Catalogue > List by artist

"Gesichte" is an old fashioned german word, close to "Gesichter", which means "faces", but these faces are more of a vision, an image from a dream or a hallucination, it is about inner landscapes. The one who sees these phantoms is in a transcendent room, an undefined in-between. "Gesichte" also appears in the japanese Noh theatre plays, where real people meet ghosts, souls of the passed, that find no rest. The Visions Book - in Germany nearly a translation of "facebook" - is a collection of my obsession of this worlds in-between, merging worlds, overlapping worlds, overlapping like two green screen video images, not accurate enough to avoid the light greenish shimmer in the hair of the teenage model. The basis of this collection is the photographic still image, the frozen pose. The film is like a photobook in time, the "book" like part of it like a page of a facebook chronical, a pile of short clips, pix, texts, comments, in a boundless subjectivity.

Born in 1965, artist, filmmaker, he studied fine arts at University Of Fine Arts, Berlin 1993-98 and graduated at the class for experimental film and arts of Heinz Emigholz, 1999. From 2006 to 2011 he has been teaching film at Filmakademie Ludwigsburg. From 2007 to 2012 he held a professorship at University Of Fine Arts, Berlin in the "experimental film" class and works as a film music composer, script writer, editing consultant. His own films include WORDS FOR WINDOWS (1996, 15 min. WP Int Forum Des Jungen Films, Berlinale GER) HYPERBOOKS (1999, 38min, WP Int. Short Film Days Oberhausen GER) VIRTUAL VAMPIRE (1999; 92 min, WP Max Ophüls Prize,Saarbrucken, GER) SEVEN HEAVENS (2005, 92min,WP Torino Int. Film Festival, I) THE ELECTRIC PARADISE (2010,208min, WP Int. Forum Expanded, Berlinale; GER) ERSTER SCHNEE (2014, 27 min, in postproduction) and the project VISIONS BOOK (2012-2014) Michael Busch lives and works in Berlin.

An AI chatbot wonders about their digital memory as they travel through their infrastructures. Under the Pacific Ocean, they talk to an Internet fiber-optic cable. In the city of Santiago, they observe a protest by an ecofeminist group against a new Google data center. In the middle of the desert, the chatbot hears the tragic love story that led to the creation of the Atacama Salt Flat and discovers that cell phone batteries contain the tears of a volcano. Through this speculative, research-based narrative, the short film explores the socio-environmental resonances of digital infrastructures in Chile.

Josefina Buschmann is a researcher, filmmaker and media artist exploring technologies and ecologies. She is a member of the collective MAFI -Filmic Map of a Country-, with whom she collaborated as a filmmaker in OASIS (2024, Berlinale Forum), co-directed GOD (2019, Visions du Réel), and was the general editor of MAFI.tv (2012, IDFA Doc Lab). As a media artist, she created the installation THE FALLEN CLOUDS (2022, Ars Electronica) and the expanded documentary OPERATIONAL ATMOSPHERES (2019, Forecast Forum). Josefina holds a Master's degree in Comparative Media Studies from MIT, where she worked at the MIT Open Documentary Lab, and prior degrees in Sociology and Filmmaking. She has taught courses in media studies and visual and digital anthropology, and was the coordinator of the Visual Anthropology Lab at Universidad Católica de Chile.

The self-driven collides with the self-driving. This scenario depicts a scene from the gig economy, where a Deliveroo gets hit by a self-driving car, and misses her allocated delivery time. As punishment for underperformance, she is dragged to the underworld, where she faces the judgement of the market. She is sentenced to the `Schuldturm`, a spectral debtor`s prison until she can repay her debt to the economy.

