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A moving postcard from post war Afghanistan.

Hannes Gieseler was born in 1978, studied audiovisual media at Hochschule Anhalt in Dessau and made several award winning movies.

This video has been filmed in Talavera, a little town in the region of "La Mancha" (Spain) where I was born. Filmed in 16mm and borrowing some semantic and visual blueprints from Chris Marker?s La Jetée (1962), the film continuously reaches a climax but never a resolution, in which places that I am familiar with are transformed into timeless and unreal. The film is designed taking into account the visual and linguistic codes of 60s sci-fi movies. All the pictures were taken in 2011 from real persons (friends, familiars, etc) and real places (all of them in Talavera), except the final frames from the NASA experiment (according to the same confrontation between reality and fiction). This is the first chapter of an ongoing film, without end. Actually, the second chapter is being filmed in Coney Island (New York), with the same technical features (a 16 mm Bolex H16 REX-5 camera and an old film from the sixties).

Karlos Gil (Toledo 1984) lives and works between Madrid and New York. Among the group exhibitions in which he has taken part, his notable works include Experimental Station, researching and artistic phenomena. CA2M, Madrid and LABoral, Gijón; Storytellers, West Side Gallery, New York; Far from Home, Galería MASART, Barcelona; (In)visivilidad y (Des)control, Fernado Pradilla Gallery, Madrid; Fresh, Ulf Saupe Galerie, Berlin; Against Egocentry. Brotfabrik Gallerie, Berlin; Zeppelin Festival 08, CCCB, Barcelona; Intransit, c Arte c, Madrid; IKAS-ART, Bilbao Exhibition Centre, BEC, Bilbao; Codified, Vibe Gallery, London; Beyond the abyect, Collision 08, London; The mean and the meaning, Puente sonoro, FI, Bogotá; Sci-Fi Tags. CaixaForum. Madrid. He is currently the summer resident artist at the School of Visual Arts, New York.

Betty €233, 2014, Full HD,10’ Questioning social and economical status and the opportunity given to immigrants we joined VB Dutch Cleaning company where we met cleaning lady: Betty Lalaram from Suriname. Three times a week she polishes the offices and exhibition space of TENT, Rotterdam Art Center. We gave Betty our video camera and we got instead her mop. The most physical jobs earn too little, we realized then, and that is why we tried to arrange a salary increase for Betty while confronting her boss.

From the moment we created the duo Gil & Moti, in 1998, we have explored the notion of individuality and questioned forms and norms of identity. Sharing is an ongoing experiment on a visual, mental and physical level, which includes: always dressing identically, never going apart, owning one wallet, one phone and one pair of keys. The denial of the boundaries between private and public, performance and social intervention is central in our work, which often starts small, close to ourselves and rooted in our personal life, but soon extends to a variety of important socio-political themes, such as discriminated minorities, racism, otherness and social and economical status. As artists, a gay couple, Jewish born (ex)Israelis and immigrants living in Europe, we contribute to the critical cultural discourse about human relationships, being different, and about sets of rules that are supposed to regulate social existence. Switching effortlessly between classical and contemporary artistic mediums of expression, we continuously challenge ourselves and our audience by introducing creative and refreshing perspectives. Gil & Moti are the winners of MK Award 2015. They have been showing internationally in museums and galleries. The recent major overview exhibition Totally Devoted to You, accompanied by an extensive monograph (publishing house: Hatje Cantz), was traveling through five important European art centers and museums: Lentos Kunstmuseum, Linz, Austria (2012)/ Stavanger Kunstmuseum, Norway / Tensta Konsthall, Stockholm, Sweden / Kunstmuseum Bochum, Germany / Nikolaj Kunsthal, Copenhagen, Denemark (2011). 

Gil & Moti / `Nasser` / 2008-2009 / 7`:08`` In 2008 the Israeli?Dutch artist duo Gil & Moti started their project Available for You. They offered their services free of charge to immigrants from Arab countries in Copenhagen and Rotterdam and documented their encounters in diary entries, photos and videos. Gil & Moti bridge the barriers of miscom-munication in an intelligent manner. At the same time, they raise themes from an artistic perspective that apply globally: themes such as sociability, integration and exclusion. On the border of the public and private domain and of the art institution and the street, they have created their project as a fascinating vision of an artistic and humanitarian practice in a changing world beset by conflict.

We Gil & Moti, are duo artists living and working together since 1994. Our work moves freely between life, the visual arts and performance. The decision to live life as a performance and to make art a way of living creates a tension, which motivates the work and is presented in the form of: installation, video, painting, writing and performance. With our work we engage in the appropriation of public space and its effect on human relationships. Our projects involve the rehabilitation of the network of associations in a given community. An analytic critique of the relationship of private life and public space constitutes an important facet of our practice. Jewish Israelis by birth, gay and immigrants in Holland we contribute with our work to the contemporary debates about being different and the rules of social coexistence. We express these concerns with vulnerable poetic narratives, suspended between reality and fantasy visualized in a range of images from mundane to highly theatrical.

During a sunny afternoon, while overlooking Tel Aviv skyline, a violist plays expressively a hybrid reconstructed composition of both the Israeli and Palestinian anthems. The hours of hard work practicing as well as the mental pain leave its remark on the violists? neck, as shown at the very last scene of the video. This wound is a metaphor to the long-term painful struggle of the two peoples and cultures. Taking as a point of departure their own nationality and the current situation in Israel, concepts such as humanity, atonement and forgiveness acquire an added significance, and these are the very themes, which recur in the duo?s artistic work. In this video the artists suggest a utopian wish to have the two enemies living peacefully side-by-side.

Gil & Moti Gil Nader, b. Rishon LeZion, 1968. Moti Porat, b. Ganey Yehuda, 1971. They live and work together as the duo: Gil & Moti, since 1994 and are based in Rotterdam, Holland since 1998. They are graduates of Bezalel Academy of Art and Design, Jerusalem (1990-1997, cum laude); MFA at Piet Zwart Institute, Rotterdam and Plymouth University, UK (1998-2000, cum laude). Further studies at The Slade School of Art, London (1994) and the School of Visual Art, New York (1996). Selected solo exhibitions include "Laylah the Creature Beyond Dreams" at Kunsthalle Wien, Vienna (2004); "Sleeping With the Enemy" at Jack the Pelican Presents, New York (2005); "Love Grows Free" at Eric Dupont Gallery, Paris (2006); "Dating Gil & Moti" at Mucsarnok Kunsthalle , Budapest (2006); " "Available for You" at Kunsthallen Nikolaj, Copenhagen (2008); "We Hope You Like it the way we Do" at Kulturhuset, Stockholm (2008). The Israeli and Dutch governments have supported their projects and their works are included in private and public collections such as: Tel-Aviv Museum of Art, Haifa Museum of Art, Mumok, Vienna. In 2008 they received 2 years living grant from The Netherlands Foundation for Visual Arts, Design and Architecture.

Betty €233, 2014, Full HD,10’ Questioning social and economical status and the opportunity given to immigrants we joined VB Dutch Cleaning company where we met cleaning lady: Betty Lalaram from Suriname. Three times a week she polishes the offices and exhibition space of TENT, Rotterdam Art Center. We gave Betty our video camera and we got instead her mop. The most physical jobs earn too little, we realized then, and that is why we tried to arrange a salary increase for Betty while confronting her boss.

From the moment we created the duo Gil & Moti, in 1998, we have explored the notion of individuality and questioned forms and norms of identity. Sharing is an ongoing experiment on a visual, mental and physical level, which includes: always dressing identically, never going apart, owning one wallet, one phone and one pair of keys. The denial of the boundaries between private and public, performance and social intervention is central in our work, which often starts small, close to ourselves and rooted in our personal life, but soon extends to a variety of important socio-political themes, such as discriminated minorities, racism, otherness and social and economical status. As artists, a gay couple, Jewish born (ex)Israelis and immigrants living in Europe, we contribute to the critical cultural discourse about human relationships, being different, and about sets of rules that are supposed to regulate social existence. Switching effortlessly between classical and contemporary artistic mediums of expression, we continuously challenge ourselves and our audience by introducing creative and refreshing perspectives. Gil & Moti are the winners of MK Award 2015. They have been showing internationally in museums and galleries. The recent major overview exhibition Totally Devoted to You, accompanied by an extensive monograph (publishing house: Hatje Cantz), was traveling through five important European art centers and museums: Lentos Kunstmuseum, Linz, Austria (2012)/ Stavanger Kunstmuseum, Norway / Tensta Konsthall, Stockholm, Sweden / Kunstmuseum Bochum, Germany / Nikolaj Kunsthal, Copenhagen, Denemark (2011). 

Gil & Moti / `Nasser` / 2008-2009 / 7`:08`` In 2008 the Israeli?Dutch artist duo Gil & Moti started their project Available for You. They offered their services free of charge to immigrants from Arab countries in Copenhagen and Rotterdam and documented their encounters in diary entries, photos and videos. Gil & Moti bridge the barriers of miscom-munication in an intelligent manner. At the same time, they raise themes from an artistic perspective that apply globally: themes such as sociability, integration and exclusion. On the border of the public and private domain and of the art institution and the street, they have created their project as a fascinating vision of an artistic and humanitarian practice in a changing world beset by conflict.

We Gil & Moti, are duo artists living and working together since 1994. Our work moves freely between life, the visual arts and performance. The decision to live life as a performance and to make art a way of living creates a tension, which motivates the work and is presented in the form of: installation, video, painting, writing and performance. With our work we engage in the appropriation of public space and its effect on human relationships. Our projects involve the rehabilitation of the network of associations in a given community. An analytic critique of the relationship of private life and public space constitutes an important facet of our practice. Jewish Israelis by birth, gay and immigrants in Holland we contribute with our work to the contemporary debates about being different and the rules of social coexistence. We express these concerns with vulnerable poetic narratives, suspended between reality and fantasy visualized in a range of images from mundane to highly theatrical.

