Catalogue > List by artist

?Temporary loss of consciousness? alludes to the recurring displacement of populations in the Indian subcontinent from the time of Partition (1947) to the present. The film explores the ideas of borders, boundaries, limits and forbidden spaces that generate vast expanses of wastelands of human emotion and action. Treated as a poetic essay the film traces these ideas through the voices of those that live in exile in the Indian subcontinent. It has been shot in New Delhi apart from the borders of India - Pakistan and India and Bangladesh. Falling in the genre of Experimental Documentary, the film constructs meaning through juxtaposition of several elements like found footage of Independence/Partition, constructed narratives spoken in the respective languages of the affected populace and abstractions of abandoned spaces or spaces of refuge. Characters from ?Toba Tek Singh?, a short story by Saadat Hasan Manto, are woven into the structure and the spoken narratives are poetic in character, speaking of longing and belonging, home and honour, loss and betrayal, boundaries and crossings. This film emerged, not just from a desire to express the trauma and disjunction of people experiencing political borders, but to express it in the way I visually felt it to be most resonant of the emotional landscape.

Monica Bhasin is a filmmaker/editor who graduated from the Department of Film Video and New Media at the School of the Art Institute of Chicago, Chicago, USA in 2004. She is previously a graduate of the Mass Communication Research Center, Jamia Millia Islamia University (1992) New Delhi, India. For the last twelve years she has mostly been working as an editor for several documentary films in Delhi like Present Imperfect Future Tense, Born at Home, In the Eye of the Fish, Some Roots Grow Upwards, Autumn?s Final Country etc. Monica started making her own videos at the School of the Art Institute of Chicago in 2001. Her first two short pieces as a student were Room and Seams Elsewhere. She has just completed her first non-fiction film called temporary loss of consciousness. The film explores displacement and the futility of borders in the conditions created by Partition of the Indian continent during and after 1947. Monica is currently based in New York.

Built during British colonial rule in 1930, the Kalurghat Bridge serves as a vital connection between the north and south of the greater Chittagong district of Bangladesh, bisected by the Karnaphuli River. Historically, this bridge facilitated communication between regions in south Chittagong, bridging the gap from British India. From the circle of my family ancestors, many left the southern part of Chittagong from the British period, particularly the partition period, to the Pakistan period and settled in different parts of this subcontinent. Then, during the liberation war of Bangladesh in 1971, some people in Bangladesh-India border areas took shelter for some time and worked in various ways for the freedom of the country. From the post-independence period to the present, many people from this southern region migrated to other countries outside the subcontinent for different purposes and reasons, including re-settlement in Chittagong City and Dhaka. These familial and local stories are not linear. Through different layered images on the bridge, the video features a female narrator, embodying the collective familial past. The narrative within the video is a fictionalised merge drawn from different stories and correspondences, further exploring familial history and connection.

Palash Bhattachajee has undergone a shift in his artistic journey, transitioning from academically focused printmaking toward multi-media, experimental art-practice via a close encounter with performance art activism. He takes critical interest in closely reading filmic genres and their performative idioms. The photo/videographic style and the eclectic selection of objects in his works are influenced by the cerebral matrix of contrapuntal, non-narrative aspect of deconstructed storytelling adopted from global cinema. Based and born in Chittagong, Bangladesh, he received his Master’s and Bachelor's degrees from the Department of Fine Arts, Chittagong University. He was awarded the Asia Pacific Fellowship Residency from MMCA Residency Goyang in 2011 and received a grant from Seoksu Art Project of Stone & Water, South Korea, in 2010. His works have been widely exhibited in Bangladesh, including at Chobi Mela 2021, Dhaka Art Summit 2012-2020, Asian Art Biennale 2012-2022, Dhaka, and internationally, including ‘Legacies of Crossings’, Shahnaz Gallery, London, UK 2024; NOmade Biennial, Art Center Gallery Elblag, Poland, 2023; Warehouse421, Abu Dhabi, UAE, 2022; Colomboscope, Colombo, Sri Lanka, 2022; ‘The Oceans and the Interpreters’ and ‘The Deep City’, Hong-Gah Museum, Taiwan, 2020; ‘Seven Exhibitions’ at Exhibit 320, New Delhi, India, 2018; and many more.

If It Rains is the story of three generations of men of the Bhutia family, mask-maker- rain-stopper, mask-maker-lottery-addict and a young boy who live between the small city of Gantgtok and the mountain hamlet of Tinjim, in the state of Sikkim in India, which borders Tibet in the eastern Himalayas. Spread over nine years (1999-2007) the film tries to explore the conflicts of contemporary living in Sikkim by interweaving the narratives of it?s main characters: Sonam Bhutia, the young boy; the father of the boy, Duduk Bhutia, a mask-maker and a compulsive lottery player who is caught between a balanced life and a defeated one; Sonams?s grandfather, Duduks?s father, Dorji Bhutia, a man reputed to have supernatural powers.

Nilanjan Bhattacharya is a Calcutta based filmmaker involved in filmmaking and other media implementations for the last 15 years. Many of his films have been to several national as well as international festivals like, Delhi Ethnographic Film Festival (2008), MIFF2006 & 2008, British Council Digital Film Festival (2006), Himal Film Festival. Kathmandu(2001). He has received National Film Award of India in 2005 for his documentary, Under This Sun. His recent documentary is Jodi Bristi Ashey for NHK, Japan. Nilanjan is also active in practicing various media implementations. He is one of the main initiators of an organization, Khetro, which is active in creating an open space for interaction in the field of community culture, old and new media, and ecological existence. He the main editor of a periodical, Khetro Broadsheet. He was a resident artist in Bangalore Art Residency programme where he has produced a video work, It?s Open. Nilanjan is now building up an Interpretative Interactive Archive on Calcutta.

A lighthouse on the mountains over Brunate, a beam of light incessantly rotating in the dark, shedding light over something which has remained in the shadows. It illuminates one house.  The house contains members of one family, portrayed in they daily life.  The story revolves around a specific moment in time, when Francesco, the eldest son, spends one year in jail. Around that time each one of the relatives exchanges letters with him. The Tyndall effect is a phenomenon of diffusion of light due to the presence of some particles in the air. It manifests itself, for example, when the car lights are turned on in a foggy day. The same effect is visible from the tower of the lighthouse looking towards the home of the Bianchi’s family.

