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Five of these sketches are inspired by modern art: "Le calvaire de R.Mutt" ("R.Mutt´s calvary", a reference to M.Duchamp). The artist follows an abrupt Way of the Cross. He is carrying Duchamp´s "Fountain" (a reference to Warhol). In a landscape, the artist paints the word "brillo" in white on a white board. "Tombeau pour M.B" ("A tomb for M.B", a reference to Broodthaers). The artist finds the "Belgian man´s thighbone", painted in the Belgian colors. He discolors it and buries it in the ground of the Battle of Waterloo. "Le semeur de pensées" ("the pansies sower", a reference to Monet). The artist sows pansies in Monet´s garden in Giverny. "Parcours d´artiste" ("an artist´s route", a reference to Ensor). The artist, wearing a 3-piece-suit and carrying a suitcase, walks up a brook. He ends up finding a smoked herring (pun with the name of the fish in French, "hareng-saur", and "Ensor"). Three sketches give to the television another role than that of a screen : "La tour penchée" (The leaning tower). Toutists try to push Pisa´Tower. The tower is set upright again by inclining the television. "Repasser l´image" ("ironing/replaying the movie"). One scene displaying a woman ironer is being replayed on the TV screen. "Chaussettes-show" ("the socks´ show). The ballet of a pair of socks for a pair of shoes. A sketch where a message is transmitted by the viewer: "Le message de l´ogre"("the message of the ogre", Bomarzo´s enigma). In the park of Bomarzo´s monsters, the artist transmits an enigmatic word in semaphore language.

Jacques Lennep was born in Uccle, Belgium, on the 11th of July 1941. He is a multidisciplinary artist. In 1972 he created the CAP group within which he formulated the principles of a relational art. He developed one sociological trend of this art by creating his Man´s museum in 1974. From then, he dedicated himself to video, and was a video pioneer in Belgium. He taught in the Academy of Fine arts in Brussels. He belongs to the Royal Academy of Belgium. His most recent videos are gathered under the titles "Delirium-vidéo" and "Musée de l´homme Postproduction". He wrote 2 books about his approach : Alchimie du sens (La part de l´oeil Editions, Bruxelles, 1999) and Conversation avec P.-Y Desaive (Tandem Editions, Gerpinnes 2003). The Museum of Modern and Contemporary Art (MAMAC) of Liège will devote a retrospective to him in 2007.

The supporter Erico Bucci is one of the characters present in the "Musée de l'Homme" of Jacques Lennep. He dedicated to him an exhibition in the Palais des Beaux-Arts of Brussels in 1977. Retired minor, he is a fan of the Charleroi Sporting Club, soccer club which players wear stripped black and white shirts. When he goes to a game, Bucci colours his hair with black and white stripes in tune with his black and white streaked costume. His house, his wife, his children, his car are also streaked. Some big extracts form the videos of the 1977 exhibition are integrated in this editing alterning with sequences shot in Bucci's house in 2004. Harald Steeman selected this movie for his exhibition "La Belgique visionnaire" (2005). His planned to present it also in his exhibition in Berlin, Rundlederwelten for the soccer world cup.

Jacques Lennep is born in Uccle, Brussels, on the 11th of July 1941, is a multimedia artist. He founded in 1972 the CAP group, which practiced a relational art and were a pioneer of video art in Belgium. The group was active until 1982 developed an international activity. Jacques Lennep gave to his work a sociologic view when he created his "Musée de l'Homme" in 1974. For ten or so years, he presented in various artistic institutions people that stand out via a remarkable passion. This people were always presented in installation where video played a major part. J.Lennep put an end to his "Musée de l'Homme" creating a "peintre du dimanche", N.V. Panneel, who he told the stories and exhibited the works. During that period, his works were exhibited in most of international manifestations dedicated to this medium. Thus, he did in Paris his performance "Video-fil" during he "Journée interdisciplinaires sur l'art corporel" at the Pompidou Centre. In 1996, J. Lennep started his "Devoir Quotidiens", a kind of dairy that ended at the page 2195 in 2002. He tied again with video, updating movies done in the framework of the previously written museum, but also doing series of sketches gathered under the title of "Delirium Video". J. Lennep is also author of artist movies, installations and performances. The last one: he took the place of a prostitute in her window (video shot). J. Lennep was teacher at the Academie des Beaux-Arts de Bruxelles and is member of the Académie Royale of Belgium.

