actions and installations. His work is focused on listening, it invites us to a different perception of our surroundings. His process is often collaborative, working with communities, using public space as the context within which he explores and presents his works. He is interested in myths and their contemporary interpretation, in human dialogues both with inhabited natural and urban contexts, in what voices can tell beyond words. His sound pieces have been broadcasted in radios from all over the world. He has been awarded with the “soundscape” prize for his video-piece Curupira, creature of the wood and the “Pierre Schaeffer” prize for his work Los Gritos de México at the Phonurgia Nova Awards. He has participated in international festivals and exhibitions as LOOP Barcelona (2015), CCCB Barcelona (2015), Tsonami Arte Sonoro Chile (2015, 2018), Fonoteca Nacional Mexico (2016), Ex Teresa Mexico (2016), CENTEX Chile (2017), CTM Berlin (2017), Belluard Festival (2018), Arts Santa Monica Barcelona (2018), Thailand Biennale (2018), Berlinale (2019) and Rotterdam IFF (2021) among others.

An off-camera narrator is announcing the following: ?In Serbia, the Best man can ask for everything. He can even ask to cross the street on chairs.? A character brings along a pair of wooden chairs and begins exemplifying the unusual off-camera announcement by crossing the empty road on the two chairs. Having that done, the character exits the scene carrying the two chairs.

Florin Bobu is a visual artist and an independent curator. He graduated from the Faculty of Visual Arts and Design (A.K.I.) in Enschede (The Netherlands) in 2005 and has participated in a number of artistic events in The Netherlands, Germany, Belgium, France and Romania. Florin Bobu was born and lives in Tecuci, Romania. His interests in performance and video art remain linked with his beginnings in visual arts: photography. As a consequence, his artistic practice is systematically fragmentized into short actions that could easily remind of the actions of a photographer, especially a street photographer, but also relate to the ways in which one reacts in front of a complex situation. To deal with such situations mostly involves breaking them in less complicated parts which are dealt individually and successively.

Enregistrement de la mise en vente des droits de propriété et d`exploitation du verbe "avoir" à Drouot-Richelieu par Cornette-de-Saint-Cyr.

C?est au travers d?une attitude que l?oeuvre plurielle de Raphaël Boccanfuso trouve sa problématique d?ensemble, une attitude amusée et provocante qui met au défi toutes sortes de schémas référentiels. Son travail n?est pas d?ordre biologique, sa méthode relève pourtant d?un mode de processus viral. S?insinuant dans les failles de codes exigus, elle se plait à forcer les limites toujours trop marquées de systèmes de pensées étriqués. Si sa production peut être dérangeante, il faudrait l?assimiler à une rageante démangeaison plutôt qu?à une fatale pathologie. Car l?artiste n?a d?autre prétention ou revendication que celle d?affirmer sa liberté de création. Un slogan anarchiste clame qu?il faut mordre la main qui vous nourrit, pour sa part Raphaël Boccanfuso sait aussi remercier à outrance, il dit ainsi son indépendance avec une joyeuse dérision.

An intriguing, well-chosen collage of compelling moments from noir cinema, skillfully attuned to the social fantastic and the oneiric quality of the films. James Naremore, author of More Than Night: Film Noir in Its Contexts. An atlas of film gestures and Pathosformel: the montage - better the disassembly - isolates moments from the narrative and separates bodies from events, opening up to the unthinkable and the invisible of film noir. Ragtag, thus, becomes an immense archive of the imaginary that, far from being sequential and historical, becomes intensive and organic: a film-experience beyond film as such. Federico Rossin, film historian.