Fatima Bianchi was born in Milano in 1981, she lives between Milano and Marseille. Her research focuses on the understanding of the individual, on his historical memory, his cultural and natural contest. Her artistic production is expressed through the medium of the video, the documentary and the site installation.

At the cinema, all eyes converge on the same surface: the screen. Each person in his or her place pays attention to the progress of the film without disturbing the others, or else to share in the occasional burst of laughter or sign of fright. But almost all these viewers also have another screen with them, a smartphone. If, in this situation, it's de rigueur to turn them off, could we, on the contrary, ask everyone to use them, not instead of the big screen, but as a complement to it? Indeed, Swipe to Swipe to ... is a dispositif that lets you switch from one screen to another, playing the film while playing with the film, in this case George A. Romero's "Night of the Living Dead". From now on, connecting to the dispositif means taking part in the film. In fact, the film is divided into as many parts as there are seats in the room, and continues to unfold on the audience's smartphones. Potentially, the whole film could thus be played out in a distributed manner on the audience's smartphone screens, each with a part of the image, but all broadcasting the sound. Whether it's completely emptied of its image, or only partially, the big screen won't remain so for long, as everyone can swipe their screen in either direction to put the film back where it belongs, or, on the contrary, to bring it back to themselves. This action also plays with the film's temporality: the film is slowed down when taken by the audience, who can then collectively restart the normal running of the film and move from one sequence to the next, restoring the various pieces of borrowed image to the big screen. Far from being just a technical gesture, this will take on its full meaning when the film we play with also raises questions about our relationships with others, and our individual and collective responsibilities, as did this famous horror film in its day, whose political interpretations caused so much ink to flow are perhaps still relevant today.

Samuel Bianchini is an artist and associate professor at the École Nationale Supérieure des Arts Décoratifs—Paris (EnsAD) / PSL University Paris. Supporting the principle of an “operational aesthetic,” he works on the relationship between the most forward-looking technological “dispositifs”, modes of representation, new forms of aesthetic experiences, and sociopolitical organizations, often in collaboration with scientists and natural science and engineering research laboratories. His works are regularly shown in Europe and across the world: MAAT (Museum Art Architecture Technology, Lisbon), Zürcher Gallery (New York), Wood Street Galleries (Pittsburgh), Nuit Blanche Toronto, Waterfall Gallery (New York), Medialab Prado (Madrid), Palais de Tokyo (Paris), Kunsthaus PasquArt (Biel), Art Basel, Institut Français of Tokyo, Stuk Art Center (Leuven), Fiac, Centre Georges Pompidou (Paris), Deutsches Hygiene-Museum (Dresden), National Museum of Contemporary Art (Athens), Jeu de Paume (Paris), Laboratoria (Moscow), Thessaloniki Biennale, Centre pour l’Image Contemporaine (Geneva), space_imA and Duck-Won Gallery (Seoul), Museum of Contemporary Art Ateneo de Yucatán (Mexico), ZKM (Karlsruhe), Musée d’Art Moderne de la Ville de Paris, etc. After defending his PhD thesis (of The Université Paris 1 – Panthéon-Sorbonne) in an art center (Palais de Tokyo in Paris) with a solo exhibition, and, more recently, his accreditation to supervise research, Samuel Bianchini is now the head of the “Reflective Interaction” research group at EnsadLab, the laboratory of EnsAD, and the Co-Director of the Chaire Arts and Sciences recently founded with École Polytechnique and the Daniel & Nina Carasso Foundation. He is a member of the SACRe Laboratory (Sciences Arts Création Recherche – EA 7410) of PSL University and involved in its doctoral program for which he supervise PhD in art and design. He is also member of the canadian research-creation network Hexagram and associate member of the Cluster of Excellence Matters of Activity, Humboldt Universität zu Berlin. In close relation to his research and artistic practice, Samuel Bianchini has undertaken theoretical work, which has led to frequent publications edited, for example, by Éditions du Centre Pompidou, MIT Press, Analogues, Media-N - Journal of the New Media Caucus, Hermes, Les Presses du Réel, Springer, etc.

SYNOPSIS: Maryan and Rahma is a 6-minute video with English subtitles based on an interview with an African refugee family. Their tragic story represents that of thousands of others travelling from turbulent areas of Africa to Libya as a point of departure, from where they flee in small crowded boats after paying their smugglers large fees for a ?line of flight? into Europe. The Maltese headlines are struck daily by news of these clandestine arrivals, arousing on this tiny overpopulated island contentious feelings of racial, economic and political disquietude, not least of all aimed at the insufficient support coming from EU authorities in dealing with this issue. This video work conceptualises the "migratory and territorial lines" in a journey of human strife and displacement as part of the daily news concerning Europe today. Documentary rawness and frankness meet in the simple stories of Maryan and Rahma, a Somali mother and daughter who escaped their war-stricken homeland and are currently seeking asylum in Malta. More than a poignant narrative of the plight of these émigrés, who risked their lives in the dodgy crossing between African borders and mainland Europe, this work targets the frictional gaps between human aspiration, flight, difference and intrusion.

RUTH BIANCO Visual Artist, Malta: Creates work addressing issues of territory and transboundedness. Explores an interdisciplinary approach through: digital and combined media, video, installation, drawing. Received an MA and PhD in Fine Art from the University College for the Creative Arts, Kent, UK. Research, titled Ground Erasure, involved an interrogation of the notion of "territory" through theories of deterritorialisation and machinic connectivity. Now continues to explore land-sea issues, whilst investigating the boundaries where digital processes inform contemporary art and the cultural expression of our time. Most recent show: ZONI (2-video installation) Bezruc Festival, Dum Umeni (House of Arts), Opava, Czech Republic, concurrent with European Researchers Night, St James Centre for Creativity, Valletta, Malta.

"Spectacle" is a video that explores the dimension of the split-screen, aligning visual and political dislocations. Transforming documentary footage from the 9/11 NY attacks in 2001, this piece is conceptualised upon the position of the disoriented spectator. The "event" comes to us through the media, thus becoming a spectral experience conveyed through the mechanical horizon of our television screens. The work embodies the viewer and the viewed in juxtaposed moments of the same event - the mesmerized stare of a terrified onlooker situated next to the chaotic vortex of running people. The sound is a collage of panicked voices, pieces of reports, and sirens from the immediate event. The historic and histrionic contend with one another. This queries how we encounter our realities, through the blurring of two time horizons: the natural and the virtual. As onlookers of the spectacle through someone else's eyes, we are further removed from the event itself. This distancing subjects us to a kind of soporific immersion, passive and nightmarish. Like transfixed viewers we are spectators of the spectral.