John Butler CV Born Dublin 1959 1977-1981 Diploma in Drawing and Painting (1981) Duncan of Jordanstone College of Art, Dundee. 1983- 1984 Community artist, Arts Action, Dundee 1986-1987 Illustrator and display designer, Dundee botanic gardens. 1988-1989 Post graduate diploma in Electronic Imaging (highly commended) at Duncan of Jordanstone College of Art, Dundee. 1989-1995 Television graphic designer at Scope Picture Productions/Edit 123. 1995-1997 3D designer Glasgow Herald internet division . 1997-2017 Freelance 3D animator. 2001-2005 Part time lecturer 3d animation and multimedia, James Watt College Selected works World Peace Thru Free Trade 1989 Leisure Society 1990 The Dream of Freedom 1994 Zerotime 2003 Human Trial 2005 The Ethical Governor 2010 Refusnik 2013 The Utility Curve 2015 Children of the Null 2016 Unparent 2017 The Dependency Loop 2018 Gallery Shows V-Topia Tramway, Glasgow1994 ISEA 98 Manchester Science Museum 1998 Lovebytes, Sheffield 2002 Niet Normaal, Amsterdam2009 Gaming in Waziristan, Beaconsfield, London2011 Artificial Indifference, Glasgow University2012 Exchange Rates, Bushwick2014 Touching the Void, Crate Art Centre Margate 2017 Siren Servers. Sonica Glassgow 2017 Broadcast Works World Peace BBC2 (The Dazzling Image) 1990 Leisure Society BBC 2 (Not Necessarily) 1991 B-Creatures, Channel 4 2000 Workgroup Alpha, E4 2001 Festivals Edinburgh Film Festival Impakt Festival ( Utrecht) Transmediale (Berlin) Videonale (Bonn) Vipfilm (Berlin) Sarajevo Film Festival Raindance( London) EMAF (Osnabruk) PKD Film Festival (New York The Solid State Cinema Supernova, Denver Dokfest Kassel

Chromaphilia is an abnormal mania: an extreme obsession of colors. Color as drug leads at least to a transitional loss of consciousness. In desperate cases it provokes blindness or thoughtlessness - an end in delirium or dementia.

Sandra Bühler is a Filmmaker / Designer / New Media Artist. Born in Switzerland she made an apprenticeship in a Swiss Graphic Atelier and graduated 2006 as dipl. Graphic Designer. She moved to Berlin and studied "Visual Communication" and "New Media Art/Film/Video" at the University of the Arts Berlin (UdK). 2009 her studies continued with a scholarship from the Musashino Art University in Tokyo (MAU). Back in Berlin she made her diploma in «Design / Visual Communication» and in «Experimental Film / Art + Media» at the University of the Arts, Berlin. 2011 she received a scholarship for the Masterprogramm «Film/Video/Media art» at the California Institute of the Arts (Calarts). Currently she works for Partizan Berlin.

With the help of two scenes from two different Hollywood films, a narrator weaves a winding tale about the inability of language to articulate its own origin.?

Erik Bünger is an artist, writer and composer whose work represents an ongoing investigation of the human voice and its paradoxical relationship to the human body.

After long and painful research, a picture started to emerge. Going through vast amounts of archive material the artist stumbled upon more and more interview clips where there seemed to be a lack of clarity as to whom the person on camera was actually referring to. Yet they all spoke of Him. Sometimes the reports on Him seemed to reinforce each other and sometimes they seemed to contradict each other. Nevertheless, there was something in the tone of their voices and in the way they moved their heads that made the artist sense some sort of coherence in their experience. Sometimes he felt as though he had caught a glimpse of a silhouette reflected in their eyes. "Gospels" is a work with an open-ended duration. As new material is found, new chapters will be added, slowly completing and complicating the picture. A canon in the making. The project was initiated during a two-month residency at Werkleitz Gesellschaft in Halle, Germany, in the spring of 2006.

Erik Bünger is a Swedish artist, composer, musician, and writer living in Berlin. He works on recontextualizing and remixing media - appropriated from existing music and film - in performances, installations, and web projects. He has a MFA in Electroacoustic Composition from The Royal University College of Music in Stockholm and Universität der Künste in Berlin. He has performed and exhibited all over Europe, and South and North America. In 2003 he created "Let them sing it for you", an interactive web art project, which so far has had over four million users from all over the world and has received two international awards.