During a sunny afternoon, while overlooking Tel Aviv skyline, a violist plays expressively a hybrid reconstructed composition of both the Israeli and Palestinian anthems. The hours of hard work practicing as well as the mental pain leave its remark on the violists? neck, as shown at the very last scene of the video. This wound is a metaphor to the long-term painful struggle of the two peoples and cultures. Taking as a point of departure their own nationality and the current situation in Israel, concepts such as humanity, atonement and forgiveness acquire an added significance, and these are the very themes, which recur in the duo?s artistic work. In this video the artists suggest a utopian wish to have the two enemies living peacefully side-by-side.

Gil & Moti Gil Nader, b. Rishon LeZion, 1968. Moti Porat, b. Ganey Yehuda, 1971. They live and work together as the duo: Gil & Moti, since 1994 and are based in Rotterdam, Holland since 1998. They are graduates of Bezalel Academy of Art and Design, Jerusalem (1990-1997, cum laude); MFA at Piet Zwart Institute, Rotterdam and Plymouth University, UK (1998-2000, cum laude). Further studies at The Slade School of Art, London (1994) and the School of Visual Art, New York (1996). Selected solo exhibitions include "Laylah the Creature Beyond Dreams" at Kunsthalle Wien, Vienna (2004); "Sleeping With the Enemy" at Jack the Pelican Presents, New York (2005); "Love Grows Free" at Eric Dupont Gallery, Paris (2006); "Dating Gil & Moti" at Mucsarnok Kunsthalle , Budapest (2006); " "Available for You" at Kunsthallen Nikolaj, Copenhagen (2008); "We Hope You Like it the way we Do" at Kulturhuset, Stockholm (2008). The Israeli and Dutch governments have supported their projects and their works are included in private and public collections such as: Tel-Aviv Museum of Art, Haifa Museum of Art, Mumok, Vienna. In 2008 they received 2 years living grant from The Netherlands Foundation for Visual Arts, Design and Architecture.

This video rethought the role of public sculptural representations, worldwide. While often “decorative”, these sculptures are often simply objects in public spaces funded by local governments, manifesting their power in shaping both art in public realm and popular aesthetics, often giving a false perception of sculpture medium, and how it should or could be interpreted. This ongoing project was a series of video-recorded performative guerrilla actions, using sculptures located in public spaces, including the U.S., Korea, and Iran. Before performing with a given sculpture, the artist asked for advice from professional art conservators or other specialists in the field of restoration.

Wojciech Gilewicz (b. 1974) is a Polish-born New York-based interdisciplinary visual artist. The artist draws on experience in painting and video to investigate boundaries of art and space. In his recording of reality, Gilewicz uses the video camera, which can fluidly transform into a means of registering social relations, which take place “outside” his actions performed with or around his paintings or sculptural objects. Gilewicz’s art provokes reflection on the mechanisms which govern perception and its cultural conditioning. Video works by the artist were presented internationally in the framework of numerous screenings in art institutions and video festivals including Media Art Biennale WRO, Rencontres Internationales Paris/Berlin/Madrid, CURRENTS: Santa Fe International New Media Festival, and Hors Pistes Japon. His awards include grants from The Pollock-Krasner Foundation and The Joan Mitchell Foundation, his residencies include Akiyoshidai International Art Village in Japan and Changdong Art Studio/National Museum of Contemporary in Seoul, Korea. The artist has been part for the last three years of the Lower Manhattan Cultural Council Workspace Program in New York, where he’s been working on his “New Paintings” series started back in 2006 inspired by NYC subway. (www.gilewicz.net) In 2017 Wojciech Gilewicz established Beach64retreat in the Rockaways, Queens, New York for creative individuals as the artist’s response to the rising precarity in arts&culture around the world. The retreat is free of charge.

When I was invited to China at the end of 2008, in my contract with Zendai MoMA in Shanghai, I was bounded to realize 6 to 8 oil paintings there. While painting, I am often using my video camera as well, which is kind of registering in a cold eye the process of the ?emergence? of my urban-based paintings. I did so also when working for the museum on this series of paintings. However, in this very project the camera is slightly drifting away from the actual paintings and is showing fragments of reality as if they were autonomous paintings themselves. The reality appears in this video quite neurotic and nervous as well as a bit hectic. It is mysterious, very much fragmented and somehow jagged. The paintings coming off the reality leave a strange tear to it or maybe rather quite a philosophic dilemma.

Wojciech Gilewicz (1974) Polish American painter, photographer, author of installations and videos. In his works, which usually combine all these disciplines, Gilewicz explores the phenomenon of illusion and the blurring of distinctions between reality and its artistic representation. He also shows how relative and changeable our perception of the surrounding world is. Gilewicz?s practice invites a reflexion on the mechanisms governing our perception and on the cultural determinants of the way we see things. www.gilewicz.net

Wojciech Gilewicz: In Practice, 2009 (video) A series of oil paintings were installed outside the SculptureCenter building. The surfaces and forms of the canvases were designed to make them appear completely invisible while they were on site. A video documentating the process of placing the works in their environment encouraged visitors to explore the periphery of the building. Using a map I prepared, visitors were invited to search for the hidden paintings in the surrounding city space. I was primarily interested in challenging visitors` perception of space, reality and their surroundings. (by Wojciech Gilewicz) -------------- fragment of InPractice review by Lori Cole (ArtForum, 02.15.2009) "(...)While artists such as Peter Simensky, Carey Ascenzo, and Amy Patton struggle to reinvent site specificity, Wojciech Gilewicz defies its logic entirely in his deadpan installations-painted imitations of everyday surfaces, intended to go unnoticed in public space. In the video documentation of his project, Gilewicz nonchalantly installs the work in broad daylight, thereby performing the slight visual shifts between the trash on the surface of a garbage can and its painted replica, between a construction panel and its crafted double, and drawing attention to the way art can undermine even its own subversive rhetoric to make site both more and less noticeable." http://www.sculpture-center.org/pressSpecific.htm?id=61697

CV (narrative) Wojciech Gilewicz (1974) Polish American painter, photographer, author of installations and videos graduated from Academy of Fine Arts in Warsaw, Poland (1999) obtaining a Master?s Degree in Painting (Minor in Photography). In his works, which usually combine all these disciplines, Gilewicz explores the phenomenon of illusion and the blurring of distinctions between reality and its artistic representation. He shows also how relative and changeable our perception of the surrounding world is. Gilewicz?s practice invites a reflexion on the mechanisms governing our perception and on the cultural determinants of the way we see things. Selected soloexhibitions: Foksal Gallery Warsaw, Poland (2009); Contemporary Art Museum Saint Louis (2008); Museum of Fine Arts Ivano-Frankivsk, Ukraine (2007); Foksal Gallery Warsaw, Poland (2005), Fondation Deutsch de la Meurthe Paris, France (2004), CCA Ujazdowski Castle Warsaw, Poland (2001) Selected groupshows: MoCA Belgrade, Serbia (2009); MoBY Bat Yam, Israel (2009); CoCA, Torun, Poland (2009); Zendai MoMA Shanghai, China (2009); SculptureCenter New York (2009); Pianissimo Milan, Italy (2008); Museum of Art Lodz, Poland (2007); Zacheta National Gallery of Art Warsaw, Poland (2007) Selected artisticresidencies: TAV Taipei, Taiwan (2009); Zendai MoMA Shanghai, China (2008); ISCP New York (2008); Galichnik Macedonia (2005); Fundation Deutsch de la Meurthe Paris, France (2004) --------------- CV (detailed) Wojciech Gilewicz (www.gilewicz.net) EDUCATION 1999 Master?s Degree in Painting, Minor in Photography 1996 - 1999 Academy of Fine Arts Painting Department Warsaw, Poland 1994 - 1996 Academy of Fine Arts Painting Department Poznan, Poland SOLO EXHIBITIONS (selected) 2009 Lubelskie Towarzystwo Zachety Sztuk Pieknych, Lublin, Poland 2009 Foksal Gallery, Warsaw, Poland 2008 Contemporary Art Museum Saint Louis, USA 2007 Biala Gallery, Lublin, Poland 2007 Museum of Fine Arts, Iwano-Frankiwsk, Ukraine 2007 BWA Gallery Revitalisations, Sanok, Poland 2006 / 2007 Entropia Gallery The Aporia of Painting, Wroclaw, Poland 2005 TR Warszawa, Warsaw, Poland 2005 Foksal Gallery, Warsaw, Poland 2005 WAA (Warsaw Artists? Action) Them, Warsaw, Poland 2004 Fondation Deutsch de la Meurthe, Paris, France 2002 Arsenal Gallery, Bialystok, Poland 2001 Centre for Contemporary Art Ujazdowski Castle / Laboratorium Gallery City ? Estate ? Studio ? Apartment, Warsaw, Poland 2000 Biala Gallery Lublin, Poland 1999 Academy of Fine Arts, Warsaw, Poland GROUP EXHIBITIONS (selected) 2009 castillo/corrales Hello Goodbye Thank You Again, Paris, France 2009 Museum of Contemporary Art BELGRADE: NONPLACES. Art in public space, Belgrade, Serbia 2009 Aspen Art Museum Monitaur, Aspen, USA 2009 MoBY (Museum of Bat Yam) Factory, Bat Yam, Israel 2009 Centre of Contemporary Art Znaki Czasu Lucim żyje, Torun, Poland 2009 Zendai Museum of Modern Art Starting Point: Intrude Art & Life 366, Shanghai, China 2009 SculptureCenter In Practice, New York, USA 2008 Istituto Polacco di Roma Transfert Gallerie Polacche a Roma #6, Roma, Italy 2008 BWA Gallery External artists. OUT OF STH, Wroclaw, Poland 2008 Biala Gallery Remont generalny, Lublin, Poland 2008 White Box Gallery DiVA (Digital & Video Art), New York, USA 2008 Pianissimo Distortion of an Unendurable Reality, Milan, Italy 2008 Istituto Polacco di Roma Transfert Gallerie Polacche a Roma #2, Roma, Italy 2007 appendix2 Artyści polecają się nawzajem, Warsaw, Poland 2007 Museum of Art in Lodz Multi-way Street annex to the exhibition Beautiful Losers, Lodz, Poland 2007 Paul Robeson Galery Imago: The Drama of Self-Portraiture In Recent Photography, Newark, USA 2007 Zacheta National Gallery of Art / Kordegarda Gallery Here a Change Occurs, Warsaw, Poland 2006 Real Art Ways POZA, Hartford, USA 2006 Centre for Contemporary Art Laznia Love and Democracy, Gdansk, Poland 2006 LiveBox at Ravenswood, Chicago, USA 2006 Zacheta National Gallery of Art On Their Own, Warsaw, Poland 2003 National Museum / Krolikarnia, Warsaw, Poland 2002 Bunkier Sztuki, ZPAP Festival of Young Art novart.pl, Cracow, Poland 2001 BWA Galery Goscinna Pracownia Malarstwa Leona Tarasewicza goscinnie w Galerii BWA w Zielonej Gorze, Zielona Gora, Poland