Born in Malta, Ruth Bianco?s work involves digital and combined media, installation, video, and drawing. Looking upon her materials as processes, her practice springs from an urge to "unfix", seeking threads of connections in the boundaries between information and transformation. Her PhD in Fine Art engaged mechanic spaces to explore issues of territory and deterritorialization. Her work was recently shown at Femmes d?Europe, Saint Tropez. Other shows include "Ground Erasure", simultaneous video-screening England and New Zealand; "Touching Land", Canterbury Cathedral, UK; and "Breakthrough", The Hague, Netherlands. Her self-published artist book "If I Just Turn And Run" is a collection published by Tate and V & A Museum, London.

En complément de "Mbuji-Mayi (RD Congo) : les comptes d?Anderson", documentaire radiophonique d?une heure sur l?extraction du diamant aux alentours de Mbuji-Mayi (République démocratique du Congo) diffusé en avril 2009 sur France Culture (émission "Sur les docks"), ce "diapocast" d?une durée de 3?30 donne à entendre mais aussi à voir l?univers physique et psychique dans lequel les mineurs artisanaux ou "creuseurs" sont plongés. Il voudrait transmettre une compréhension perceptive, plutôt qu?explicative, du sujet. La prise de son et les interviews ont été réalisées à Mbuji-Mayi et dans ses alentours par Emmanuel Chicon et Benjamin Bibas en novembre 2008. L?assemblage sonore est de Jean-Philippe Navarre, chargé de réalisation du documentaire radio "Mbuji-Mayi : les comptes d?Anderson". Il a été effectué postérieurement à cette réalisation. Les photographies sont de Samuel Turpin / Gamma, ancien rédacteur en chef de Radio Okapi Mbuji-Mayi (la station radio locale de la Mission des Nations unies en RD Congo) qui a passé deux ans dans la capitale diamantifère de RD Congo. L?assemblage visuel, réalisé postérieurement à l?assemblage sonore, est de Sébastien Lecordier. "Mbuji-Mayi : l?ordre du polygone" est une coproduction Radiofonies Europe / "Sur les docks"

Benjamin Bibas est documentariste radio et vidéo, co-fondateur de l?association de production documentaire Radiofonies Europe. Il est co-producteur, pour l?émission "Sur les docks" (France Culture), de la série radiophonique de cinq heures "La Mondialisation en 57 facettes : un grand voyage dans la petite famille du diamant" (diffusée fin avril 2009). "Mbuji-Mayi : l?ordre du polygone" est un complément multimédia associé à cette série. Emmanuel Chicon, documentariste radio, collabore régulièrement à France Culture (« La Fabrique de l?Histoire », « Sur les docks »?). Il est co-fondateur de Radiofonies Europe et co-producteur de la série « La Mondialisation en 57 facettes : un grand voyage dans la petite famille du diamant ». Jean-Philippe Navarre est chargé de réalisation à l?émission « Sur les docks » (France Culture) Samuel Turpin est journaliste et photographe indépendant. Il a dirigé pendant deux ans la station de Radio Okapi à Mbuji-Mayi (RD Congo) Sébastien Lecordier est « metteur en son », réalisateur documentaire et enseignant à l?Ecole des métiers de l?information (Paris). Il travaille sur le rapport texte-image-son.

The video is an AI assisted meditation on self-help through extreme sonic manipulation, in a semi-erotic plastic dreamscape of watered down and for profit thanatotherapy, where new age imagery devolves into Cronenberg-esque mutations, in complete contrast with the chaotic and unpredictable sonic experiments which may or may not be useful in your personal quest to embetter your True Self™. The music is highly processed, with just a few audible artifacts left of the original code, drum kit and modular based sources, creating sounds that hopefully escape attempts at AI classification.

Matthew Biederman, b. 1972, Chicago Heights, IL, USA. Matthew Biederman works across media and milieus, architectures and systems, communities and continents since 1990. He creates works where light, space and sound reflect on the intricacies of perception. Since 2008 he is a co-founder of Arctic Perspective Initiative, with Marko Peljhan working throughout the circumpolar region. He has served as artist-in-residence at a variety of institutions and institutes, including the Center for Experimental Television on numerous occasions, CMU’s CREATE lab, the Wave Farm, th Finnish Bioarts Society and many more. His work has been featured at: Lyon Bienniale, Istanbul Design Bienniale, The Tokyo Museum of Photography, ELEKTRA, MUTEK, Ars Electronica, Bienniale of Digital Art (CA), Artissima (IT), SCAPE Bienniale (NZ) and the Moscow Biennale (RU), among others. Pierce Warnecke is a multidisciplinary digital artist. His work, on the border between experimental music, digital arts and video art, is influenced by the observation of the effects of time on matter: modification, deterioration and disappearance. He frequently collaborates with prominent figures such as Frank Bretschneider, Matthew Biederman, Yair Elazar Glotman and Keith Fullerton Whitman among others. He has presented his work in the form of performances, concerts and installations at MUTEK, ZKM, CTM, Elektra, KW Institut, La Biennale NEMO, Sonic Acts, Martin Gropius Bau, MAC Montreal, Scopitone, LEV Festival, SXSW, FILE, etc. Between 2017 and 2019 he composed several audiovisual pieces for the Institute for Sound and Music’s Hexadome project in Berlin, San Francisco, Montreal and more. His music has been published on raster-media (DE) and Room40 (AU), and he is represented by DISK Agency in Berlin.

In "The Hills Are Alive", an iconic scene from the beloved Hollywood musical "The Sound of Music" is transformed through a contrapuntal progression of split screen effects. The resulting mosaic reveals haunting melodies and reverberating dissonance.