Based on an audio testimony, the video serves as both an investigation and a visual representation of a family’s personal and violent event. It aims to dissect, reveal, and guide the viewer through the intimate experience of the grieving process. Drawing, in its various modes of expression and diverse technical modalities (hand-drawn, computer-generated images, hybrid forms), plays a central role in this project to express psychological processes such as trauma, the relationship to memory, and more.

Thomas Léon develops his practice by merging cinema, graphic arts and images from new technologies. He creates films, immersive video and sound installations, as well as large-format drawings. His work explores the interconnections between memory, sensuality, intimate experiences, and the imaginary, drawing on fictions, whether they be social, urban, climatic, etc. He is notably influenced by science fiction and utopian literature and frequently develops his projects using contemporary image creation tools (3D modeling, AI, etc.). He regularly participates in screenings or exhibitions in France and abroad: 'Listening to Transparency' at the Minsheng Art Museum in Shanghai (China, 2017), 'Cruces Sonoros: Mundos Posibles' at the MAC in Santiago de Chile (Chile, 2016), 'Rendez-vous 11' at the Institute of Contemporary Art in Villeurbanne (France, 2011), and at the South African National Gallery in Cape Town (South Africa, 2012). He notably took part in residencies : Drawing Factory organized by CNAP (National Center for Visual Arts) and the Drawing Lab (Paris) in 2021 ; a residency in Taiwan, organized by Grame, the National Center for Musical Creation (Lyon), and the Digital Art Center (Taipei) in 2011. His works can be found in the collections of CNAP (National Center for Visual Arts) and the Louis Vuitton Foundation. Thomas Léon lives and works in Montreuil.

The installation directly refers to spectacular films, in its organization and dramaturgy (the scenes? succession, the function of music) as well as in the implemented technical means (HD projection, 5.1 surround sound). Designed as an adventure movie in which the main character would be hold by the camera, the video makes its way through an island that happens to be a shapes directory. It is a long tracking out : inside a crystal structure, through different desert and deserted places, flying over the sea off a prismatic object. The nature of the depicted objects and places, as well as their relations, is never obvious, as the camera changes directions to get closer of surfaces, and plays with scales? effects, sometimes even getting lost in details. Co-production Ville de Beauvais, Le LABO, DRAC Picardie.

This is a film about time and experiencing a work of art. The form and structure of video and the use of digital media and sound instill emotional tension in an environment that otherwise lacks it. The camera tracks forward and progresses into a snowy landscape. The video is divided into two equal parts which are linked together when the camera?s angle moves towards the floor. From this moment forward, the image slides from the representation of a physical space to a rhythmic abstraction. When the camera lifts up again, we are back at the beginning. Two successive soundtracks accompany each part of this video.

Born in 1981 in Dijon (France), Thomas Leon currently lives and works in Paris. His work is articulated mainly around the video medium, in the form of complex and condensed installations, on the border of narration. His achievements were especially chosen for the following exhibitions: ?The children of Sabbath 07? with the Hollow of the hell, Centers Contemporary art of Thiers (France) in 2006, ?Multipolar? with the Market 14 of Leipzig (Germany) in 2006, ?Filterbox? with Glassbox (Paris) in 2006, ?the syndrome of Broadway? in the Center of Art of the Saint-Leger Park to Pougues-the-Water (France) in 2007, ?Science and fiction? with General in Manufacture in 2008.

Deployment presents a body of work undertaken by Emmanuelle Léonard in 2018 during a research residency in the Canadian Far North sponsored by the Canadian Forces Artists Program. A continuation of the artist’s photographic and videographic projects from the past fifteen years, which focused on the hierarchies that form within social, judiciary, military and religious systems, this group of works pursues her interest in the function of authority and the mechanisms by which it is circumvented or undermined. Observing the exercises conducted to assert Canadian sovereignty in the Arctic, Léonard discovered a diverse set of realities: strategic military deployment in a region of the world where the national, political and economic stakes have been raised by global warming.(...) Despite conditions that make filming extremely difficult, Léonard captured the activities of soldiers shielded against the cold by clothing, face masks and goggles that make them appear sometimes spectral and anonymous, sometimes very real and individual. Turning her attention to training exercises that level identity as well as to the participants themselves – their perception of the world independent of the military model – the artist witnessed the waiting and the relative passivity of soldiers confronted with motors that refuse to start in the northern night that is so disquietingly slow to fall, if not entirely eclipsed, where nothing momentous is said, done or claimed. (Louise Déry - Director, Galezrie de l'UQAM - Université du Québec à Montréal)

maybe dramatic frame change is unnesessarry...