This video rethought the role of public sculptural representations, worldwide. While often “decorative”, these sculptures are often simply objects in public spaces funded by local governments, manifesting their power in shaping both art in public realm and popular aesthetics, often giving a false perception of sculpture medium, and how it should or could be interpreted. This ongoing project was a series of video-recorded performative guerrilla actions, using sculptures located in public spaces, including the U.S., Korea, and Iran. Before performing with a given sculpture, the artist asked for advice from professional art conservators or other specialists in the field of restoration.

Wojciech Gilewicz (b. 1974) is a Polish-born New York-based interdisciplinary visual artist. The artist draws on experience in painting and video to investigate boundaries of art and space. In his recording of reality, Gilewicz uses the video camera, which can fluidly transform into a means of registering social relations, which take place “outside” his actions performed with or around his paintings or sculptural objects. Gilewicz’s art provokes reflection on the mechanisms which govern perception and its cultural conditioning. Video works by the artist were presented internationally in the framework of numerous screenings in art institutions and video festivals including Media Art Biennale WRO, Rencontres Internationales Paris/Berlin/Madrid, CURRENTS: Santa Fe International New Media Festival, and Hors Pistes Japon. His awards include grants from The Pollock-Krasner Foundation and The Joan Mitchell Foundation, his residencies include Akiyoshidai International Art Village in Japan and Changdong Art Studio/National Museum of Contemporary in Seoul, Korea. The artist has been part for the last three years of the Lower Manhattan Cultural Council Workspace Program in New York, where he’s been working on his “New Paintings” series started back in 2006 inspired by NYC subway. (www.gilewicz.net) In 2017 Wojciech Gilewicz established Beach64retreat in the Rockaways, Queens, New York for creative individuals as the artist’s response to the rising precarity in arts&culture around the world. The retreat is free of charge.

When I was invited to China at the end of 2008, in my contract with Zendai MoMA in Shanghai, I was bounded to realize 6 to 8 oil paintings there. While painting, I am often using my video camera as well, which is kind of registering in a cold eye the process of the ?emergence? of my urban-based paintings. I did so also when working for the museum on this series of paintings. However, in this very project the camera is slightly drifting away from the actual paintings and is showing fragments of reality as if they were autonomous paintings themselves. The reality appears in this video quite neurotic and nervous as well as a bit hectic. It is mysterious, very much fragmented and somehow jagged. The paintings coming off the reality leave a strange tear to it or maybe rather quite a philosophic dilemma.

Wojciech Gilewicz (1974) Polish American painter, photographer, author of installations and videos. In his works, which usually combine all these disciplines, Gilewicz explores the phenomenon of illusion and the blurring of distinctions between reality and its artistic representation. He also shows how relative and changeable our perception of the surrounding world is. Gilewicz?s practice invites a reflexion on the mechanisms governing our perception and on the cultural determinants of the way we see things. www.gilewicz.net

Wojciech Gilewicz: In Practice, 2009 (video) A series of oil paintings were installed outside the SculptureCenter building. The surfaces and forms of the canvases were designed to make them appear completely invisible while they were on site. A video documentating the process of placing the works in their environment encouraged visitors to explore the periphery of the building. Using a map I prepared, visitors were invited to search for the hidden paintings in the surrounding city space. I was primarily interested in challenging visitors` perception of space, reality and their surroundings. (by Wojciech Gilewicz) -------------- fragment of InPractice review by Lori Cole (ArtForum, 02.15.2009) "(...)While artists such as Peter Simensky, Carey Ascenzo, and Amy Patton struggle to reinvent site specificity, Wojciech Gilewicz defies its logic entirely in his deadpan installations-painted imitations of everyday surfaces, intended to go unnoticed in public space. In the video documentation of his project, Gilewicz nonchalantly installs the work in broad daylight, thereby performing the slight visual shifts between the trash on the surface of a garbage can and its painted replica, between a construction panel and its crafted double, and drawing attention to the way art can undermine even its own subversive rhetoric to make site both more and less noticeable." http://www.sculpture-center.org/pressSpecific.htm?id=61697

CV (narrative) Wojciech Gilewicz (1974) Polish American painter, photographer, author of installations and videos graduated from Academy of Fine Arts in Warsaw, Poland (1999) obtaining a Master?s Degree in Painting (Minor in Photography). In his works, which usually combine all these disciplines, Gilewicz explores the phenomenon of illusion and the blurring of distinctions between reality and its artistic representation. He shows also how relative and changeable our perception of the surrounding world is. Gilewicz?s practice invites a reflexion on the mechanisms governing our perception and on the cultural determinants of the way we see things. Selected soloexhibitions: Foksal Gallery Warsaw, Poland (2009); Contemporary Art Museum Saint Louis (2008); Museum of Fine Arts Ivano-Frankivsk, Ukraine (2007); Foksal Gallery Warsaw, Poland (2005), Fondation Deutsch de la Meurthe Paris, France (2004), CCA Ujazdowski Castle Warsaw, Poland (2001) Selected groupshows: MoCA Belgrade, Serbia (2009); MoBY Bat Yam, Israel (2009); CoCA, Torun, Poland (2009); Zendai MoMA Shanghai, China (2009); SculptureCenter New York (2009); Pianissimo Milan, Italy (2008); Museum of Art Lodz, Poland (2007); Zacheta National Gallery of Art Warsaw, Poland (2007) Selected artisticresidencies: TAV Taipei, Taiwan (2009); Zendai MoMA Shanghai, China (2008); ISCP New York (2008); Galichnik Macedonia (2005); Fundation Deutsch de la Meurthe Paris, France (2004) --------------- CV (detailed) Wojciech Gilewicz (www.gilewicz.net) EDUCATION 1999 Master?s Degree in Painting, Minor in Photography 1996 - 1999 Academy of Fine Arts Painting Department Warsaw, Poland 1994 - 1996 Academy of Fine Arts Painting Department Poznan, Poland SOLO EXHIBITIONS (selected) 2009 Lubelskie Towarzystwo Zachety Sztuk Pieknych, Lublin, Poland 2009 Foksal Gallery, Warsaw, Poland 2008 Contemporary Art Museum Saint Louis, USA 2007 Biala Gallery, Lublin, Poland 2007 Museum of Fine Arts, Iwano-Frankiwsk, Ukraine 2007 BWA Gallery Revitalisations, Sanok, Poland 2006 / 2007 Entropia Gallery The Aporia of Painting, Wroclaw, Poland 2005 TR Warszawa, Warsaw, Poland 2005 Foksal Gallery, Warsaw, Poland 2005 WAA (Warsaw Artists? Action) Them, Warsaw, Poland 2004 Fondation Deutsch de la Meurthe, Paris, France 2002 Arsenal Gallery, Bialystok, Poland 2001 Centre for Contemporary Art Ujazdowski Castle / Laboratorium Gallery City ? Estate ? Studio ? Apartment, Warsaw, Poland 2000 Biala Gallery Lublin, Poland 1999 Academy of Fine Arts, Warsaw, Poland GROUP EXHIBITIONS (selected) 2009 castillo/corrales Hello Goodbye Thank You Again, Paris, France 2009 Museum of Contemporary Art BELGRADE: NONPLACES. Art in public space, Belgrade, Serbia 2009 Aspen Art Museum Monitaur, Aspen, USA 2009 MoBY (Museum of Bat Yam) Factory, Bat Yam, Israel 2009 Centre of Contemporary Art Znaki Czasu Lucim żyje, Torun, Poland 2009 Zendai Museum of Modern Art Starting Point: Intrude Art & Life 366, Shanghai, China 2009 SculptureCenter In Practice, New York, USA 2008 Istituto Polacco di Roma Transfert Gallerie Polacche a Roma #6, Roma, Italy 2008 BWA Gallery External artists. OUT OF STH, Wroclaw, Poland 2008 Biala Gallery Remont generalny, Lublin, Poland 2008 White Box Gallery DiVA (Digital & Video Art), New York, USA 2008 Pianissimo Distortion of an Unendurable Reality, Milan, Italy 2008 Istituto Polacco di Roma Transfert Gallerie Polacche a Roma #2, Roma, Italy 2007 appendix2 Artyści polecają się nawzajem, Warsaw, Poland 2007 Museum of Art in Lodz Multi-way Street annex to the exhibition Beautiful Losers, Lodz, Poland 2007 Paul Robeson Galery Imago: The Drama of Self-Portraiture In Recent Photography, Newark, USA 2007 Zacheta National Gallery of Art / Kordegarda Gallery Here a Change Occurs, Warsaw, Poland 2006 Real Art Ways POZA, Hartford, USA 2006 Centre for Contemporary Art Laznia Love and Democracy, Gdansk, Poland 2006 LiveBox at Ravenswood, Chicago, USA 2006 Zacheta National Gallery of Art On Their Own, Warsaw, Poland 2003 National Museum / Krolikarnia, Warsaw, Poland 2002 Bunkier Sztuki, ZPAP Festival of Young Art novart.pl, Cracow, Poland 2001 BWA Galery Goscinna Pracownia Malarstwa Leona Tarasewicza goscinnie w Galerii BWA w Zielonej Gorze, Zielona Gora, Poland