Giuseppe Boccassini is an Italian filmmaker mainly working in Germany and Italy. He graduated in film theory at the University of Bologna and film direction at The New University of Cinema and Television, Cinecittà, Rome. His work has been shown in several international film festivals and exhibitions, including the 79th Mostra Internazionale d'Arte Cinematografica, Venice, Italy FID Marseille, France, Edinburgh International Film Festival, Scotland, Ji.hlava International Documentary Film Festival, Czech Republic, Jerusalem IFF, Torino Film Festival, Italy, IndieLisboa, Portugal, FESTACURTAS BH, Brasil, Crossroads SF, USA, Avvistamenti, Italy, Punto de Vista, Spain, Trentino History Museum, Italy, Microscope Gallery, Brooklyn, NY, Pesaro Film Festival, Italy. Light Cone Paris distributes his entire film production. By transforming and manipulating various sources of archival material, his work reflects upon the notion of proximity in contemporary media. The director considers film as "a phallic conquerer that, folding in on itself, now flaccid deus ex machina, observes itself from the inside like a lysergic membrane that slowly founders between the folds of its material." His most recent collaborations include the film editing for Aldo Tambellini's solo exhibition Black Matters at ZKM Karlsruhe, Germany, and he is the artist for Chicago Film Archives' 2018 Media Mixer. He is in charge of programming at Fracto Experimental Film Encounter held yearly at Kunsthaus Acud, in the heart of Berlin.

LA-BAS, c'est partout, et nous sommes ICI. Vidéo en 16 chapitres (111 min.), 2005 Extrait (chapitre 1): ALAMANCI (9 min.) Le film "LA-BAS, c'est partout, et nous sommes ICI" est un documentaire sous forme d'interview consacré au thème du retour en Turquie de jeunes d'origine turque venant d'Allemagne. Les 14 personnes interrogées ont entre 15 et 40 ans, vivent à Berlin, Ankara ou Istanbul, sont turques, kurdes, allemandes ou simplement elles-mêmes. Leur point commun: tous sont les enfants ou les petits-enfants d'immigrés turcs, ont grandi en Allemagne et sont retournés en Turquie entre 12 et 20 ans. Le film montre des systèmes et des points de vue déterminés culturellement, et s'attache à dévoiler les strates politiques, personnelles et géographiques en mettant l'accent sur des mécanismes strcturels, et non individuels. Ceux qui sont rentrés sont confrontés à des questions d'identité, d'intégration, de délimitation, d'exclusion en Allemgne comme en Turquie, que les autres, restés sur place, ne se poseront jamais. Ils parlent dans le film de ce que signifient des mots comme ici et là-bas, partir et arriver, s'adapter et être à l'écart, être entre les deux. Au cours de la conversation, des notions évidentes disparaissent de notre géographie mentale: où est donc ICI? Quand étais-tu LA-BAS? Qui sont les AUTRES? Quel est le lien entre le propre déracinement culturel et le regard stigmatisant du monde extérieur? La dissolution du lieu et de l'appartenance culturelle se répercute dans la forme. Le lieu, la situation et l'individu ne se défninissent que par la parole et la présence d'un interlocuteur, pas par le lieu de tournage. Les 14 personnes parlent en 16 chapitres, chacun étant une clé pour comprendre un autre. Ce travail est comme un livre dont on peut lire indépendamment les chapitres.

Katinka Bock (née en 1976 à Francfort sur le Main) a étudié l'art et la sculpture à Berlin, Dresde et Paris (diplômée en 2002, master avec Inge Mahn en 2004). Elle a obtenu des bourses et des prix comme le Prix Marion-Ermer (2002) et le soutien aux jeunes artistes de la ville de Berlin en 2004. Elle termine actuellement son post-diplôme à l'ENBA de Lyon et sera accueillie en 2006 en résidence à La Box (Bourges). Katinka Bock vit et travaille à Berlin et Paris.

"Kraft, Herrlichkeit" (Power, Glory) is the product of research on neo-conservative metaphors and ideology. It comments on a story by the contemporary German author Georg Klein, using and breaking the motifs of the story. The result is a disturbing fiction of glorified efficiency, flat hierarchies and the strong belief in the blessing of competition.

Sebastian Bodirsky, born in 1981, lives in Berlin. He is currently studying in the "Experimental Film" class of Professor Heinz Emigholz at the University of the Arts Berlin. He develops his film works based on reflections on knowledge, observation, and intervention.