Gregg Biermann was born in 1969 in Brooklyn, New York. He graduated with Honours in Cinema from Binghamton University in 1991, and subsequently received an M.F.A. from the San Francisco Art Institute. He has been making films, videos, and multi-media pieces since 1988. These works have been exhibited internationally including exhibitions at Anthology Film Archives, Millennium, the San Francisco Cinémathèque, the Pacific Film Archive, the Documentary Film Society at the University of Chicago, Chicago Filmmakers, the Massachusetts College of Art Film Society, the Ontario Cinémathèque, and the Deutsches Filmmuseum. His works and activities have received critical attention in the San Francisco Bay Guardian, The Chicago Reader, and The Chicago Sun-Times. He has been collaborating with electronic music composer/performer Ron Mazurek for the past several years on a series of real-time music/video performances. He was a member of the Chicago x-film group, which mounted many programs of avant-garde films in and out of Chicago. More recently, he has done programming for the Robert Beck Memorial Cinema in New York. He has also written an avant-garde film including an article for the Millennium Film Journal on Nathaniel Dorsky's films, which was co-authored with his wife, Sarah Markgraf. Mr. Biermann has taught at Barat College, Horizons: the New England Craft Program, and is currently a Professor of Art at Bergen Community College.

"In Iterations (2014), a sequence from Hitchcock’s Rear Window (1954) is sliced into nineteen columns, each moving at a slightly different speed, getting progressively faster from left to right. Only at one instant do all nineteen columns briefly align. This film invites us to experience different instants of the scene simultaneously, invoking our desire for time to cohere into a single instant but only briefly allowing for this satisfaction." — Jaimie Baron

“In this work Gregg Biermann has taken head-on some of the supreme moments of classical cinema and subjected them to a dazzling transformation in the digital domain. The results are exhilarating, surprising tours de force. They also have a zany quality that shows the artist to have a witty imagination. He is a prober into the hidden corners of cinema, and a master of computer-based wizardry.” — Larry Gottheim

One of the most iconic sequences in the history of Hollywood cinema (from Hitchcock?s North by Northwest) is deconstructed and reassembled to illuminate the patterns, rhythms and choreography of the original so as to break through and make for an eight banded kinetic tour de force. As the piece progresses the temporal displacement of each band gets closer and closer until they all unite into a remarkable grand finale. --John Columbus, Black Maria Film and Video Festival

Gregg Biermann is a video and multimedia artist whose work comes out of the avant-garde filmmaking tradition. His work takes advantage of digital technologies to advance rigorous compositional strategies.

This is a recent piece in my series of computational transformations of iconic scenes taken from classic Hollywood films. Forty-one separate shots that have been appropriated and excised from the Hitchcock classic Vertigo are repeated and re-sequenced into a composite sequence of concentric rectangles. Each rectangle appears over the last and grows larger over time. The narrative of the original is all but lost and in its place is a hypnotic and meditative display of forms and sounds.

Gregg Biermann?s work is in the collection of FRAC Limousin has been exhibited internationally at Nam Jun Paik Art Center, Seoul, Korea; Museum of Modern and Contemporary Art Strasbourg; Festival Images Contre Nature, Marseille; Film Festival of Experimental and Different Cinemas of Paris; Rencontres Internationales, Paris; Electrochoc Festival, Rhones-Alpes; Centre Images, Vendôme, France; Osterreiches Filmmuseum, Vienna, Austria; European Media Art Festival, Osnabruek, Hamburg Film Festival, Germany; The Caracas Contemporary Art Museum; The National Cinematheque, Venezuela; Media Art Friesland, IMPAKT Panorama, Noordelijk Film Festival, The Netherlands; Optica International Festival of Video Art, Gijon, Spain;VIDEOEX, Zurich, Switzerland and INVIDEO, Milan, and Abstracta, Rome, Italy. His work has also been exhibited in the USA at the Yerba Buena Center for the Arts/San Francisco Cinematheque; Baltimore Museum of Art; Corcoran Gallery; Hunter Museum of American Art; National Gallery of Art; Cleveland Institute of Art; Anthology Film Archives; U.C. Berkeley Art Museum/Pacific Film Archive; Centraltrak Gallery, Univ. of Texas at Dallas; Weisman Art Museum, Univ, of Minnesota; California Institute of the Arts; Los Angeles Filmforum/Echo Park Film Center; ArtPace San Antonio; Hallwalls Contemporary Art Center; Visual Arts Center of New Jersey and the Jersey City Museum.

.

Education: 1983 Pompano Beach High School, Florida. 1981-83 played Varsity Football. 1983-85 Palm Beach Junior College, Florida, studied Fine Arts. 1985-88 Military service U.S. Army. 1991-94 Cook apprenticeship, Bergiusschule, Frankfurt, Germany. 1995-2000 Staatliche Hochschule für Bildende Kunst Städelschule, Film and Cooking, Master student of Peter Kubelka.

?Summer Drone Noir 2013 for Wolfgang von Eschenbach? is a collage film. Originally, I made this film in 2005, but I didn?t like it, so I chopped it up into little pieces. After much processing I?ve made a film in which consists; the original footage 8mm, the optical sound track, the composite print, the 16mm negative blow up and the 16mm work print. I also confectioned some of the film in a way that you can see what you are hearing, the optical sound track and the perforation holes-at times for composition purposes. The footage I shot in 2004 at a Hermann Nitsch action, which was dedicated to the book by Wolfgang von Eschenbach, Parsival. The soundtrack is an original composition from Bernhard Schreiner made for the film called ElectricMagnetic Impluse Drone, or EMI Drone. The title for this film I got from the soundtrack and added Noir to it. This film is an original, there are no prints. It is a tribute to Owen Land, Stan Brakage, Joseph Cornel, Hermann Nitsch and Peter Kubelka.

Education: 1983 Pompano Beach High School, Florida. 1981-83 played Varsity Football. 1983-85 Palm Beach Junior College, Florida, studied Fine Arts. 1985-88 Military service U.S. Army. 1991-94 Cook apprenticeship, Bergiusschule, Frankfurt, Germany. 1995-2000 Staatliche Hochschule für Bildende Kunst Städelschule, Film and Cooking, Master student of Peter Kubelka.

.

Education: 1983 Pompano Beach High School, Florida. 1981-83 played Varsity Football. 1983-85 Palm Beach Junior College, Florida, studied Fine Arts. 1985-88 Military service U.S. Army. 1991-94 Cook apprenticeship, Bergiusschule, Frankfurt, Germany. 1995-2000 Staatliche Hochschule für Bildende Kunst Städelschule, Film and Cooking, Master student of Peter Kubelka.