Biomimetic Stories # 1. Madurai The city of Madurai located in the state of Tamil Nadu in India is the subject of this film. In a fictional mode, it unveils virtual urban organizations inspired by the living that outline solutions to the problems generated by cities and more specifically in the era of global warming. The film is on the side of climato-fiction and envisages the relationship that nature and the urban landscape could have in the near future. By combining biology with the urban, it draws on the evolutionary processes of nature. The film develops a prospective narrative centered on urban bioluminescence, the recovery of dew water and the construction of a canopy. Madurai aims above all to propose avenues for reflection, while being part of a biomimetic process.

"Invisible Cities" 2015/2017 form a video tetralogy that draws portraits of several Japanese cities and questions the notions of urban landscapes. These futuristic fictions have as departure points the Japanese urban and social realities filmed and photographed and then extended by images of syntheses, what is commonly called augmented reality. Pierre-Jean Giloux resided at Villa Kujoyama in Kyoto where he directed "Stations" the fourth and final installment of "Invisible Cities".

The work of Pierre Jean Giloux is the result of ongoing research related to new technologies, especially to associations and hybridised photographic images, videos and computer graphics. Through digital technology, he developes a work of collage, the editing of visual and sound compositions that ometimes include 2d and 3d animation sequences. Pierre Jean Giloux seeks to create a language usi ng sound and image that combines elements of pop culture and the mass media with more "learned" cultures which refer to the visual arts and architecture. His video films are in between, they draw heavily from reality tending towards fiction.He likes to cohabit the virtual and the real with the aim of establishing a dialogue and questioning our relation to the real. There is a common denominator in all these films, the making of staged worlds, built on elliptical modes.The post production work gives him the opportunity to rework the images, which has the effect of altering the perception of the real, putting a distance in place. The installations of Pierre Jean Giloux, whether photographic o r filmic are structured, composed, but still leave the viewer a great deal of freedom for association and interpretation.

Metabolism : “Le point de départ est la découverte d’un photomontage de Arata Isozaki intitulé “Re-ruined Hiroshima”. Cette image est une énigme : dans ce paysage dévasté, deux grandes formes architecturées se dessinent : ces structures constituées (on le suppose) par des débris récupérés dans les alentours, surplombent une ville mise à terre. Les métabolistes (un groupe d’urbanistes et d’architectes japonais autour d’une même vision : la ville du futur ) ont projeté de reconstruire ce pays, de (lui) façonner une nouvelle identité. Ce fut une sorte d’élan tendu vers l’avenir, vers un futur développement de l’espace urbain qui devait répondre aux flux des populations vers les centres urbains. Ils s’inscrivirent néanmoins dans une continuité idéoloqique ‘traditionnelle’ faisant référence à l’image iconique du temple d’Ise . Le métabolisme fût la dernière utopie moderniste du XXème siècle, cette découverte m’a passionné et a suscité le désir de faire ce film. Certains de leurs projets non réalisés sont introduits dans ce film par le truchement des techniques numériques, dans le Tokyo de 2015. Jalons historiques et présences fantomatiques inscrites dans les strates urbaines de la mégapole japonaise.

Qu’il soit filmique ou photographique, le travail de Pierre Jean Giloux débute par le stade préparatoire du dessin, phases de recherches où la pensée s’organise par strates, avant de passer à la réalisation. Ses installations photographiques composées de suites d’images peuvent être qualifiées de « storyboards agrandis ». Ces dernières -le plus souvent exposées en milieux urbains- se confrontent aux rapports d’échelles et questionnent le statut de l’image au sein même de la cité. Ses travaux vidéo sont les résultats d’associations et hybridations d’images. Il développe par le biais des techniques numériques un travail de collage, montage, de compositions visuelles et sonores qui incluent des séquences animées en 2 et 3 d. Il aime à faire cohabiter le virtuel et le réel dans le dessein d’établir un dialogue et de questionner notre rapport au réel et vice versa. En 2015, Pierre-Jean Giloux à la Villa Kujoyama (Kyoto, Japon) où il réalise le quatrième et dernier volet de “Invisible Cities” intitulé “Station to Station”. Ses installations vidéos et ses films ont été exposés dans de nombreuses institutions et festivals, notamment le Centre Pompidou, le MAC VAL, le CREDAC, Comix Home Base de Hong Kong, au Kyoto Art Center, au Pavillon de l’Arsenal à Paris.

The film interweaves documentary and fiction to depict two characters, a truck driver and a singer. Filmed in their separate working environments their stories converge until they meet through an accident at a swimming pool. The driver witnesses the singer crashing into the end of the pool and passing out. He performs mouth-to-mouth resuscitation. Waking the next day the driver discovers he has developed a desire to write music. For the next six months his singing career develops at a rapid pace. The singer temporarily looses her voice, on regaining it she discovers that it has dramatically altered in tone. Although the tale is told retrospectively no conclusion is reached. Is he continuing to sing, did she regain her career, have they permanently swapped voices? He continues on his journey. By combining voice over, interview footage and dramatic tableaux, questions arise as to whether the events are true and to what extent the cast are acting. The film investigates what happens to people once placed in front of a camera and subsequently how a filmmaker can attempt to capture individuals continually shifting performances in real life. How we adjust ?self? in relationship to ?other? and what role storytelling has in the everyday are developed into key questions. By combining voice over, interview footage and dramatic tableaux, questions arise as to whether the events unfolding are true and to what extent the cast are acting. Are the characters figments of each other?s imaginations? Or in fact each other?s alter egos? The film investigates what happens to people once placed in front of a camera and subsequently how a filmmaker can attempt to capture the subtlety of individuals continually shifting performances in real life. How and why we adjust ?self? in relationship to ?other? and what role storytelling has in the everyday are developed into key questions.

Charlotte Ginsborg graduated from MA Fine Art at Goldsmiths College, London in 2002 where she specialized in film and video. Her films interweave documentary and fictional elements to explore people?s psychological relationship to their architectural environments. She has exhibited her 16mm and digital films in galleries and festivals both nationally and internationally, including the Venice Biennale, the Serpentine Gallery and the ICA, London, the Pompidou Centre, Paris and the Walker Arts Centre, USA. She won the Oriel Mostyn Open 03 for her film ?Spade? and had a solo exhibition at the Jerwood Foundation, London. Her films are distributed by The Lux and she is currently artist in residence at The London Chest Hospital.

Tracing the life of a large construction site from demolition to the completion of new office space, `The Mirroring Cure` focuses on the company secretary who decides to interview those employed around her. She wants to understand their relationship to work, their hopes, fears and anxieties. We witness her fascination with one of the architects whom she discovers suffers from a loss of balance exacerbated by the large scale of the site. She becomes intrigued by the bizarre and surreal solution he develops to cope with his affliction. Appearing initially as a documentary detailing the complexity of personal identities formed through being `at work`, as well as the effects of architecture on behaviour, the film begins to incorporate fictional elements leaving the viewer unsure as to where reality lies. To what extent the characters are acting remains ambiguous. Shot on 16mm over a two year period the film forms an intimate portrait of five working lives set against the visually arresting and constantly shifting architecture of the building development. It investigates how people negotiate private experiences within the public domain and how we ?view? and ?judge? others as we move through the city.

Charlotte Ginsborg graduated from the MA Fine Art course at Goldsmiths College, London in 2001 where she specialized in film and video. Her films interweave documentary and fictional elements to explore people?s psychological relationship to their jobs and their working architectural environments. She has screened her 16mm and digital films in galleries and festivals both nationally and internationally. Including the Venice Biennale 2003, the Serpentine Gallery London, 2004, the Camden Arts Centre and the Curzon, Soho, London 2006, The ICA, London, 2007 and The Walker Arts centre, 2008. She has had solo exhibitions at The Jerwood Foundation, The Whitechapel Project Space and The Lux, who distribute her work. She has also undertaken various public art commissions and documentary projects and is currently the Artist-in-residence at the London Chest Hospital where she is working with staff and patients to develop a new film work. Her latest film ?Over The bones? (16mm, 30min, 2008), commissioned and funded by The Jerwood Foundation and The Arts Council England, is just about to be screened at The Kasseler Dokumentarfilm-&Videofest and furthers her interests in character development and disrupted narrative, investigating the complex performative space provided by the filming process.