"New Heifei" enstand 2007/08 nach einem mehrmonatigen Aufenthalt in Hefei, China. Der 10 minütige in schwarzweiß gedrehte 16mm Film verhandelt die Darstellung von radikaler wirtschaftlicher Prosperität und der von Ihr geformten Räume. Dabei gelangt ein filmästhethischer und erzählerischer Kanon zur neuerlichen Anwendung, wie er im europäischen Kino ¬ über den italienischen Neorealismus hinaus ¬ etwa in Antonionis 1961 gedrehten Film "La Notte" die scheinbaren Ränder der städtischen Landnahme und ihre BewohnerInnen zu ebenbürtigen Protagonisten eines sich abzeichnenden kapitalistischen Dramas machte. "New Heifei" ist ein Experiment, bei dem Ordnung und Funktion von Drehorten und Figuren im Film und die an sie verantworteten Informationen getauscht werden. Der für eine Ausstellung konzipierte Film besteht auf die Konventionen realistischer Bildsprache um die ¬ in diesem Fall zeitlich und räumlich versetzt stattfindenden ¬ gesellschaftlichen Aufbrüche zu beschreiben.

Hannes Böck wurde am 19. 12. 1974 in Wien geboren. Nach einer Ausbildung zum Fotografen studierte er Konzeptuelle Kunst bei Renée Green an der Akademie der Bildenden Künste, Wien, und Experimentelle Filmgestaltung bei Heinz Emigholz an der Udk Berlin. Er ist freischaffender Künstler und lebt in Wien.

Happy 100, Romania. You`re old today, yet younger than most of Europe`s countries. Why linger on the past, since you let it be destroyed by ignorance and carelessness? Why dream of a bright future since you keep birthing corrupted leaders and let them pollute you? Why didn`t I leave you when all left? Maybe because you would have felt a little emptier without me? Or I would without you? I slap myself 100 times for your inability to become what I want you to become, my sad backward country. Would you slap yourself for me too?

Radu B. Boeru Date of birth: 30. 09. 1977 E-mail: radu.boeru@gmail.com Studies: 1996 - 1998: Graphics Dept. at the National Art Institute in Kishinev, Republic of Moldova. Specialisation: classical graphics, engraving techniques. 1998 - 2002: Graphics Dept. at the National University of Arts in Bucharest. Specialisation: digital graphics & advertising. I worked since 1999 in advertising, first as a copywriter then as an art director and creative director. Since 2013 I work at my own studio and experiment with different art genres, video being by far my favourite. I also experiment with painting and sculpture, audio recordings and poetry. At the moment I work on two lyrical journals and a whole series of short experimental films, hopefully will rise some funds to start a long feature film in the near future.

Four friends tired of protests are thinking about another way to shake up capitalist society. Driven by fiction, they decide to blow up a Brussels shopping center. How to think the attack? What roles do they need to play in order to imagine taking action? Is their friendship reconcilable with such a radical act?

Baptiste Bogaert (1990) and Noëlle Bastin (1991) are a duo of Belgian directors living in Brussels. Cinema is a way for usto reflect on today's world. Through the form specific to each film, we seek to see and hear what makes our time, what affects it, how it shapes us. We like to work between fiction and documentary - where fiction is a tool to show the real, what takes place. For the same reasons, our films are often marked by sequence-shot work and regular collaboration with non-professional actors. In addition to films, we design video installations.

A long time ago already the artist had already been planning to do something with the legendary dance scene from the movie "Saturday Night Fever". He decided to create a loop in which the dancer comes and goes again and again, a kind of Western derwish. He felt the urge to draw the dancer, as to create a more universal figure, so the choice of the classic animation technique was obvious. 1700 drawings were necessary to represent the shining dancer as sharp as the original. Then, giving the dancer an opaque silver colour, he retained only the essential, the moves. Because in the end, the iconographical élan of the movie is due to the fantastic choreography. The soundtrack is the original one, but played backwards. In this way the artist moves the synchronization without losing the beat and the delirious Bee Gees sound. Spots and stains in the image are part of the game. All this results in the creation of new accents. At times, letters appear, spelling the title "I am a star and I come and I go". This film may lead to a discussion about the meaning of success, or it can just be watched to enjoy the groove...

Bogaert?s films derive mostly from his own filmed material, from which he selects and creates 16 mm loops and videos. In recent years his films have often been based on icons from his childhood which he examines and defines in the present, as in "The Superfast Series", "A Study for Bruce" and "I am a star and I come and I go". The films usually lead to a series of drawings or objects which are exhibited together with the film. As for his technique, he always strives to use new combinations and applications of drawing and painting materials and even filming techniques. In his latest works he often uses the technique of animation.