Born in Vilnius in 1967. Graduated from the Art School of Justinas Vieno?inskis in Vilnius. In the 1983?1995 period, he worked as an art director at a Vilnius restoration studio, as a costume designer, art director and director at the Lithuanian national television, was a lecturer at the Vilnius Conservatoire and worked as art director assistant in the film Corridor (Koridorius) by ?arūnas Bartas. In 1996? 2000, Leontjev worked as art director and creative director at the advertising agency Brand Sellers DDB Vilnius. From 2000 until present, he has been the director of film production company Vilks Studija. Leontjev has directed a number of commercials and music videos that have won various awards including the MTV Russia prize for the music video of the year in 2004. He has authored scores of film scripts that are yet to be fulfilled. He is currently preparing for the shooting of a new 20 minute short film. Absence (Nebuvimas) is the first film from the cycle You Are Not Alone.

"Contrapeso/verde/rojo" is a video-documentary presenting two distinct glances. The first scene happens in the park of Chapultepec (Mexico city), where we observe a snack-stand whose tarpaulin is supported by a rope at the end of which is a bottle of Coca-Cola. It plays the role of a counter-weight, like a scale or an anchor (hence the name of the play). The second scene presents a zoom into another Coca-Cola bottle which, thanks to the opening shot, finds itself inside a demolished cab in the woods of Ajusco. The two glances start with and confine themselves to the tension generated by these bottles between the natural and the cultural, which allows us to associate the objects when they activate or deactivate something concrete. The structural logic of León's work in these two videos resides in the presentation of a narrative that leads to the reading of an idea of production after the one of consumption.

Edgar León finished his Master in Visual Arts at the Academy of San Carlos, Independent National University of Mexico (UNAM), in 2005. He produced a dozen of solo exhibitions between Mexico and Costa Rica, and has participated in more than forty group shows world-wide. As an independent commissioner, his latest work "La reconstrucción del lugar común. Imàgenes de autor" was inaugurated in 2005 at the Museum of Art and Drawing in San José, Costa Rica. He organised "Residuos y Particulas" Privado Público" in Mexico in 2004. León lives and works in the Paris area.

In the spirit of the modernist vanguards of a century ago, three contemporary media artists read their manifestos.

Jesse Lerner is a documentary filmmaker, curator, and writer based in Los Angeles. His short films Natives (1991, with Scott Sterling), T.S.H. (2004), Magnavoz (2006), and Manifesto (2023), and the feature-length experimental documentaries Frontierland/ Fronterilandia (1995, with Rubén Ortiz-Torres), Ruins (1999), The American Egypt (2001), Atomic Sublime (2010), The Absent Stone (2013, with Sandra Rozental) and The Fragmentations Only Mean (2021, with Sara Harris) have won numerous prizes at film festivals in the United States, Latin America, and Japan, and have screened at the Museum of Modern Art in New York, the National Anthropology Museum in Mexico City, the Reina Sofía Museum in Madrid, and the Sundance, Rotterdam, and Los Angeles Film Festivals, among many other venues. Washington’s National Gallery, New York’s Anthology Film Archives, and Mexico’s Cineteca Nacional have presented mid-career surveys of his films. His books include The Maya of Modernism, F is for Phony: Fake Documentary and Truth’s Undoing (with Alexandra Juhasz), The Shock of Modernity, Ism Ism Ism: Experimental Cinema in Latin America (with Luciano Piazza), and The Catherwood Project (with Leandro Katz). His critical essays on photography, film, and video have appeared in Afterimage, Cabinet, Film History, History of Photography, La Pusmoderna, The Spectator, Visual Anthropology Review, Wide Angle, and other media arts journals, anthologies, and exhibition catalogues. As a curator, he has organized exhibitions for the Robert Flaherty Seminar, Mexico’s National Palace of Fine Arts, the MAK Center, and the Carrillo Gil Museum, as well as solo shows of Gala Porras-Kim, Manuel Álvarez Bravo, and Cannon Bernáldez. He is a professor in the Intercollegiate Media Studies program of the Claremont Colleges.