The film interweaves documentary and fiction to depict two characters, a truck driver and a singer. Filmed in their separate working environments their stories converge until they meet through an accident at a swimming pool. The driver witnesses the singer crashing into the end of the pool and passing out. He performs mouth-to-mouth resuscitation. Waking the next day the driver discovers he has developed a desire to write music. For the next six months his singing career develops at a rapid pace. The singer temporarily looses her voice, on regaining it she discovers that it has dramatically altered in tone. Although the tale is told retrospectively no conclusion is reached. Is he continuing to sing, did she regain her career, have they permanently swapped voices? He continues on his journey. By combining voice over, interview footage and dramatic tableaux, questions arise as to whether the events are true and to what extent the cast are acting. The film investigates what happens to people once placed in front of a camera and subsequently how a filmmaker can attempt to capture individuals continually shifting performances in real life. How we adjust ?self? in relationship to ?other? and what role storytelling has in the everyday are developed into key questions. By combining voice over, interview footage and dramatic tableaux, questions arise as to whether the events unfolding are true and to what extent the cast are acting. Are the characters figments of each other?s imaginations? Or in fact each other?s alter egos? The film investigates what happens to people once placed in front of a camera and subsequently how a filmmaker can attempt to capture the subtlety of individuals continually shifting performances in real life. How and why we adjust ?self? in relationship to ?other? and what role storytelling has in the everyday are developed into key questions.

Charlotte Ginsborg graduated from MA Fine Art at Goldsmiths College, London in 2002 where she specialized in film and video. Her films interweave documentary and fictional elements to explore people?s psychological relationship to their architectural environments. She has exhibited her 16mm and digital films in galleries and festivals both nationally and internationally, including the Venice Biennale, the Serpentine Gallery and the ICA, London, the Pompidou Centre, Paris and the Walker Arts Centre, USA. She won the Oriel Mostyn Open 03 for her film ?Spade? and had a solo exhibition at the Jerwood Foundation, London. Her films are distributed by The Lux and she is currently artist in residence at The London Chest Hospital.

Tracing the life of a large construction site from demolition to the completion of new office space, `The Mirroring Cure` focuses on the company secretary who decides to interview those employed around her. She wants to understand their relationship to work, their hopes, fears and anxieties. We witness her fascination with one of the architects whom she discovers suffers from a loss of balance exacerbated by the large scale of the site. She becomes intrigued by the bizarre and surreal solution he develops to cope with his affliction. Appearing initially as a documentary detailing the complexity of personal identities formed through being `at work`, as well as the effects of architecture on behaviour, the film begins to incorporate fictional elements leaving the viewer unsure as to where reality lies. To what extent the characters are acting remains ambiguous. Shot on 16mm over a two year period the film forms an intimate portrait of five working lives set against the visually arresting and constantly shifting architecture of the building development. It investigates how people negotiate private experiences within the public domain and how we ?view? and ?judge? others as we move through the city.

Charlotte Ginsborg graduated from the MA Fine Art course at Goldsmiths College, London in 2001 where she specialized in film and video. Her films interweave documentary and fictional elements to explore people?s psychological relationship to their jobs and their working architectural environments. She has screened her 16mm and digital films in galleries and festivals both nationally and internationally. Including the Venice Biennale 2003, the Serpentine Gallery London, 2004, the Camden Arts Centre and the Curzon, Soho, London 2006, The ICA, London, 2007 and The Walker Arts centre, 2008. She has had solo exhibitions at The Jerwood Foundation, The Whitechapel Project Space and The Lux, who distribute her work. She has also undertaken various public art commissions and documentary projects and is currently the Artist-in-residence at the London Chest Hospital where she is working with staff and patients to develop a new film work. Her latest film ?Over The bones? (16mm, 30min, 2008), commissioned and funded by The Jerwood Foundation and The Arts Council England, is just about to be screened at The Kasseler Dokumentarfilm-&Videofest and furthers her interests in character development and disrupted narrative, investigating the complex performative space provided by the filming process.

"Birobidzhan Atlas" is a film exploring Jewish Autonomous Region, an area that is located in the Far East of the Russian Federation. Founded by the Soviet government in 1934, the Jewish Autonomous Region became an official self-determined Jewish entity long before the establishment of the State of Israel. The landscape had a harsh geography and climate: it was mountainous, covered with virgin forests of oak, pine and cedar, and also swamplands festering with mosquitoes, and any new settlers would have to build their lives from scratch in this underpopulated region on the border of contested Manchuria. Birobidzhan is a town and the administrative center of the Jewish Autonomous Region, Russia, located on the Trans-Siberian Railway, close to the border with China. It is named after the two rivers: the Bira and the Bidzhan, which are tributaries of the Amur. The city was planned by the second director of Bauhaus, Swiss architect Hannes Meyer, and established in 1931. Birobidzhan Atlas employs Aby Warburg’s method of “ montage-collision ”, to build a representation of the area through combination of historical archives and documentation of today’s landscape, the relationship between the utopian and the represented landscape.

Anton Ginzburg (b. 1974, St. Petersburg, Russia) is a New York-based artist and filmmaker, investigating historical narratives and poetic studies of place, representation, and post-Soviet identity. He earned a BFA from The New School for Social Research and MFA degree from Bard College, Milton Avery Graduate School of Arts, Annandale-on-Hudson, New York. His work has been shown at the 54th Venice Biennale, the Blaffer Art Museum at the University of Houston, Southern Alberta Art Gallery in Canada, Palais de Tokyo in Paris, the San Francisco Museum of Modern Art, White Columns in New York, Lille 3000 in Euralille, France, and the first and second Moscow Biennales. His films have been screened at the Whitechapel Gallery in London, Rotterdam International Film Festival (IFFR), Dallas Symphony Orchestra, Nasher Sculpture Center in Dallas, Les Rencontres Internationales in Paris, Haus der Kulturen der Welt in Berlin and New York Film Festival/Projections among others.

“Turo” is a film exploring post-Soviet geography and Constructivist architecture. It is made up four chapters and an introduction-index. Each chapter is exploring a different Constructivist building as a stage for past utopias. The buildings are landmarks of Soviet modernism: Melnikov House (architect Konstantin Melnikov), Narkomfin Building (architect Moisei Ginzburg), ZIL (Automobile factory designed by Vesnin brothers) and also recording of a “ghost mode” of a video game exploring ruins of Pripyat’ (Soviet town affected by Chernobyl catastrophe) featuring unrealized Tatlin’s Tower. Since a lot of Constructivist projects were never realized and existed as potential designs, they are placed into the virtual environments of the video game, positioning utopia within dystopia. It’s an atemporal collective territory, where past dreams coincide with current consumer culture. Modernity could be interpreted as an updated Babel Tower project where the universal tongue would have been imposed over the rest of the world. It still resonates deeply with contemporary culture, but today it exists as an archive of ruins, the record of fragmentation. Exploring various methods of representation the video’s structure combines cinematic approach with layering and digital abstraction. Each part of the film is a metaphorical tower that gets deconstructed throughout the duration of the chapter. Some parts are direct cinematic narratives, like an enormous blaze, while others show use projected images, deconstruction of an image and shaping its potential meanings on the basis of technological reproduction.

Anton Ginzburg is a New York–based artist and filmmaker who uses an array of historical and cultural references as starting points for his investigations into art’s capacity to penetrate layers of the past and reflect on the contemporary experience. Born in 1974 in Saint Petersburg, Russia, Ginzburg received a classical arts education before immigrating to the United States in 1990. He earned a BFA from Parsons The New School for Design and MFA degree from Bard College (Milton Avery Graduate School). His art has been shown at the 54th Venice Biennale, Blaffer Art Museum, Lille3000, Palais de Tokyo in Paris, the San Francisco Museum of Modern Art, White Columns, the first and second Moscow Biennales, and the Smithsonian Cooper-Hewitt, National Design Museum. Screenings included IFFR, NYFF/Projections, Les Rencontres Internationales Moscow International Film Festival, Arkipel/Jakarta, Exis/Korea and Images/Toronto.

The film Pan (2014) by Anton Ginzburg, explores the genealogy and interactions of reproduction technologies from 16mm film to video formats. It examines variations of the mechanical gaze and its disembodiment in relation to the architectural representation and historical context. The hybrid aura offers an interplay and reconsideration of temporal and spatial relationships.

Anton Ginzburg is a New York–based artist and filmmaker who uses an array of historical and cultural references as starting points for his investigations into art’s capacity to penetrate layers of the past and reflect on the contemporary experience. Born in 1974 in Saint Petersburg, Russia, Ginzburg received a classical arts education before immigrating to the United States in 1990. He earned a BFA from Parsons The New School for Design in 1997 and MFA degree from Bard College, Milton Avery Graduate School of Arts, Annandale-on-Hudson, New York. His art has been shown at the fifty-fourth Venice Biennale, Blaffer Art Museum at the University of Houston, Palais de Tokyo in Paris, the San Francisco Museum of Modern Art, White Columns in New York, Lille3000 in Euralille, France, the first and second Moscow Biennales, and the Cooper-Hewitt, Smithsonian Design Museum in New York. His work is represented in the permanent collections of the San Francisco Museum of Modern Art and the Moscow Museum of Modern Art, as well as in private collections around the world.

In his film ?Hyperborea?, Anton Ginzburg constructs points of intersection between memory ? individual or collective ? and imagination. Drawing on the many stories about the mythical region of Hyperborea, he set out to locate it and travelled to the distant Northern territories. His expedition runs through the forests of the American Pacific Northwest, the faded palaces of Saint Petersburg, and the Gulags of Russia?s White Sea. On the trail of ancient vestiges, primary forests, mammoth fossils and ruins, the explorer is accompanied by the mysterious cloud of red smoke.