The installation consists of two black and white video images, one video projector and two thin (2 mm) illuminated fibre lines. A large projection shows images of moving objects or people that are fixed in one place on the wall by means of a sophisticated tracking technique. This technique continuously shifts the frame of the video image in a way that the chosen object stays in one place. Thus, all movements are neutralized. Directly behind the projector a very small 4,7 inch screen shows a close-up of a moving eyeball, of which the pupil is fixed in the middle of the screen. A luminous wire is stretched across the exhibition room, between the fixed point of the projected image and the centre of the small eye pupil. The wire is a physical and stationary element in the exhibition room.

Peter Bogers’ (Netherlands, 1956) work engages the interplay of sound and image to create installation works dealing with questions around the understanding and perception of sound. Working with the themes of music, speech and sound Bogers questions the boundaries of these fields and their limits and access to communication. Through his constant interaction with sound, Bogers also examines the visual, spatial and conceptual understanding of the human body and its place within the moving image and experiential installation. Bogers was one of the first artists in the Netherlands to integrate moving image into his work. He began working with video in the 1980’s as a methodology to accompany and assist his performance work and has since developed a keen approach to the medium that functions as a tool to illuminate the otherwise imperceptible. Peter Bogers studied at the sculpture department at St. Joost Academy, Breda. He has exhibited widely and had solo exhibitions both in The Netherlands (at the Netherlands Media Art Institute and the Central Museum Utrecht, among other places) and internationally (including solo shows in Bremen, Marseille, Osnabrück, Pittsburgh and Stuttgart).

Glued Eye 2-channel installation Peter Bogers, The Netherlands, 2019 www.peterbogers.com The installation consists of two black and white video images, one video projector and two thin (2 mm) illuminated fiber lines. A large projection shows images of moving objects or people that are fixed in one place on the wall by means of a sophisticated tracking technique. This technique continuously shifts the frame of the video image in a way that the chosen object stays in one place. Thus, all movements are neutralized. Directly behind the projector a very small 4,7 inch screen shows a close-up of a moving eyeball, of which the pupil is fixed in the middle of the screen. A luminous wire is stretched across the exhibition room, between the fixed point of the projected image and the center of the small eye pupil. The wire is a physical and stationary element in the exhibition room.

1965 Born in Dordrecht, The Netherlands 1981 Graduated from Art Academy St. Joost, Breda, The Netherlands at the sculpture department. Lives and Works in Amsterdam, The Netherlands In the early eighties Bogers was heavily involved in performance art, but gradually started to use the video camera as an intermediary between himself and the public. In the nineties he started to approach sound and image more and more as self-contained, flexible media that give him access to the element of time and thus can be transformed in an attempt to make a statement about the complexity and incomprehensibility of human nature. Bogers has had solo exhibitions in international museums and galleries in Amsterdam, Utrecht, Bremen, Stuttgart, Osnabrück, Beijing, Tokyo, Marseille, Split and Pittsburgh. Among others his work is in the collection of the Stedelijk Museum, Amsterdam, Museum of fine arts, Taipei and Harvard University, USA.

The Napoleon code, that influenced widely the European legislation, punishes the body with no clothes. While all seems to be permitted in the media, in the daily life, in Italia as anywhere else, there is still the « atti osceni in luogo pubblico ». Even after thirty years, the performances by Abramovitz naked can?t be considered as natural. That?s about what a small group of students of the Berera was talking about in March and April 2004 at the café Victoria of Milan, (a bar which was hosen of course because of its name). They were stimulated by Foed Ben Affane, a young artist who starts to get interested into the conceptual world. The occasion of a great exhibition on the nude body in Bologna (Il nudo fra ideale e realtà under Peter Weiermeier direction) made born the demand to face one another and to meet, to look for the contact, at least, with the art world and the audience. And this is how that the 8th of June Foed walks nude among the paintings and the sculptures of Bologna, among its audience shared between in disinterest (simulated?) and the merry participation. And, on June 9th, he does it again with the half authorization of the curator and no without problems at the cloakroom where he wanted to let his clothes. The video presents a montage of these two days and two parts of interviews of Foed at the Victoria Bar

Kika Bohr is born in Geneva in 1956 et grew up in Milan. Daughter of artists, she accomplished at first literature studies and works as translator. Since 1998, she realizes portraits with oil painting, then sculptures in different materials (notably copper). She takes lessons at the Sculpture Academy of Brera.