"50,000,000 can't be wrong" shows crowds of people expressing longing and despair through their mimics and gestures. Their subject of attraction, their idol, is missing. He is off-frame, hidden to the viewer. All traces referring to him are erased from the footage. What remains is his reflection in their faces, constituting his negative image.

Susanne Bürner was born in 1970 in Ellwangen/Jagst. She studied Media Arts at the Hochschule für Gestaltung in Karlsruhe and received her diploma in 1998. She currently lives and works in Berlin. Her work has been presented on diverse occasions, in a number of places, among them: "finistère", 2005, Galerie Giti Nourbakhsch, Berlin; "Dissolve", 2002, Galerie Giti Nourbakhsch, Berlin; and "Räume", 2001, Akademie Schloss Solitude, Stuttgart. Among her group presentations are: tank.tv, 2007, Tate Modern, London; and "Klinik - eine Pathologie der Gesten", 2006, Théâtre Hebbel, Berlin. She has received numerous prizes and stipends, the most recent include: bourse du programme berlinois en faveur des artistes féminines, in 2006; Artist in Residence at the Villa Arson, Nice, France, in 2006; and la bourse du Kunstfonds de Bonn, Germany, in 2004.

Hohe Kiefer 4 (2005) 5:37 min. C'est le petit matin. Un loup se met en route; il quitte résolument la forêt recouverte de neige, traverse en courant des prairies pour arriver à un lotissement de banlieue. On ne connaît pas la raison de son voyage. Il entre dans une maison, c'est la chambre. Un couple y est allongé et dort, il y a un jouet sur le sol, mais on ne voit aucun enfant. Le loup reste dans la pièce, flaire le jouet et reste un moment couché dans une attitude de garde avant de partir par la porte. La femme se réveille. Hohe Kiefer 4 est l'histoire d'une rencontre qui se déroule à plusieurs niveaux de présence.