"Magnavoz" is an experimental adaptation on Xavier Icaza`s speculative rant on the future of Mexico. Bringing together noisy broadcasts from atop the volcanoes, raucous bacchanalia at popular watering holes and a series of apocalyptic, hypernationalistic pronouncements, the meditation is timely and prescient, though it was written more than eighty years ago. The film adaptation of this vanguard text uses archival images, reconstructions and a complex mix of audio elements to bring this political essay to life.

Jesse Lerner is a documentary film and video maker based in Los Angeles. His work has screened at the Museum of Modern Art in New York, the National Anthropology Museum in Mexico City, the Reina Sofía Museum in Madrid, the Sydney Biennale, the Sundance Film Festival, Guggenheim Museums in New York and Bilbao, the Los Angeles International Film Festival, the Film Society of Lincoln Center, and other festivals and museums internationally. His films have won numerous prizes at film festivals in the United States, Latin America and Japan. In addition to his work as a filmmaker, his critical essays on photography, film, and video have appeared in Afterimage, History of Photography, Visual Anthropology Review, and Wide Angle. He has curated for the Robert Flaherty Seminar, the Centro Fotográfico Manuel Alvarez Bravo in Oaxaca, and the Guggenheim Museums in New York and Bilbao. He teaches in the Intercollegiate Media Studies Program at the Claremont Colleges in Claremont, California and is a two time Fulbright fellow.

Das Fehlen eines konkreten Bildes. Autobiografische Bruchstücke zwischen Fiktion und Realität vereint zu konstruierten Erinnerungssequenzen und endlosen Variationen davon. Das Gegenteil des Vergessens. Aber was ist wirklich passiert? Es gibt nur die eine Wahrheit. Die eigene. Entscheidungen trifft man, weil man sie treffen muss.

1985 in Frankfurt am Main geboren, seit 2005 Studium der freien Kunst an der Hochschule für Gestaltung Offenbach mit dem Schwerpunkt Malerei und neue Medien und seit 2010 Studium der Malerei, Animation und Tapisserie in der Klasse von Judith Eisler an der Universität für Angewandte Kunst Wien. Ihre Videoarbeiten wurden bereits bei vielen nationalen und internationalen Filmfestivals wie z.B. den Kurzfilmtagen Oberhausen, der Kunstfilmbiennale Köln/Bonn oder den Rencontre Internationales Paris/Berlin/Madrid gezeigt.2008 erhielt Xenia Lesniewski den ?3 Sat Förderpreis? bei den Internationalen Kurzfilmtagen Oberhausen sowie das Stipendium der Deutschen Studienstiftung. 2009 gewann ihre Arbeit EGODYSTON den "Movies and Stills" Award der Videor Art Foundation sowie den zweiten Muvi-Preis bei den Internationalen Kurzfilmtagen Oberhausen. 2010 erhielt sie beim Internationalen Filmfest Dresden den Drematrix Förderpreis. Ebenso nahm Lesniewski an zahlreichen Ausstellungsprojekten sowie weiteren internationalen Film- und Medienkunstfestivals teil.

Egodystonic - My fear of death will blow my head away. I think I need other eyes for my brain.

Born in 1985 / Frankfurt am Main, has been studying Fine Arts with focus on Painting and New Media at the Offenbach Academy of Art and Design since 2005.

Children´s excrement anal-yzed between sodomy and fear of death. The video ?Supersensibel? of Xenia Yvon Lesniewski is a provocative animation which deals with sex, eroticism, obscenity and individual fear. A daring representation of the polymorphic sexuality accompanied by phrases and noises in the form of riddles which give the film an infectious energy.