"Surface Trouble" is a screening enwiden on two screens. The artist proceed to a succession before a dusty mirror. The viewer sight is torn appart between the soft and mysterious opaque of the image on the left and irresitible lure for the dformed right hand image, caricatured by special effets. The high electronic music by David Perchey adds in a gloomy way but effective to this disturbing team.

My performances breath through video its plastic and luminous dimension. The most I alone before the camera, the most I?m constrained to evolve in its still frame. In this intimate, I?m doing a strangely disturbing exercise; the physical relation with the object. Letting the object in its first function, I let myself surprised and build a sexual choreography of manipulation. My body is sculpted by the matter of the object which lay on my shoulder, that gets in my neck, throws on my face, distorts my expression, slashes me violently. For the editing, I use special effects as the backside and the slowdown, surrealist cuts, the proper sound of the object or even a strongly present music in order to penetrate directly in the lyric and poetic universe that inhabit me. Overtaken by my senses and double senses, the man crops up. I?m the puppet of my unconscious. In this work, I duplicate myself in a woman-object, an muse carrying messages.

Alibi is a map of hidden evidence. Alibi is a map of regret. Alibi is a physical map through frozen landscapes where the darkness in human nature is revealed. In a small Irish midland town a woman is brutally murdered while returning to her family for Christmas. When questioned by police, Paddy gives his workmate John a cover story. Twenty years later John is charged with murder and Paddy?s lie is now an alibi.

Darren Bolger & Caroline Campbell have been directing and producing collectively on projects since 2008.

- Didn’t you know that you were giving poison to him- No, I didn’t know. - Didn’t you know that the flypaper could kill a cat, didn’t you? Didn’t you know that it could even kill a man? - Yes,I knew it was poison, but not as strong as that. Words and fragments of a trial: The case of poisoners. Peasant women killing their men. On the roads of Hungary a judge is haunted by his own voice. Jacques Nolot plays the vagabonding judge obsessed and caught by the claws of the past. A film noir fantastic based on a true story.

Andreas Bolm was born 1971 in Cologne, Germany. After working as a musician and sound engineer in Manchester, England, he began to experiment with photography and video. In 1999 Andreas enrolled at the documentary department of the University of Television and Film in Munich. Andreas is living and working in Germany, Hungary and France. His films Ròzsa (2000), The Sleepers (2003), Jaba (2006), All The Children But One (2008) and School Files (2012) have been screened at many festivals worldwide. Jaba was presented at the Festival de Cannes in 2006 and won the « Golden Mikeldi » for best documentary at the Zinebi film festival in Bilbao. In 2009 Andreas attended the Cinefondation Residence Festival de Cannes where he developed his film Die Wiedergänger/The Revenants (2013). The film was premiered in 2013 at the 63th Berlinale, Perspektive deutsches Kino and presented at the MoMA in New York, series New German Films. In 2013 Andreas attended a four months residency in the frame of the Nipkow Program in Berlin.

Northern Germany. An ageing hippie couple endures an isolated, ghostly existence in an old country house. A boy wanders aimlessly through a forest, building a lair for himself. And a story about a never-ending escape from catastrophe. The Revenants - a film about desire, loss, and endlessly returning. A ghost story.

Andreas Bolm was born in Cologne in Germany. As a musician and sound technician he was drawn to Manchester, UK, where he started to experiment with photography and video. He began studying film at FAMU, Prague and at HFF in Munich. Following invitations to Cannes and other festivals, he was granted a bursary by the Cinefondation Residence Festival de Cannes in 2009 which allowed him to develop DIE WIEDERGÄNGER.

Zoli earns his livelihood abroad skinning chinchillas in a Danish fur factory. The film begins with the story of Zoli's return to the periphery, to the small Hungarian village of Jaba. Zoli's family, settled Romas, struggle to earn their living hiring themselves out as day-labourers. For Zoli, Jaba has no work and no prospects, so he kills time and waits. Standstill. "Jaba" tells the story of survival in one of Europe's poorest regions. A movie about the outsiders. The protagonists portray their own lives. A film that is as raw and poetic as the people themselves.