Anton Ginzburg is a New York?based artist and filmmaker who uses an array of historical and cultural references as starting points for his investigations into art?s capacity to penetrate layers of the past. Born in 1974 in Saint Petersburg, Russia, Ginzburg received a classical arts education before immigrating to the United States in 1990. He earned a BFA from Parsons The New School for Design in 1997 and is currently working on his MFA degree at Bard College. His art has been shown at the 54th Venice Biennale, Lille3000, Palais de Tokyo, the San Francisco Museum of Modern Art, White Columns, the first and second Moscow Biennales, and the Smithsonian Cooper-Hewitt, National Design Museum. His work is represented in the permanent collections of the San Francisco Museum of Modern Art and the Moscow Museum of Modern Art, as well as in private collections around the world.

“ML CRSH” is a video work that was developed using a 3D gaming engine environment for self-driving vehicles. The AI algorithm was used to apply the database collection of photo materials and textures of Dresden to the 3D models, causing unpredictable digital artifacts. The initial video was inspired by the “Media Burn” 1975 performance organized by Ant Farm collective, where a customized Cadillac drove into a wall of flaming television sets. Translating it into today’s digital environment of “database logic” of new media objects and employment of AI, it features a montage of crashes of autonomous vehicles into digital replicas of art objects. The artwork turns its focus on the proliferation of database and AI technologies and disrupts its patterns with an iconoclastic gesture of a crash.

Anton Ginzburg is a New York–based artist and filmmaker who uses an array of historical and cultural references as starting points for his investigations into art’s capacity to penetrate layers of the past and reflect on the contemporary experience. Born in 1974 in Saint Petersburg, Russia, Ginzburg received a classical arts education before immigrating to the United States in 1990. He earned a BFA from Parsons The New School for Design and MFA degree from Bard College (Milton Avery Graduate School). His art has been shown at the 54th Venice Biennale, Blaffer Art Museum, Lille3000, Palais de Tokyo in Paris, the San Francisco Museum of Modern Art, White Columns, and the Smithsonian Cooper-Hewitt, National Design Museum. Screenings included IFFR, NYFF/Projections, Ann Arbor, Go Shorts and Images/Toronto.

Remote is a suggestive story. Portrait of a tender companionship in a secluded Irish countryside. Residing in the simplicity of the moment, the waiting and the repetition of days. This is a place where there is no space for imagining a future other than the perpetual repetition of the present. This is a place for survival, to be strong, alone with the wind, eyes burnt by the light. A place of unspoken tenderness, a landscape of silence and solitude in which there will always be someone.

Eva Giolo (b.1991 Brussels) is an audio visual artist. Her practice is predominantly made of filmic portraits that weave between fiction and documentary. They focus on individuals, almost always facing a certain kind of loneliness. She mainly focus on those individuals in their daily life, scripting and observing their actions and daily gestures through the camera. They often touch upon universal human themes and explore the relationship between loss, time and memory. But also the in-between language of the camera and the subject. Presenting memories, images and portraitures as something that can be manipulated and seen with multi-perspectives. Questioning the power of images is a recurrent theme and memories often stand as a central narrative. Giolo obtained a BA and MA in Fine Arts at the Media Arts department of the Royal Academy of Arts (KASK), Ghent. She completed her music education at the Institute of Contemporary Music in London. Recent screenings and exhibitions include: Imagine Science Film Festival, New York; TAZ#17, Ostend; Côté court, Paris; International Film Festival Rotterdam; Blaa Galleri, Copenhagen; BOZAR, Brussels; Courtisane Film Festival, Ghent; Ishibiki Gallery, Kanazawa; In Out Film Festival, Gdansk among others. Giolo won the VAF Wildcard for experimental film (2016) and is a founding member of the small distribution and production platform elephy. Eva Giolo is a post-grad art resident at HISK in Ghent (2018-2020). She currently works and lives in Brussels.

A group of artists are invited to be inspired by the work of the well-known, Belgian filmmaker Chantal Akerman, specifically her film News from Home (1976). The busy city of New York serves as the film’s main character. Meanwhile, we hear Akerman’s voice reading letters from her mother in Brussels. She recounts daily anecdotes from the home front and increasingly urgent requests for news from New York. A group of artists are asked to make one film together: each with their own voice, style, and starting point. During the working process, questions arose such as: how do you as an artist relate to another film practice, how do you create a collective work while maintaining your individuality? You’ll see no less than five different films within one kaleidoscopic film: Stone, Hat, Ribbon and Rose by Eva Giolo, Barefoot Birthdays on Unbreakable Glass by Rebecca Jane Arthur, When Things Fall Apart by Katja Mater, Un Âne by the artistic duo Sirah Foighel Brutmann and Eitan Efrat, and The possibility of being sea by Maaike Neuville. Details such as letters and metros, and themes such as dislocation, detached city life, alienation versus feeling at home, distance versus proximity, and the mother-daughter relationship echo Akerman’s films. Unfortunately, the artists are no longer able to engage directly with the filmmaker, who passed away in 2015. However, this joint work attests to a way of engaging in dialogue with her work.

Eva GIOLO (1991, Belgium) is an audio-visual artist and filmmaker from Brussels. She obtained an MA in Fine Arts at KASK, Ghent and her musical education at the Institute of Contemporary Music in London. In her work Giolo tries to capture familial stories using documentary strategies to make portraits of usually private and unseen interior worlds. Her work has been exhibited all over the worl, and in 2016 she won the VAF Wildcard for experimental film. She is a founding member of elephy, a Brussels-based production and distribution platform for film and media art. Rebecca Jane Arthur is a visual artist working predominantly with the moving image and writing. Her works often revolve around portraits of people and places, and her interest lies in personal stories that depict a socio-political context and history. Arthur obtained her MA in Fine Arts at KASK, Ghent, in 2017. She completed her BA in Fine Arts at Sint-Lukas Brussels in 2015, after spending one year at the Academy of Fine Arts Vienna. Arthur recently exhibited her work at Tallinn Photomonth 2017: Contemporary Art Biennial; ARGOS Centre for Art and Media, Brussels; Convent, Ghent; and Courtisane Festival, Notes on Cinema 2017, Ghent, among others. Recent texts on Arthur’s work have been published in Metropolis M and KORTFILM.be. Arthur works in Brussels as a freelance writer, proofreader, copy-editor, translator (NL-EN) and moving image producer. She is co-founder of the film and media art platform elephy, together with Chloë Delanghe, Eva Giolo and Christina Stuhlberger. In 2017-18, she is working as a researcher on the art-based research project Six Formats on the chapter ‘Screening’, which is run by Felicitas Thun-Hohenstein and Ingrid Cogne, funded by FWF-Peek and hosted by the Academy of Fine Arts Vienna. Katja Mater’s (*1979 in Hoorn/The Netherlands, lives and works in Brussels and Amsterdam) practice focuses on the parameters of photography and film from a meta-perspective, using them as non-transparent media. By creating hybrids between different optical media, installation and performance she documents something that often is positioned beyond our human ability to see. Interested in revealing a different or alternative (experience of) reality through capturing the areas where optical media hardly behave like the human eye, Mater mediates between time, space, perception and our understanding of them, she records events that simultaneously can and cannot be – holding midway between information and interpretation. Sirah and Eitan are working in collaboration, creating works in the audiovisual field, installation and performance. They live and work in Brussels. Sirah and Eitan’s practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images – moving or still; the relations between spectatorship and history; the temporality of narratives and memory and the material surfaces of image production. Their works have been shown in duo exhibitions in Kunsthalle Basel (CH); Argos, Brussels (BE) and CAC Delme (FR); at group exhibitions in Argos (BE); Museum für Kunst und Gewerbe, Hamburg (DE); Portikus, Frankfurt (DE); Jeu de Paume, Paris (FR) and STUK, Leuven (BE). In film festivals such as EMAF, Osnabrück (DE); Atonal, Berlin (DE); Doc Lisboa (PT); Oberhausen Film Festival (DE); Rotterdam Film Festival (NL); Les Rencontres International, Paris and Berlin (FR/DE); New Horizons, Wroc?aw (PL); Images, Toronto (CA); 25FPS, Zagreb (HR). Sirah and Eitan are currently teaching at ERG, Brussels. Maaike Neuville (°1983) is a Belgian actress and director. Maaike graduated in 2005 from Studio Herman Teirlinck in Antwerp.

Part of the YOURS project, an assemblage of five short films dedicated to Chantal Akerman, STONE, HAT, RIBBON AND ROSE offers a strictly personal and decidedly fragmented guide to Brussels; this idiosyncratic city symphony takes us across different urban terrains and unveils each location’s visual and sonic wonders. Amplifying the film’s elusive, drifting quality are a series of one-person performances involving disparate objects in the city. Playful and sombre, quotidian and fantastic, Eva Giolo’s film is a tender love letter to Akerman’s work. (Hyun Jin Cho)

Eva Giolo is an artist working across film, video, and installation. Her work has been exhibited at Sadie Coles HQ, Harlan Levey Project, WIELS centre for Contemporary Art , MAXXI–National Museum of 21st Century Art, Kunstmuseum Den Haag, BOZAR Centre for Fine Arts, Palazzo Strozzi, Museum of Contemporary Art Antwerp, Kunsthalle Wien, and major film festivals like International Film Festival Rotterdam, Viennale, FIDMarseille and Vision du Réel among others. She is a founding member of the production and distribution platform elephy.