Xenia Yvon Lesniewski was born in 1985 in Frankfurt; she has been studying since 2005 at the School of Realization of Offenbach specializing in Painting and New Media (communications).

xenia yvon lesniewski GERADE AUS Die künstlerin stellt eine schwarzweiss animation mit dem titel ?gerade aus? vor. zeichnungen sind der ausgangspunkt von xenia yvon lesniewskis arbeit, welche sie dann in stilistische animationen überträgt. kurze szenen werden durch ein flimmern ineinander übergeleitet. szenen, in denen zum beispiel eine mit einem maulkorb versehene, der künstlerin stark ähnelnde person, nach luft schnappt oder in einer unterwürfigen pose auf dem boden liegt. fetisch und sadomasochismus werden in ihrer arbeit thematisiert, gefühle plakativ und direkt wiedergegeben. ?der betrachter ist ein teil meiner arbeit.? dem zuschauer werden innere verlassene landschaften vor augen geführt. man erhält unweigerlich einen offenen blick in eine innere folterkammer. für die künstlerin handelt es sich hierbei um eine sehr intime arbeit ?die grenzen zwischen realität und fiktion verschmelzen. ein zwischenraum entsteht und zwar ? GERADE AUS.? der eingeschobene text gibt hinweise und lenkt den betrachter. der abstrakte sound der arbeit nimmt unmittelbar einfluss auf seine befindlichkeit. aus dieser fragmentierung von bild, text und ton resultiert eine provokative und kompromisslose aussage über die erfahrung von kunst und wirklichkeit. text anna kalinski

biografie xenia yvon lesniewski xenia yvon lesniewski geboren 1985 in frankfurt, deutschland: bildende künstlerin; studiert seit 2005 an der hochschule für gestaltung offenbach freie kunst mit dem schwerpunkt malerei und neue medien. malerei prof. adam jankowski freies zeichnen/film prof. mariola brillowska experimentelle raumgestaltung prof. heiner blum warum sie etwas tut? alles immer nur mittel zum zweck. aber sie hätte sich auch auf die zunge beissen können, sie hat eine schöne, gesunde zunge - rot von blut.

My Random Diary is a juxtaposition of the adapted description as diary entries of unrelated events from various news archives and the photos taken during the site visits of the covered violent events. The randomness is attributed not only by the chances Leung Chi Wo made for his personal reflection from the scenes of violence, but also the celebratory events coincidently occurred on the same day exactly 50 years ago. From 2017, the artist began to visit to various locations where bomb attacks once took place during the 1967 Riots—a series of violent events boosting the complicate sentiments towards to colonial government in Hong Kong. On the same date, at the same location, exactly fifty years later, the artist captures the site and the sky above it with black and white film. The series evolves into an ongoing personal engagement of violent events from bombing to domestic conflicts, sexual assaults and gang fights. Through polysemy and polyphony, Leung systematizes the contemplation and conception of two kinds of parallel worlds: one temporally synchronous but spatially distant, another temporally distinct yet spatially unified.

Leung Chi Wo, co-founder of Para/Site Art Space, has widely exhibited internationally in major art institutions, including biennales in Venice, Shanghai and Gwangju, Queens Museum of Art in New York, Museu da Imagem e do Som in São Paulo, Tate Modern in London and Museum of Contemporary Art in Shanghai. His work has been reviewed in Yishu, Artforum International, Art Review, Leap, ArtAsiaPacific and New York Times, etc. He is Associate Professor in the School of Creative Media, City University of Hong Kong.

La vidéo met en scène le corps de personnages dénudés filmé en caméra infra rouge semblant errer dans un espace vert, enveloppés de silence. Les corps se heurtent, se touchent, se bousculent. La caméra abandonnée à elle-même en plan fixe construit une image anonyme et saisit sans émotion le cours indistinct du temps qui s?écoule. Dans le fragment de ce cadre, entre violence et douceur les hommes semblent monologuer et construire de toutes pièces une mise en scène imaginaire.