Andreas Bolm was born in Cologne, Germany, in 1971. After film and theatre science studies at the FU-Berlin, he moved to Hungary in 1996 where he had lived in his childhood. There he shot his first documentary "Gradually we hit the target". In 1997 he enrolled for a course at the film academy FAMU in Prague. Since 1999 Bolm has been a student at the documentary department of the Hochschule für Fernsehen und Film München, where he has directed the short documentaries "Rózsa" and "The Sleepers", the latter presented at Festival International du film Documentaire de Marseille in 2003 and Internationale Kurzfilmtage Oberhausen, IFF Rotterdam.

An old building in Venice hosts an exhibition, a visitor walks through empty rooms discovering a fictionalized architectural space that functions like an abandoned theatre set. While a city that is slowly drowning floods you with its obsessive presence on and off- screen, imagination can’t exceed reality. Inspired by Alexander Kluge’s oeuvre and his constellation of film and video works, the metanarrative framework of this exploration attempts to de-construct the subjective experience and liberate the cinematic energy from the horror vacui of the display.

Pia Bolognesi (PhD, b. 1981) is an independent curator, art historian and artist based in Berlin. With a background in Performing Arts, Film Theory and Visual and Environmental Studies, she has organized large scale installations, exhibitions and multidisciplinary projects for institutions including the Tate Modern London, MoMA New York, Centre Pompidou Paris, FNC Montreal, 56th Venice Biennale. Her works and installations have been presented at Wiels Bruxelles, Musée des Beaux-Arts de Montréal, Kyoto and Tokyo Universities of Art and Design, Deutsche KunstHalle Berlin and Triennale di Milano, among others. Giulio Bursi (PhD, b. 1978) is an independent film curator, dramaturg and film-maker based in Berlin. Educated in Film Theory, he has been assistant director of Jean-Marie Straub and Danièle Huillet. He realized a documentary feature (J’écoute!, 2007) and different shorts and installations collaborating with international institutions and film festivals like Austrian Film Museum, 56th Venice Biennale, MoMA To Save and Project New York, Turin Film Festival, Il Cinema Ritrovato Bologna, Berlinale, Festival du Nouveau Cinéma Montreal, GAM Turin. Pia Bolognesi and Giulio Bursi work together as Atelier Impopulaire since 2012. Their installations have been exhibited at Centre Pompidou, La Triennale di Milano, Kunsthaus Bregenz, GAM Santiago, The Mix Place, West Bund Art Space and Power Station of Art in Shanghai, Volksbühne Berlin, ZKM Karlsruhe, Tate Modern, Berlin Gallery Weekend, Rotterdam Film Festival. Atelier Impopulaire has developed site-specific projects internationally, collaborating with artists like Aldo Tambellini, Dries Van Noten, Morgan Fisher, Danièle Huillet & Jean-Marie Straub, Peter Tscherkassky, Margaret Honda, Experimental Jetset, Christopher Williams, Alexander Kluge.

BEFORE WE LOVE is an installation and a performance in three acts: CROSSCURRENTS, 12 GATES, and THE SHADOW SOCIETY. Inspired by the legendary UMBRA Poets Workshop (1961-63), it completes Atelier Impopulaire’s trilogy about the birth of underground artistic movements and civil rights activism in the African-American, Italian and Latino communities that had migrated to New York City’s Lower East Side by the early 1960s. 12 GATES is a large-scale multi-screen installation that integrates rare archival material with new Atelier Impopulaire’s footage, drawing on UMBRA’s literature to explore the fight against cultural oppression by the movements that advocated for social justice through multidisciplinary practices.

Pia Bolognesi is an artist, cultural activist and art historian based in Berlin with a background in Performing Arts, Film Theory and Visual and Environmental Studies. Giulio Bursi is a dramaturg, film-maker, independent film curator and professor based in Berlin. Educated in Film Theory, he was assistant director of Jean-Marie Straub and Danièle Huillet. Pia Bolognesi and Giulio Bursi have worked together as Atelier Impopulaire since 2012. Their practice involves moving-image, writing, installation, sculpture.