Everyday occupations, some domestic tools, fruits, light, rope and many hands. Hands that dig in the earth, that cut, that cook, that touch, rip, wash, squeeze, erase, press, push. The sound of domestic spaces and its silence. Red flowers one summer. Flowers blooming in our throat is a cinematic poem in response to the worldwide pandemic of 2020. Commissioned and produced by in between art films for the project Mascarilla 19 – Codes of Domestic Violence. Filmed in 16mm just after the lockdown caused by COVID-19, Flowers blooming in our throats is an intimate, poetic portrait of the fragile balances that govern everyday life in a domestic setting. The artist films a group of her friends in their own homes, performing various small actions in accordance with her instructions. Giolo chooses to walk a shifting line where gestures remain symbolically ambiguous, expressing a kind of violence that is not immediately recognizable. Hands try to support or escape, but also to grip or strike, in a subtle interweaving of sounds and references that adds to the viewer’s sense of tension and unease. A dialogue of gestures, made up of repeated visual sequences where time is marked by the spinning of a small toy top, as unstable and precarious as the balance of a relationship.The artist repeatedly uses a red filter on her lens, creating a conceptual device that relies on an element of abstraction to conceal and transfigure the image. The mechanical insertion of the filter over the lens thus becomes the simulation of a violent act, immediately changing the way we perceive and remember an action we have seen before.This coexistence of opposites can also be found in the title, which metaphorically suggests how the beauty of a natural phenomenon—and implicitly, love – can turn into a suffocating force. Leonardo Bigazzi

Eva Giolo (Belgium) is an audio-visual artist working in film, video, and installation, born in Brussels in 1991. Her work places particular focus on the female experience, employing experimental and documentary strategies to explore themes of intimacy, permanence and memory, along with the analysis of language and semiotics. Giolo uses her camera to capture the “mundane” moments of the everyday to reveal their hidden depth. After pursuing music at East London University (2011), she received her BA in Media Arts (2015), and MA in Fine Arts, Royal Academy Fine Arts Ghent (2016). Her films, installations and other projects have been widely exhibited at festivals, museums and galleries internationally, including Sadie Coles HQ, WIELS, MAXXI–National Museum of 21st Century Art, BOZAR Centre for Fine Arts, Palazzo Strozzi, Festival Internacional de Cine Independiente de La Plata Buenos Aires, Viennale, Museum of Contemporary Art Antwerp, Kunsthalle Wien, International Film Festival Rotterdam, Kunstmuseum Den Haag, Lago Film Festival, Viennale, FIDMarseille, Courtisane Film Festival, Rencontres International Paris Berlin, Cinéma du Réel and Punto de Vista among others. Giolo’s work is in the permanent collections of Fondazione In Between Art Film (Rome) and Het Huis Van Alijn (Ghent), Museum M (Leuven). Her film Flowers Blooming in Our Throats (2020) was nominated for the European Film Awards (2020), and received Grand Prize from This Is Short, a collaborative online event co-presented by the International Short Film Festival Oberhausen, Vienna Short Film Festival, and other European organizations. She is the recipient of a VAF Wildcard Prize (2016), the Cedric Willemen Award (2019) and special recognition from the Vordemberge – Gildewart Foundation (2020). She was an artist in residence at the Higher Institute for Fine Arts (2018–2020), SeMA NANJI in Korea and WIELS Centre for Contemporary Art (2020) and the CASTRO studio program (2021). In 2022, Eva will be an art resident at Fogo Island Arts in Canada. Eva is co-founder of the Moving Image Atelier (Belgium) and co-founder and Artistic Director of Elephy, a production and distribution organization for film and media art, with Rebecca Jane Arthur, Chloë Delanghe, and Christina Stuhlberger. She lives and works in Brussels, Belgium.

A Tongue Called Mother depicts the relationship between language, gestures and affiliation. It slowly captures the actions and words of three generations of women in the same family and children learning to read, meditating on words learnt and forgotten through the body.

Eva Giolo (b.1991 Brussels) is an audio visual artist and filmmaker who lives and works in Brussels. Giolo obtained a BA and MA in Fine Arts at the Media Arts department of the Royal Academy of Arts (KASK), Ghent. She completed her music education at the Institute of Contemporary Music in London. Giolo won the VAF Wildcard for experimental film (2016). Eva Giolo is a founding member of elephy and a post-grad art resident at HISK in Ghent (2018-2020).

LAUNCHING CEREMONY (2021) Single-channel video, B&W, sound, 17min Originally conceived to be performed in a shipyard, ‘Launching Ceremony’ is an audiovisual poem focusing on the ceremonial launching of a new ship embarking on her maiden voyage. Through a reanimation of mid- century archival footage “choreographed” to a commissioned theremin score, the work invites its viewers to partake in the ceremony, as well as to reflect on free movement and lost futures in an increasingly entrenched world. A commission by the Syros International Film Festival (SIFF) realized with the support of NEON Organization for Culture and Development, in partnership with the Greek Film Archives. Credits A film by Marina Gioti | Music: May Roosevelt | Producer: Jacob Moe

Marina Gioti (Athens, 1972) Filmmaker and visual artist based in ?thens, Greece. She is also a trained Chemical Engineer with post graduates studies in Environmental Management, Media & Communication and New Media. In her works, which comprise of films, installations and media art pieces, she often revisits historical eras and stories offering parallel readings to dominant narratives. Artistic, archival and scientific research alongside observation play a crucial role in her practice, while objets trouvés and cultural debris serve as raw material or situate themselves at the center of her works. She is the laureate of the 2022 ?ceans-themed COAL prize for art and ecology. Recent shows and festivals include: Elefsina Mon Amour, Eleusis 2023 European Cultural Capital Flagship art show, Old Oil Mill Factory, Eleusis, Greece (2023), ARCOmadrid Special - La Casa Encendida, Madrid (2023) | Public Domain- New Acquisitions MOMus – Thessaloniki Museum of Contemporary Art, Thessaloniki (2022) | Launching Ceremony, Tarsanas Shipyard/ Syros International Film Festival-SIFF (solo, 2021)| Theorimata II, EMST - Athens Museum of Contemporary Art (2020)| Atlas: A Sound Cartography of Europe, Centre Pompidou, Paris / ZKM-Center for Art and Media, Karlsruhe / Onassis Stegi, Athens (2019) | CPH:DOX, Copenhagen (2019)| Harmonie Inconnue I & II, Galerie Dominique Fiat, Paris (2019)| | Polysomnogarden- Forum Frohner, Krems an der Donau (Solo, 2018)| Berlinale Forum Expanded (2018)| Yebisu Intl Festival for Art & Alternative Visions, Tokyo Museum of Photographic Art (2018)|The Invisible Hands, Signal - Contemporary Art Space, Malmö (solo, 2018)| Past Future Perfect, Akademie Schloss Solitude, Stuttgart (solo, 2018)| 1st Anren Biennale, Chengdu (2018)| documenta 14, Athens & Kassel (2017) www.marinagioti.net

A collection of visual evidence from an Athens of the near future devoid of humans. Its inhabitants have mysteriously disappeared, leaving behind a tableau mourant of concrete, metal and plastic coexisting with with glorious marble and the local flora and fauna. Part science fiction, part archaeological mystery, the work offers a picturesque expedition of the new Greek ruins, through an apposition of findings that serve as hints for the fate of the film’s elusive protagonists, the -conspicuous by absence- Athenians.

Marina Gioti is a filmmaker/ visual artist based in Athens, Greece. She studied Chemical Engineering, Environmental Management (MSc), Filmmaking, and Media and Communication (MA) in Greece, UK and Belgium. Her films and installations have been screened and exhibited worldwide at both international film festivals (Toronto IFF, Transmediale, Jeonju, Viennale,Les Rencontres Internationales, etc.) and museums/ visual art platforms [Thessaloniki Biennial, Wrocklaw Media Art Biennial (Poland), the Whitechapel Gallery (London), Bozar (Βrussels)]. She is currently in post-production of her first feature, “The Invisible Hands”, a documentary set in Cairo, Egypt.

Greece, the early 70?s. A family visits the museum of the 1821 Greek Revolution and War against the Turks. As they wander inside the museum, one of the paintings comes to life ... ?Sabotaged? version of a rare -found- propaganda film,produced during the Greek military junta in the 70s, supporting a largely debated fact -for many a national myth- related to the birth of the modern Greek nation and the construction of its ethnic identity.

Born in Athens, Greece, Marina Gioti has studied Chemical Engineering, Environmental Management (MSc), Filmmaking and Media and Communication (MA) in Greece and the UK. Since 1999 she lives and works in Athens as a filmmaker/ video artist working mainly with found footage and animation. She has presented work at festivals and galleries in Athens, Europe and the United States, notably at the Toronto International Film Festival, The Rencontres Internationales, Cinematexas, New York Underground Film Festival and Transmediale festival in Berlin. She is also working as an independent curator and film programmer organizing art exhibitions and experimental film and documentary screenings around Athens.

A Greek TV-commercial from the 80s of a product-action racquet game- that failed to become a success in the local market, is being manipulated anew in terms of image and sound. Apart from a funny rhythmical reworking of a rather trite found footage, this work aims at presenting a comical and simplistic view of how American products and trends have been implanted on our collective subconscious through advertising.

Marina Gioti is a filmmaker based in Athens, Greece. Her film and video work has been presented at various festivals and special screenings around Europe and the United States. Her most recent video "B-alles" was an official selection at: New York and Chicago Underground Film Festivals, Cinematexas 11, Hi/Lo Film Festival, Hull International Short Film Festival, among others. She also works as an independent film and video curator, programming and organizing experimental film and video screenings at various venues around Athens, mainly under the name "novaXpress". She has also programmed for Synch Festival (artistic director Synch Cinema 2005) and Cinematexas. She is the co-curator of the art exhibition "Anathena", which recently opened at the Deste Foundation (Athens, Greece).