Isabelle Lévénez aime à manier les contraires et l?ambiguïté. Les images, les titres de ses ?uvres, les phrases qu?elle écrit sont autant de jeux d?ombres et de lumières qui définissent la posture générale de l?artiste, développé par les multiples pièces de son travail tournant autour du thème du secret », nous proposant une réalité fragmentée, un jeu entre innocence rêves et fantasmes, entre douceur et violence. Biographie : Isabelle Lévénez Après des Etudes à l?école des Beaux Arts de Nantes elle décide de s?installer à Paris ou elle obtient en 1997 un DU en psychopédagodie à l?université paris V. En 1994 elle est sélectionnée pour le master de l?institut des Hautes études en arts plastiques crée par Pontus Hulten. En 1995 elle effectue un master multi média aux Arts et métiers à Paris. Depuis 1995 Isabelle Lévénez a effectué plusieurs séjours à l?étranger au cours desquels son travail a été exposé : New York, Milan, Madrid, Berlin, Moscou, Bratislava, Budapest, Prague, Amsterdam, Rotterdam, Ottawa, Nagoya, Reykjavik, Athènes, Riga, Barcelone, Istambul, Sofia. En 2001, elle a obtenu la bourse de la Villa Médicis hors les murs à Los Angeles. Différents lieux en France et à l?étranger (Musées, Centres d?art, Fracs, Galeries?) lui ont consacré des expositions personnelles et collectives , notamment

Je m`interroge ici sur la dualité humaine, déchirée entre pulsion de mort et respect de l'environnement. Ainsi la vidéo, qui a pour titre " à mort la mer" montre des images en Noir et Blanc d`un paysage marin. La jeune fille filmée au bord de la mer, la présence du vent,un bateau échoué au milieu d`un champ créent une atmosphère étrange, ou temps, espace et mouvement sont modifiés. La caméra abandonnée à elle-même en plan fixe construit une image anonyme et saisit sans émotion le cours indistinct du temps qui s?écoule. Dans le fragment de ce cadre, un univers suréaliste semble évoluer, monologuer et construire de toutes pièces une mise en scène imaginaire. La jeune fille les mains tachées de goudron manipule un poisson dans l`eau, joue t `elle ? , est ce qu`elle le lave de son jus noir ? avant de finir triomphante sur son bateau échoué brandissant son trophée à la main: un poisson vierge de toute pollution!

Isabelle Lévénez (1970) vit et travaille entre Trélazé (49) et Paris. Elle est représentée par la Galerie Aeroplastic à Bruxelles. Depuis 1995 Isabelle Lévénez a effectué plusieurs séjours à l`étranger au cours desquels son travail a été exposé: New York, Milan,Barcelone, Madrid, Berlin, Moscou, Tokyo, Budapest, Prague, Amsterdam, Rotterdam, Ottawa, Reykjavik.... En 2001, elle a obtenu la bourse de la Villa Médicis hors les murs (Los Angeles). Différents lieux en France (musées, centres d`art, Fracs...) lui ont consacré des expositions personnelles et collectives notamment: Le centre d`art de Meymac (2007),Musée de Grenoble (2007), Le Palais de Tokyo (2006),Le lieu Unique, Nantes (2004),Le Centre d`art de St Fons (2002), Le Frac Haute Normandie ( 2002), Le rac Alsace (2000), La Fondation Guerlain, Paris (1999), La Box, Bourges (1997)...

Depuis 1991 et à travers ses vidéos, dessins ou photographies, Isabelle Lévénez révèle le mal être de l`individu ou son inquiétude identitaire dans sa dimension cachée sans que le dysfonctionnement mental ne soit jamais mis en avant.Les vidéos de la serie animaux domestiques forment pour elle, une seule et même ?uvre considérée à des stades différents de sa conscience du monde. Elle s`interroge ici sur la dualité humaine, déchirée entre pulsion animale et respect de la loi. Ces vidéo montrent le corps de personnages dénudés portant un masque (lapin, loup, âne, mouton?) Les protagonistes sont souvent silencieux, par exemple en partageant un repas qui se termine par un cri proche de celui d?un animal. La caméra abandonnée à elle-même en plan fixe construit une image anonyme et saisit sans émotion le cours indistinct du temps qui s?écoule. Dans le fragment de ce cadre, un univers hybride, humain/animal, semble évoluer, monologuer et construire de toutes pièces une mise en scène imaginaire. Les visages recouverts d?un masque d?animaux nous renvoient à la construction d?un système où désir, violence et pulsions rencontrent la morale d?un monde codifié. Cette violence ne fait jamais l`objet d`une quelconque fascination, elle n`est pour l`artiste que le reflet du monde dans lequel elle vit.