?Summer Drone Noir 2013 for Wolfgang von Eschenbach? is a collage film. Originally, I made this film in 2005, but I didn?t like it, so I chopped it up into little pieces. After much processing I?ve made a film in which consists; the original footage 8mm, the optical sound track, the composite print, the 16mm negative blow up and the 16mm work print. I also confectioned some of the film in a way that you can see what you are hearing, the optical sound track and the perforation holes-at times for composition purposes. The footage I shot in 2004 at a Hermann Nitsch action, which was dedicated to the book by Wolfgang von Eschenbach, Parsival. The soundtrack is an original composition from Bernhard Schreiner made for the film called ElectricMagnetic Impluse Drone, or EMI Drone. The title for this film I got from the soundtrack and added Noir to it. This film is an original, there are no prints. It is a tribute to Owen Land, Stan Brakage, Joseph Cornel, Hermann Nitsch and Peter Kubelka.

Education: 1983 Pompano Beach High School, Florida. 1981-83 played Varsity Football. 1983-85 Palm Beach Junior College, Florida, studied Fine Arts. 1985-88 Military service U.S. Army. 1991-94 Cook apprenticeship, Bergiusschule, Frankfurt, Germany. 1995-2000 Staatliche Hochschule für Bildende Kunst Städelschule, Film and Cooking, Master student of Peter Kubelka.

Un mouvement de caméra comme un balancement de tête, de gauche à droite. Si bien qu’il y a toujours ce qui sort et ce qui entre dans le champ. Dans ce trajet, l’œil caméra croise un papier, du papier peint, et plus loin encore, un miroir dans lequel se reflètent papier-peint et papier.

Marine Bikard est née en 1988 et diplômée de l’ENSBA - École nationale supérieure des beaux-arts de Paris (France) en juillet 2020. Avant et en parallèle de ce cursus artistique, elle a travaillé comme sociologue et poursuit la réalisation d’enquêtes de terrain. Pendant ces cinq années passées à l’ENSBA de Paris, elle a travaillé dans les ateliers de Pascale Martine Tayou, Emmanuelle Huynh, Aurélie Pagès et Jean-Michel Alberola, et a régulièrement participé à des workshops de danse qui ont marqué son parcours, notamment sa rencontre avec la chorégraphe américaine Lisa Nelson. Depuis 2019, elle imagine des rencontres collectives pour explorer par le dessin différentes manières d’être avec ce qui nous entoure. En 2021, elle a été artiste en résidence à l’Embac – École municipale des beaux-arts de Châteauroux (France).

The film touches on some historical facts about the largest refugee camp El Shatt in the Sinai desert in Egypt during the WWII, based on materials from Croatian and international archives and intertwined with the visuals of this desert non-place now. An attempt to reconstruct a fragmented memory of unknown history about migration in the Mediterranean as a transtemporal filmic journey.

Ana Bilankov (Berlin/Zagreb) is visual artist and filmmaker working in the media of experimental film, photography and video installation. She studied Art History and German Language and Literature at the Universities of Zagreb and Mainz and completed postgraduate studies „Art in Context“ at the University of the Arts in Berlin. She has shown her work in many exhibitions, won numerous international scholarships and participated in film and video festivals, where she has won several awards.

“Bilbao’s work revolves around the figure of the lanternfly to articulate a political discourse on ontology that goes beyond fixed meanings of self and other, of human and non-human. Instead, the lanternfly acts as both a literal and metaphorical representation of how the current capitalist, global market produces, circulates, and then alienates othered beings. (…) In all its layers, Prelude challenges the distinction between human agency, anthropomorphism, and other––animal and human-created––intelligence. (…) In his canonical work Camera Lucida, Roland Barthes reminds us how cinema, unlike photography, which fastens down figures “like [preserved] butterflies,” enables beings to continue living (56–57). The cinematographic present is alive, carrying its referent without being tied to it. In their motionless movement, Bilbao’s lanternfly flutters, confronting the humanity of the anthropomorphic yet inert clown-like puppet. (…) Working with [archival images and also with the AI app DALL·E], Bilbao projects the images and films the projection with a 16mm Bolex. (…) even if digitalisation appears to dematerialise the production of images, Bilbao’s analogue camera reminds us how the digital is bound to the analogue world: kilometres of data centres and storage farms make possible the apparent immateriality of the digital visual realm.” (By Alejandra Rosenberg Navarro)

AnaMary Bilbao is a Portuguese-Spanish visual artist born in Lisbon (Portugal). In an endless play between analog and digital, Bilbao’s work challenges time’s dichotomy between beginning and end, and goes deeper into the notion of truth and the dialectics of doubt and certainty. Her work has been recently exhibited at Galeria Avenida da Índia - EGEAC (Lisbon), Photo Basel (Basel), ISCP (New York), Paris Photo / Curiosa (Paris), MAAT – The Museum of Art, Architecture and Technology (Lisbon), Opening Arco Madrid (Madrid), Leal Rios Foundation (Lisbon), PLMJ Foundation (Lisbon), among others. Bilbao's works have been screened in venues such as Anthology Film Archives (org. Mono No Aware, New York), MoMA - Museum of Modern Art (org. Mono No Aware, New York), Novo Negócio - ZDB (Lisbon), Batalha Centro de Cinema (org. Contemporânea, Porto), or MAAT (16.ª ed. Fuso, Lisbon). AnaMary Bilbao has been the recipient and/or shortlisted to various distinguished Portuguese awards such as: EDP Foundation / MAAT Acquisition Award (16.ª ed. Fuso, 2024); Calouste Gulbenkian Foundation Grant for studying visual arts abroad (2023/2024); Luso-American Development Foundation Artist Residency in the U.S.A. Grant (2022); FLAD Drawing Award (2021); EDP Foundation’s New Artists Award (2019); FCT PhD Fellowship (2015-19).

A day in a life of a family. A story of hands : hands that act, hands that assist, hands that dance till the end of the day.