“In Paris, at curfew time, people linger and hurry down the street before going home. In the morning, a person wakes up alone and listens to the messages left for her. At night, a woman recounts the symptoms of a strange illness to a cab driver. The stories unfold and touch, waiting for something to come.”

Mathilde Girard is a philosopher, psychoanalyst and writer and a member of the Lignes Committee. She has contributed to Chroniques Purple, Diacritik and AOC. She is the author of the books: Proprement dit, entretien sur le mythe, avec Jean-Luc Nancy (Lignes, 2015); L’Art de la faute – selon Georges Bataille (Lignes, 2017); Défense d’écrire – entretiens, avec Michel Surya (Encre Marine, 2018); La Besogne des images, avec Léa Bismuth (Filigranes, 2019), Un personnage en quête de sublimation (Gallimard, 2019). She writes for the cinema since 2017 and make her first films: MON PERSONNAGE (2020), LES ÉPISODES - PRINTEMPS 2018. (2020).

Sainkio is a singer that links throw singing in the Tuva traditional way and in jazz manner, which is, according to the beleif, this singing practice is dangerous for women health. Souce: Bilan du Film Ethnographique.

Jishin (Japanese: earthquake) shows an archaic-looking special effect for a Hollywood film of the 1940s: a house begins to sway, stone lanterns fall over, an actor loses his grip. Finally, mountains of debris fill the screen. The drama is repeated in five successive, slightly varied camera perspectives. The uncut raw material allows an analytical view of the clichéd and scenery-like setting: the disaster is not due to a natural event but to a precalculated performance.

born in Langenhagen, Germany, in 1966, studied Visual Arts at the Braunschweig University of Art (HBK). Since 1989 he has produced films, videos and video installations, some of them in collaboration with video artist Volker Schreiner (1994 – 2004), and, more frequently, in collaboration with filmmaker Matthias Müller (1999 – 2022). He lives and works in Hanover, Germany.

Twenty years ago, the towers of the New York World Trade Center collapsed. The endlessly repeating television images of this event were preceded by manyfold stagings of the building, either as a highly symbolic icon, a speculative destruction fantasy or merely as a spectacular backdrop. In Misty Picture, such fictional motifs string together: city symphony, disaster movie and medial trauma therapy become one.

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. Matthias Müller, born in Bielefeld, Germany, in 1961. Lives in Bielefeld and Cologne. Studied at the Bielefeld University and at the Braunschweig HBK. Collaborative works since 1999

Portraits of women. And men, who are spellbound by them. The painted portraits, a recurring motif of film noir as well as European postwar cinema, aesthetically stand in a tradition of an outmoded academic style that is bent on striking likeness with the model. They are revenants, omens of absence, metaphors for loss and death, objects of desire and fixation, which mesmerize both the viewer in the movie and in front of the screen.

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. filmography (single channel, selection) 1991 Schwertkampf 1993 Fieberrot 1996 Release 2001 Scratch 2002 Absence 2004 Fiction Artists (with Volker Schreiner) 2007 Pianoforte | Storyboard 2012 The Eternal Lesson | Dirigible 2014 Fabric 2015 Synthesis 2017 It Was Still Her Face collaborations with Matthias Müller 1999 Phoenix Tapes 2002 Manual | Beacon 2003 Play | Mirror 2006 Kristall 2009 Contre-jour | Maybe Siam 2011 Meteor 2013 Cut 2016 personne

Fabric is a montage based on remaining workprints from a commercial film about viscose that no longer exists. The original attempt of the film to visualize perfect images of a young tailor and models dressed in sensual fabric while acting within a decorative modernist setting is mirrored in its shortcoming. The leftovers only show the preliminaries, faulty repetitions and aborted takes, thus all footage which was thrownout. Clapper boards indicating each take by numbers allowed to reconstruct a part of the film’s original storyboard. The new montage shows all of the remaining snippets from the related scenes including the clapper boards, the repeated takes and the glitches in the film material. However, all parts which probably have been used to edit the original film are missing, the gaps are marked with beeps on the otherwise silent soundtrack. While following a fragile new narrative, Fabric also generates a counterpart of an artefact that was lost.

Christoph Girardet, born in Langenhagen, Germany, in 1966. He studied Fine Arts at the Braunschweig School of Art (Master’s degree in 1994). Since 1989 he has produced video tapes, video installations and films, some of them in collaboration with video artist Volker Schreiner beginning in 1994 and as of 1999 with filmmaker Matthias Müller. He was awarded a stipend for the International Studio and Curatorial Program in New York (2000) and the Villa Massimo stipend in Rome (2004). He lives and works in Hanover.

They call me a dreamer, well maybe I am. / But I know that I`m burnin` to see / Those far away places with the strange-soundin` names / Callin`, callin` me. (no translation, English only, please)

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Works in video, film and installation since 1987. Studied at the Braunschweig HBK. Selected works: 1991 Schwertkampf, 1997 Release, 2001 Scratch, 2001 7:48, 2002 Absence, 2007 Pianoforte, 2010 Silberwald Matthias Müller, born in Bielefeld, Germany, in 1961. Lives in Bielefeld and Cologne. Works in film, video and photography since 1980. Studied at the Bielefeld University and at the Braunschweig HBK. Selected works: 1990 Home Stories, 1994 Alpsee, 1998 Vacancy, 2000 nebel, 2004 Album. Joint projects of Christoph Girardet and Matthias Müller: Phoenix Tapes 1999, Manual 2002, Beacon 2002, Play 2003, Mirror 2003, Ray 2004, Catch 2005, Ground 2005, Hide 2006, Kristall 2006, Locomotive 2008, Contre-jour 2009, Maybe Siam 2009

Storyboard is a collage made from a variety of randomly found images: empty spaces, enigmatic gestures, artificial environments. Is this life according to a cinematic memory?

Christoph Girardet was born in 1966 in Langenhagen and lives in Hanover, Germany. He studied Fine Arts at the School of Art in Braunschweig. He works since 1987 on video, film and installation. He began to collaborate in 1994 with video director Volker Schreiner, and in 1999 with Matthias Müller (Phoenix Tapes), with whom he made numerous projects using digital techniques as a resource. He explores, amongst other subjects, the banalities of industrial filmmaking. Girardet has participated in collective exhibitions in prestigious institutions as Stedelijk Van Abbemuseum (Eindhoven) and the P.S.1 Contemporary Art Center in New York. Individual exhibits of his work have taken place at Kunstverein in Hanover and at the Sean Gallery in New York. He has received numerous awards.

"While he mused on the effect of the flowing sands, he was seized from time to time by hallucinations in which he himself began to move with the flow." -Kobo Abe Liminal zones. Floating particles. Fire, water, earth, air. Voices of fictional characters: sometimes suggestive, sometimes strict, leading the viewer away from the here and now. Who`s talking? The relationship between the hypnotized subject and the hypnotist is mirrored in the spectator`s relationship to the screen.

CHRISTOPH GIRARDET was born in Langenhagen, Germany, in 1966. He studied Fine Arts at the Braunschweig School of Art (Master´s degree in 1994). Since 1989 he has produced video tapes, video installations and films, some of them in collaboration with Volker Schreiner beginning in 1994 and as of 1999 with Matthias Müller. He was awarded a stipend for the International Studio and Curatorial Program in New York (2000) and the Villa Massimo stipend in Rome (2004). He lives and works in Hanover. MATTHIAS MÜLLER was born in Bielefeld, Germany in 1961. Müller is an artist working in film, video and photography. He is based in Bielefeld and Cologne, Germany. Studied Arts and German Literature at Bielefeld University and Fine Arts at HBK Braunschweig. Master’s degree. Since 2003, Professor in Experimental Film at Academy of Media Arts, KHM, Cologne. Müller organized numerous avant-garde film events such as the "Found Footage Film Festival" (1996 & 1999) and the first German festival of autobiographical films "Ich etc." (1998) and various touring programs. With his films and videos he has taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin and Rotterdam. His work has also been featured in several group and solo exhibitions. His films and videos are part of the collections of institutions such as Centre Georges Pompidou, Paris, Museu d’Art Contemporani, Barcelona, Nederlands Film Museum, Amsterdam, Australian Centre For The Moving Image, Melbourne, Kunsthalle Bielefeld, the Goetz Collection, Munich, the collection of Isabelle and Jean-Conrad Lemaître, London, and Tate Modern, London.

A broken bottleneck lies on the ground. An analogue telephone with a blank dial plate. The hero of the film, Jean-Louis Trintignant, in younger years – in older years. A man huddled on an elevator floor. Skewered butterflies. He is all alone in the world. The external is sealed off. The internal barricaded. He shifts between times. His focus is always trained on the other. Is he wanted, condemned, persecuted? The man whom we observe from the rear, is only able to see his back in the mirror. His face cannot be recognised. All the actions and movements, all the seeking and striving, all the alterations and associations revolve around the view and excerpt from “La reproduction interdite”, painted by Belgian surrealist René Magritte in 1937. The mirror axis of the film, and yet, and simply for that reason, one becomes the other. The other becomes many. “personne – that is somebody and nobody and anyone. That is us in the course of time. Persistently, in vain. The self is the need for permanent self-assertion”.

Christoph Girardet & Matthias Müller are directors, known for Cut (2013), Contre-jour (2009) and Personne (2016).