Isabelle Levenez est née à Nantes en 1970. Artiste enseignante à l`école des Beaux arts d`Angers, elle se considère comme une artiste multimédia, c`est à dire qu`elle passe d`une production de dessin à une réalisation d`installation vidéo ou de photographie numérique. Entre réalité et fiction son travail ne cesse d`interroger l`individu. Son travail a été montré dans de nombreuses expositions individuelles et collectives, notamment à la galerie Anton Weller, à LOOP Barcelone , au CCC de Tours, à l?Abbaye du Ronceray, Angers, au Musée de Grenoble, à l?ARCO, au Musée National des Beaux Arts de Lettonie à Riga, à la National Art Gallery à Sofia, dans plusieurs Instituts Français à l?étranger : à Barcelone, Budapest, Cologne, Berlin. Elle a également exposé au Palais de Tokyo, Paris, au Musée Péra d?Istambul, au Musée Benaki, Athènes, au Musée Zadkine à Paris, à l?Orangerie du Sénat et Jardin du Luxembourg, Paris, au Musée des Beaux arts de Tourcoing, au Lieu unique à Nantes, au Musée d`art contemporain de Milan. Son travail fait partie des collections du FNAC et de plusieurs FRAC. Elle a obtenu la bourse de la villa Médicis hors les murs à Los Angeles.

Depuis 1991 et à travers ses vidéos, dessins ou photographies, Isabelle Lévénez révèle le mal être de l`individu ou son inquiétude identitaire dans sa dimension cachée sans que le dysfonctionnement mental ne soit jamais mis en avant.Les vidéos de la serie animaux domestiques forment pour elle, une seule et même ?uvre considérée à des stades différents de sa conscience du monde. Elle s`interroge ici sur la dualité humaine, déchirée entre pulsion animale et respect de la loi. Ainsi les vidéos ayant pour titre de série "Animaux domestiques", montrent le corps de personnages dénudés portant un masque (lapin, loup, âne, mouton?) Les protagonistes sont souvent silencieux, par exemple en partageant un repas qui se termine par un cri proche de celui d?un animal. La caméra abandonnée à elle-même en plan fixe construit une image anonyme et saisit sans émotion le cours indistinct du temps qui s?écoule. Dans le fragment de ce cadre, un univers hybride, humain/animal, semble évoluer, monologuer et construire de toutes pièces une mise en scène imaginaire. Les visages recouverts d?un masque d?animaux nous renvoient à la construction d?un système où désir, violence et pulsions rencontrent la morale d?un monde codifié. Cette violence ne fait jamais l`objet d`une quelconque fascination, elle n`est pour l`artiste que le reflet du monde dans lequel elle vit.

Isabelle Levenez est née à Nantes en 1970. Artiste enseignante à l`école des Beaux arts d`Angers, elle se considère comme une artiste multimédia, c`est à dire qu`elle passe d`une production de dessin à une réalisation d`installation vidéo ou de photographie numérique. Entre réalité et fiction son travail ne cesse d`interroger l`individu. Son travail a été montré dans de nombreuses expositions individuelles et collectives, notamment à la galerie Anton Weller, à LOOP Barcelone , au CCC de Tours, à l?Abbaye du Ronceray, Angers, au Musée de Grenoble, à l?ARCO, au Musée National des Beaux Arts de Lettonie à Riga, à la National Art Gallery à Sofia, dans plusieurs Instituts Français à l?étranger : à Barcelone, Budapest, Cologne, Berlin. Elle a également exposé au Palais de Tokyo, Paris, au Musée Péra d?Istambul, au Musée Benaki, Athènes, au Musée Zadkine à Paris, à l?Orangerie du Sénat et Jardin du Luxembourg, Paris, au Musée des Beaux arts de Tourcoing, au Lieu unique à Nantes, au Musée d`art contemporain de Milan. Son travail fait partie des collections du FNAC et de plusieurs FRAC. Elle a obtenu la bourse de la villa Médicis hors les murs à Los Angeles.