Manuel Billi lives and works in Paris. Film critic and director, he has authored several essays on contemporary cinema. Since the year 2000, he has been collaborating with different Italian and French film magazines. In 2014 he directs his first experimental short film, Battre, enlever. His first fiction short, Ghosts of Yesterday (2017) has been premiered at the Venice Film Festival. Then, he alternates between fiction (ENTER, 2018, selected in more than twenty international festivals; Ten Times Love, 2020) and documentary (Guardarla negli occhi - La Regarder dans les yeux, official selection at the Mostra Internazionale del Nuovo Cinema di Pesaro 2020).

« Maintenant, je suis partout » « Maintenant, je te suis partout ». Des paupières qui s’ouvrent et se ferment en battant le rythme d’une rencontre amoureuse. Des captations de téléphone portable qui enlèvent au réel le sentiment du vécu. "Battre, enlever" est un compte-rendu vraisemblable de faits qui n’ont pas eu lieu ou qui ont eu lieu autrement, le récit d’un amour qui bride et élève à la fois.

Manuel Billi est écrivain, scénariste et producteur. Co-fondateur du collectif d'artistes Le Gauche, il a réalisé plusieurs courts-métrages à partir de captations de téléphone portable. Depuis 2013, il travaille avec Christian Merlhiot sur le scénario d'un long-métrage de fiction.

Un panorama extrêmement lent sur des arbres sombres, contre un ciel au crépuscule. Tourné avec deux images par seconde, les mouvements des arbres semblent davantage être une photographie animée. Dans un silence complet, les arbres sont secoués par un vent fort, qui remue les couches et les textures de la forêt alors que, presque imperceptiblement, la caméra fait un panoramique de droite à gauche. C?est seulement lorsque la forêt s?éloigne que l?on prend conscience du mouvement de l?image, à la fois lentement et soudainement, juste comme la nuit qui prend la relève du jour et le calme qui succède à l?agitation. SWEEP possède certaines des qualités spatiales et temporelles habituellement associées à la peinture de paysage, de Ruysdael, Claude ou Poussin, Turner ou Constable, et manifeste du sentiment intense de l?environnement et de la nature de Richard Billigham. Il effectue une réappropriation contemporaine du paysage, dans ce mouvement de forêt lors d?une tempête. SWEEP a été projeté au festival de Locarno, et présenté au New Forest Pavilion à la biennale de Venise cette année

Richard Billingham est né en 1970. Il grandit dans une zone industrielle de Birmingham, alors très touchée par la crise économique. Il suit des cours à la fondation d?art de la ville et à l?université de Sunderland. Il prend des photographies de sa famille, et de son environnement immédiat. Ce travail photographique, intitulé « Who`s looking at the family », a été présenté à la Barbican Gallery, et dans de nombreuses expositions consacrées à l?art anglais. Billingham réalise aussi des vidéos, la plus connue est FISHTANK, qui reprend les mêmes éléments tirés de son environnement immédiat, et présente sa famille. FISHTANK est de type documentaire, mais avec des spécificités propres à un travail de plasticien, notamment l?utilisation que Billigham fait des très gros plans pour étudier le mouvement. Présenté en 1997 à la Anthony Reynolds Gallery, à Londres, il gagne en 1997 le prix de la Citybank, et est présent à Londres, Berlin, New York dans l?exposition de la collection Saatchi consacrée aux jeunes artistes britanniques. Il est nominé en 2001 pour le Turner Prize, avec sa vidéo RAY IN BED. Richard Billingham réalise actuellement des photographies de paysages non habités : terrains semi ruraux en déréliction, à l?arrière de murs de briques rouges, aire de jeux désertées dans les banlieues entre des blocs d?habitats sociaux, mais aussi des paysages infinis en pleine campagne, aux ciels orageux.

Everyone knows it, everyone has it. No pressure in the kettle means deadlock. Nevertheless it always seems to strong. Pressure is not tangible, pressure ist mostly transparent. But if it is high enough it is noticeable. OVER PRESSURE (ÜBER DRUCK) cinematically searches for its manners in our everyday life. It shows truth, personality and surprise. A colourful atmospheric picture to think about.

Sebastian Binder. Born 1983 in Frankfurt am Main. Studied Media Design at Bauhaus- University in Weimar with emphasis on directing and postproduction from 2004 to 2009. After that postgraduate studies at the Academy of Media Arts Cologne. Winner, amongst others, of the Screenplay Award at the Kurzundschön Festival 2013, the MDR Unicato Award, the Award for Media Design of Bauhaus-University Weimar and the Jury Prize of the 5e Courts dans la Vallee. Sebastian Fred Schirmer was born 1981 in Filderstadt and raised in Lahr/Black Forest, Sebastian Fred Schirmer has been working as a camera assistant for Film and Televsion since 2002. He obtained his engineering degree from the Hochschule Offenburg in 2009. Between 2011 and 2015 he studied at the Academy of Media Arts in Cologne where he majored in Visual design/Camera. He lives and works in Cologne as a freelancing cameraman.

steve the hunter is walking in the snow. This the first snow. He`s wakes up very early. He kill the time and then, the beast. Who said : " A king without entertaining is a man full of misery" ?

Bineau Juliette is French, she was born in 74. She was an actress before making films. She made ​​Gertrud a remake of the eponymous film Dreyer C th and Head, from Sam Peckinpah. In 2013 she was is Laureat of the artist residency Hors les Murs residence, she works on a project about Robocop, memory of Detroit. (work in prn progress)

"God... took one of his "pleura" (rib or side), edified it to make a woman and brought it to adam..." Androgynous and cannibal utopia, "Pleura" declines in the union and the break-up of the lovers. Diptych : 1. In the glass elevator, nowhere in the middle of the outside, going up above an inaccessible garden, a man and a woman are muted with shameful thoughts. 3. They penetrate a seeping forest, it is after the fall, they're covered with mud or painted for a cannibal ritual. Androgynous deflowering, they dance between the branches, they chew a reptilian phallus...

Juliette Bineau was born in 1974. She studied at the Beaux-Arts of Rennes, then with the author - director Didier George Gabily. She's an actress, a performer in noise music bands, a cineast (Gertrud 2009, La Tête 2010, Robocop memory Room 2011). She meets the dancer Cécilia Bengoléa in 2005, during the creation of the music piece of the duo Chaignaud-Begoléa Pâquerette that she accompanies on the (tribal) drums in her band Minitel.