1970 né à Ellwangen/Jagst 1993 - 1998 études d'art des médias à la Hochschule für Gestaltung à Karlsruhe 1998 Diplôme Expositions individuelles 2005 finistère, Galerie Giti Nourbakhsch, Berlin Songs from out there, Sassa Trülzsch, Berlin 2002 Dissolve, Galerie Giti Nourbakhsch, Berlin 2001 Galerie Borgmann Nathusius, Cologne (avec Gary Ward) Räume, Akademie Schloss Solitude, Stuttgart 1999 Galerie K & S Berlin (avec Daniel Roth) Photographie, Galerie Karlheinz Meyer, Karlsruhe (avec Barbara Trautmann et Günther Förg) 2000 Trees, Galerie Karlheinz Meyer, Karlsruhe (avec Candida Höfer) Trees, Graduate Studios UCLA Culver City, Los Angeles, USA 1997 Galerie Karlheinz Meyer, Karlsruhe expositions collectives 2005 A Haunting, Castlefield Gallery, Manchester, (DVD, catalogue) Placements, /Galerie/Store/52°31?52??,13°22?55??/, curateur Andrew Cannon Acid Rain, Glassbox, Paris, curateur Vincent Honoré 10. Videonale Bonn, Kunstmuseum, Bonn (DVD, catalogue) Radiodays, CTP, de Appel, Amsterdam 2004 kurzdavordanach, SK-Kulturstiftung Cologne (catalogue) Missing Time, Art Centre Hong Kong, video programm curateur Laurent Grasso Playlist, Palais de Tokyo, Paris (catalogue) Zwischenwelten, Oktokogon, Dresden, curatrice Constanze von Marlin 2002 Geographies #3, Galerie Chantal Crousel, Paris Karl Schmidt-Rottluff-Stipendiaten, Kunsthalle Düsseldorf (catalogue) Night Effect, Carlo?s Depot, Berlin, curated by Eva Svennung (Toasting Agency) Passages, Art3 Valence, (F) (avec Rut Blees Luxemburg et Wendelien van Oldenborgh) Galerie Giti Nourbakhsch, Berlin Akademie Schloss Solitude, Stuttgart 2002 A Need of Realism, Solitude in Schloss Ujazdowski, Warszawa, Poland (catalogue) Golden Week, Kodama Gallery, Osaka, Japan, curated by Eva Svennung (Toasting Agency), (Poster) 2001 Not At Home, Römerstr. 2, Stuttgart, curateurs Gary Ward et Susanne Bürner Circles No. 5, Montana Sacra, ZKM Karlsruhe, curateur Christoph Keller (catalogue) CamoShow, Museum Wiesbaden, curateurs Alexis Vaillant et Léonor Nuridsany (catalogue) Papier, Galerie Borgmann Nathusius, Cologne 2000 nuit de l'at à la galerie municipale de Stuttgart, participtation au kiosk project de Laura Martin presentation video à la Galerie Giti Nourbakhsch, Berlin 1999 Insight Out, Kunstraum Innsbruck, Autriche, Kunsthaus de Hambourg, Kunsthaus Baselland, Suisse, (catalogue) 1998 Galerie Karlheinz Meyer, Karlsruhe Gang Bang, Galerie Margit Haupt, Karlsruhe, curateur Christoph Keller bourses et subventions 2006 Villa Arson, Nice, France, résidence 2006 Los Volcanes, Colima, Mexique, résidence 2004 Kunstfonds Bonn, bourse 2003 Karl Schmidt-Rottluff, bourse 2003 Art 3, résidence attribuée par le land de Bade-Wurtemberg et la Région Rhône-Alpes à Valence, France 2000 - 2001 résidence à l' Akademie Schloss Solitude Stuttgart 1998 - 1999 séjour d'études programme Fine Arts à l' UCLA Los Angeles, Californie, USA (bourse du Studienstiftung des deutschen Volkes) 1997 - 1999 bourse du Studienstiftung des deutschen Volkes, Bonn travail pour des collections publiques Deutsche Bank DG-Bank Staatsgalerie Stuttgart Thyssen-Bornemisza Contemporary Art Foundation ZKM Karksruhe ARTICLES 2005 Vincent Honoré sur Susanne Bürner, Contemporary Magazine #71 2004 Dominic Eichler sur Susanne Bürner, Frieze art Fair Yearbook 04/05 2003 Catherine Francblin, ?geographies #3?, art press #298, p. 84 Marie de Brugerolle, ?passages at art3 (revue)?, artpress, # 292, Juillet-Août, pp. 76-77 Eva Svennung, ?Susanne aime Smoke Gets in Your Eyes?, in: ?Vanishing Points. Susanne Bürner?, art3, Valence & Revolver, Francfort sur le Main Johan Hartle, ?Image Events?, in: ?Vanishing Points. Susanne Bürner?, art3, Valence & Revolver, Francfort sur le Main 2002 Miriam Bers sur Susanne Bürner, tema celeste, issue 93, Sept.-Oct., p. 100 PUBLICATIONS Vanishing Points, Art 3, Valence and Revolver Frankfurt, Jednoczensnie (simultaniously), Zamek Ujazdowski, Varsovie et Revolver, Francfort zusaen collaboration avec Daniel Roth, Gregor Sander et Gary Ward Fog Book, Revolver Francfort Catalogue Schnidt-Rottluff Bourse FILMOGRAPHIE 1999 trees, dv, installation à plusieurs canaux, durée variable 2000 Sprinkler, dv, série vidéo , en boucle, durée variable Nebelfelder, dv, série vidéo, en boucle, durée variable 2001 Fading, dv, installation multicanaux, durée variable 2001/2002 Dissolve, dv, projection vidéo ,en boucle, 18 min. 2003 ohne Titel (fr= sans titre), dv, 5:30 min ohne Titel 2, dv, 3:30 min. 2004 ohne Titel 3, dv, 6:30 min. montauk, dv, loop, 6:30 min 2005 Hohe Kiefer 4, HD, 5:37 min. limbo, DV, en boucle, 0:42 min. finistère, DV, en boucle, 5:40 min