"Dieu? prit un de ses "pleura" (côte ou côté), l`édifia pour en faire une femme et l`amena à Adam?". Utopie androgyne et cannibale, Pleura décline en l`union et la séparation des amants. Dans l`ascenseur de verre, nulle part au milieu du dehors, s`élevant au dessus d`un jardin inaccessible, un homme et une femme sont tues de pensées inavouables.

Juliette Bineau Est né en 1974. Elle fait les beaux Arts de Rennes et suit l?enseignement de théâtre de l?auteur scène Didier George Gabily, ce qui la mène à être un temps comédienne et metteur en scène. Elle est aujourd`hui musicienne (batteuse du groupe de free noise psychédélique Minitel)vidéaste et performeuse. Depuis quelques années elle s?intéresse particulièrement au remake comme moyen de revisiter et de s?approprier de grandes formes cinématographiques, de remettre en jeu dans ses films des questions de théâtre (la répétition, l?interprétation d?une ?uvre). Elle réalise « Gertrud » d?après le « Gertrud » de Carl Th. Dreyer. Ce projet a été soutenu par la DRAC Île-de-France (Bourse individuelle à la création 2008) et est montré à la Fémis par le collectif Point Ligne Plan, au centre Culturel de la Récolta de Buenos Aires, au Film Festival de Rotterdam, à la Cinémathèque Française, au Palais de Tokyo? En 2009, elle réalise « La Tête « d?après Apportez-moi la tête de SamPeckinpah : Un road movie argentin, dans le cadre d?une résidence de Cultures-France, avec le concours de l?allocation Image mouvement

Road-trip, Argentine 2009. Un remake de « Apportez-moi le tête d?Alfredo Garcia » de Sam Peckinpah. Alfredo Garcia, l? homme que l?on recherche, est mort. Sa tête est mise à prix. Bennie convaint Elita de le conduire à sa tombe pour decapiter la tête du cadavre. Le couple roule au travers des montagnes arides du nord de l?Argentine, tels des Yankees traversant un purgatoire indien ....

Juliette Bineau Est né en 1974. Elle fait les beaux Arts de Rennes et suit l?enseignement de théâtre de l?auteur scène Didier George Gabily, ce qui la mène à être un temps comédienne et metteur en scène. Elle est aujourd`hui musicienne (batteuse du groupe de free noise psychédélique Minitel)vidéaste et performeuse. Depuis quelques années elle s?intéresse particulièrement au remake comme moyen de revisiter et de s?approprier de grandes formes cinématographiques, de remettre en jeu dans ses films des questions de théâtre (la répétition, l?interprétation d?une ?uvre). Elle réalise « Gertrud » d?après le « Gertrud » de Carl Th. Dreyer. Ce projet a été soutenu par la DRAC Île-de-France (Bourse individuelle à la création 2008) et est montré à la Fémis par le collectif Point Ligne Plan, au centre Culturel de la Récolta de Buenos Aires, au Film Festival de Rotterdam, à la Cinémathèque Française, au Palais de Tokyo? En 2009, elle réalise « La Tête « d?après Apportez-moi la tête de SamPeckinpah : Un road movie argentin, dans le cadre d?une résidence de Cultures-France, avec le concours de l?allocation Image mouvement.

In the meadows, in the forests, in the snowfields, on the summits, by the streams dwell and frolic the little people of the Alp mountains and some inflatable orca on his quest for absolute white. A twisted fairy tale with askew words, songs and dances.

In Canon: Taking to the Streets, Birnbaum breaks with traditional documentary format. Using tools from the low-end and high-end of technology, she episodically views recent events of student activism in the United States. This is a study of the 1987 Take Back the Night march on the Princeton University campus. Birnbaum's treatment of the original student-recorded VHS footage reveals this march as having the potential to develop political awareness through personalized experience. The students attempt to "put across a historical message" that was started in San Francisco in 1978: the protest of any form of violence against women. Take Back the Night now represents men and women, in solidarity with one another, marching against sexual violence of any kind. Here the activity remains specific to violence as perpetrated against persons in the Princeton community.

For four decades, Dara Birnbaum's pioneering works in video, media and installation have questioned the ideological and aesthetic character of mass media imagery, and are considered fundamental to our understanding of the history of media practices and contemporary art. Dara Birnbaum was born in New York City in 1946 where she continues to live and work. Dara Birnbaum received a B.A. in architecture from Carnegie Mellon University in Pittsburgh, a B.F.A. in painting from the San Francisco Art Institute, and a certificate in video and electronic editing from the Video Study Center at the New School for Social Research in New York. Dara Birnbaum was one of the first artists to develop complex and innovative installations that juxtapose images from multiple sources while incorporating three-dimensional elements - large-scale photographs, sculptural or architectural elements - into the work. She is known for her innovative strategies and use of manipulated television footage. Birnbaum's work has been exhibited widely at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); Cleveland Museum of Art, Ohio (2018); South London Gallery, UK (2011); major retrospectives at Serralves Foundation, Porto, Portugal (2010) and S. M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2009); Center for Contemporary Art, CCA Kitakyushu (2009); Museum of Modern Art, New York (2008); Kunsthalle Wien, Vienna, Austria (2006); and The Jewish Museum, New York (2003). His work has been exhibited at Documenta 7, 8 and 9. Birnbaum has won several prestigious awards including: John Simon Guggenheim Memorial Foundation Fellowship (2021); The Rockefeller Foundation Bellagio Center Arts Residency (2011); the Pollock-Krasner Foundation Grant (2011); and the prestigious United States Artists Fellowship (2010). In 2016, she was recognized and honored for her work by The Kitchen, New York, at their annual gala. She was the first woman in video to receive the prestigious Maya Deren Award from the American Film Institute in 1987. In February 2017, Carnegie Mellon University's School of Art established the Birnbaum Award in her honour.

Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."

For four decades, Dara Birnbaum's pioneering works in video, media and installation have questioned the ideological and aesthetic character of mass media imagery, and are considered fundamental to our understanding of the history of media practices and contemporary art. Dara Birnbaum was born in New York City in 1946 where she continues to live and work. Dara Birnbaum received a B.A. in architecture from Carnegie Mellon University in Pittsburgh, a B.F.A. in painting from the San Francisco Art Institute, and a certificate in video and electronic editing from the Video Study Center at the New School for Social Research in New York. Dara Birnbaum was one of the first artists to develop complex and innovative installations that juxtapose images from multiple sources while incorporating three-dimensional elements - large-scale photographs, sculptural or architectural elements - into the work. She is known for her innovative strategies and use of manipulated television footage. Birnbaum's work has been exhibited widely at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); Cleveland Museum of Art, Ohio (2018); South London Gallery, UK (2011); major retrospectives at Serralves Foundation, Porto, Portugal (2010) and S. M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2009); Center for Contemporary Art, CCA Kitakyushu (2009); Museum of Modern Art, New York (2008); Kunsthalle Wien, Vienna, Austria (2006); and The Jewish Museum, New York (2003). His work has been exhibited at Documenta 7, 8 and 9. Birnbaum has won several prestigious awards including: John Simon Guggenheim Memorial Foundation Fellowship (2021); The Rockefeller Foundation Bellagio Center Arts Residency (2011); the Pollock-Krasner Foundation Grant (2011); and the prestigious United States Artists Fellowship (2010). In 2016, she was recognized and honored for her work by The Kitchen, New York, at their annual gala. She was the first woman in video to receive the prestigious Maya Deren Award from the American Film Institute in 1987. In February 2017, Carnegie Mellon University's School of Art established the Birnbaum Award in her honour.

Birnbaum manipulates off-air imagery from the TV game show Hollywood Squares in Kiss The Girls: Make Them Cry, a bold deconstruction of the gestures of sexual representation in pop cultural imagery and music. Minor celebrities (who Birnbaum terms "iconic women and receding men") confined in a flashing tic-tac-toe board greet millions of TV viewers, animating themselves as they say "hello." Birnbaum isolates and repeats these banal and at times bizarre gestures of male and female presentation — "repetitive baroque neck-snapping triple takes, guffaws, and paranoid eye darts" — wrenching them from their television context to expose stereotyped gestures of power and submission. Linking TV and Top 40, Birnbaum spells out the lyrics to disco songs ("Georgie Porgie puddin' and pie/kissed the girls and made them cry") with on-screen text, as the sound provides originally scored jazz interpolation and a harsh new wave coda. The result is a powerful, layered analysis of the meaning of the gestures of mass cultural idioms.

For four decades, Dara Birnbaum's pioneering works in video, media and installation have questioned the ideological and aesthetic character of mass media imagery, and are considered fundamental to our understanding of the history of media practices and contemporary art. Dara Birnbaum was born in New York City in 1946 where she continues to live and work. Dara Birnbaum received a B.A. in architecture from Carnegie Mellon University in Pittsburgh, a B.F.A. in painting from the San Francisco Art Institute, and a certificate in video and electronic editing from the Video Study Center at the New School for Social Research in New York. Dara Birnbaum was one of the first artists to develop complex and innovative installations that juxtapose images from multiple sources while incorporating three-dimensional elements - large-scale photographs, sculptural or architectural elements - into the work. She is known for her innovative strategies and use of manipulated television footage. Birnbaum's work has been exhibited widely at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); Cleveland Museum of Art, Ohio (2018); South London Gallery, UK (2011); major retrospectives at Serralves Foundation, Porto, Portugal (2010) and S. M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2009); Center for Contemporary Art, CCA Kitakyushu (2009); Museum of Modern Art, New York (2008); Kunsthalle Wien, Vienna, Austria (2006); and The Jewish Museum, New York (2003). His work has been exhibited at Documenta 7, 8 and 9. Birnbaum has won several prestigious awards including: John Simon Guggenheim Memorial Foundation Fellowship (2021); The Rockefeller Foundation Bellagio Center Arts Residency (2011); the Pollock-Krasner Foundation Grant (2011); and the prestigious United States Artists Fellowship (2010). In 2016, she was recognized and honored for her work by The Kitchen, New York, at their annual gala. She was the first woman in video to receive the prestigious Maya Deren Award from the American Film Institute in 1987. In February 2017, Carnegie Mellon University's School of Art established the Birnbaum Award in her honour.

Commissioned by VideoGram International, Ltd., for a videodisc of music by Jimi Hendrix, Fire! uses the stylized visuals and pacing of a music video to critique the representational economies of sexuality and consumerism. Translating the psychedelic fervor of the Hendrix song into a contemporary visual vernacular, Birnbaum similarly recasts the lyrics' meaning. A young woman is the "protagonist" of a fragmented narrative in which Birnbaum re-frames images of American consumerism and commodities — fast food, cars, the exchange of money. Birnbaum calls attention to the woman's relation to the advertising image: she is consumed as she is consuming.

For four decades, Dara Birnbaum's pioneering works in video, media and installation have questioned the ideological and aesthetic character of mass media imagery, and are considered fundamental to our understanding of the history of media practices and contemporary art. Dara Birnbaum was born in New York City in 1946 where she continues to live and work. Dara Birnbaum received a B.A. in architecture from Carnegie Mellon University in Pittsburgh, a B.F.A. in painting from the San Francisco Art Institute, and a certificate in video and electronic editing from the Video Study Center at the New School for Social Research in New York. Dara Birnbaum was one of the first artists to develop complex and innovative installations that juxtapose images from multiple sources while incorporating three-dimensional elements - large-scale photographs, sculptural or architectural elements - into the work. She is known for her innovative strategies and use of manipulated television footage. Birnbaum's work has been exhibited widely at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); Cleveland Museum of Art, Ohio (2018); South London Gallery, UK (2011); major retrospectives at Serralves Foundation, Porto, Portugal (2010) and S. M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2009); Center for Contemporary Art, CCA Kitakyushu (2009); Museum of Modern Art, New York (2008); Kunsthalle Wien, Vienna, Austria (2006); and The Jewish Museum, New York (2003). His work has been exhibited at Documenta 7, 8 and 9. Birnbaum has won several prestigious awards including: John Simon Guggenheim Memorial Foundation Fellowship (2021); The Rockefeller Foundation Bellagio Center Arts Residency (2011); the Pollock-Krasner Foundation Grant (2011); and the prestigious United States Artists Fellowship (2010). In 2016, she was recognized and honored for her work by The Kitchen, New York, at their annual gala. She was the first woman in video to receive the prestigious Maya Deren Award from the American Film Institute in 1987. In February 2017, Carnegie Mellon University's School of Art established the Birnbaum Award in her honour.