Nine Hamlet RGB engages a simple algorithm to destabilize the timing of the red, green and blue frame sequential display system while incorporating fragmented, appropriated “to be or not to be” excerpts from nine Hamlet films. The audio is the synced sound from the appropriated excerpts laced with low frequency binaural tonal pulsations. The physicality of the constructed optical and aural experience is seeking a mechanism of unconscious disarticulation. The ghosting of colors, evanesent Hamlets, and somatic tones are looking for a “dream-work” that can be ciphered, displaced, or not.

Les LeVeque works with digital and analog electronic technology. His projects include single and multi-channel videos and video/computer based installations. His projects have been exhibited and screened internationally. Video Data Bank distributes his single-channel video work. He is represented by Kerry Schuss Gallery in New York City.

Communists Like Us is an ambient music video made from a few seconds of archival footage of Mao Zedong applauding and members of the Red Guard chanting. The title Communists Like Us was taken from the 1985 text of the same name written by Felix Guattari and Toni Negri.

Les LeVeque received an MFA in Video Research from the Department of Art Media Studies at Syracuse University. He is a Visiting Associate Professor in Film and Electronic Media at Bard College and co-Chair of the Film/Video program in the Milton Avery Graduate School of the Arts. His work has been exhibited internationally including 2000 Whitney Biennial, Georges Pompidou Center, Museum fur Neue Kunst ZKM, Australian Centre for the Moving Image, Museo de Arte Moderno Buenos Aires, Laboratorio Arte Alameda, Centre Culturel et de Cooperation Linguistique Bilbao, Pacific Film Archive, Palm Beach Institute of Contemporary Art, The Hammer Museum and The New Museum of Contemporary Art. Festival screenings of his work include Transmediale Berlin, San Francisco International Film Festival, and Sundance Film Festival. The Video Data Bank distributes his single channel video work. He is represented by KS Art in New York City.

stammering forward backward GIANT is a re-edit of George Stevens? 1956 film Giant - an epic story of Texas, oil and racism. Condensed to 17 minutes and beginning in the middle stammering forward backward GIANT implements improvisational percussive frame by frame editing structures to simultaneously unwind the film to the conclusion of beginning and end.

Les LeVeque is an electronic media artist who lives in New York City. His work has been exhibited in internationally including 2000 Whitney Biennial, Georges Pompidou Center, Museum fur Neue Kunst ZKM, Australian Centre for the Moving Image, Museo de Arte Moderno Buenos Aires, Laboratorio Arte Alameda, Centre Culturel et de Cooperation Linguistique Bilbao, Pacific Film Archive, Palm Beach Institute of Contemporary Art, The Hammer Museum and The New Museum of Contemporary Art. Festival screenings of his work include Transmediale Berlin, San Francisco International Film Festival, and Sundance Film Festival. The Video Data Bank distributes his single channel video work. He is also represented by KS Art in New York City.

Dramatically Repeating Lawrence of Arabia is a re-edit of David Lean?s orientalist ?classic? Lawrence of Arabia into a dissonant hallucination of repeating masculinized poses, costumes and dramatic gestures.

Over the last decade Les LeVeque has produced works in video where algorithmic editing structures are applied to a variety of mass cultural media forms, from Hollywood films, advertising, presidential broadcasts and publicly televised hearings. These works employ a misuse of persistence of vision and the phi phenomenon to generate sensuous hallucinations, which activate an aleatory space between images.

Last Person Shooter examine a range of both human and mechanical modes of vision. By way of a series of historical scenes reconstructed as 3D architectural models, the historical context of machine vision and its underlying concepts are conjured. These models are explored by an invisible protagonist, embodying the familiar, yet antiquated aesthetic of a first-person shooter. The work opens with a reconstruction of the assassination of Ahmed Jabri, a Palestinian militant who was targeted by an Israeli drone in November 2012. The assassination was documented simultaneously both by Palestinian passersby and by the IDF’s drone, creating two parallel, conflicting narratives: these were then uploaded to Youtube and tweeted, in what was in effect a war of images. The video leads into a dreamlike digital desert, evoking the Cuban Missile Crisis and its significance for the development of satellite reconnaissance during the 1960s. The protagonist embodies a birds-eye view, exploring the blind spots and prejudices of such varying perspectives. Finally, the film concludes with a reenactment of a video shot by an American soldier in Afghanistan in a first-person perspective. The footage offers an immersive, bleak representation of 21st century warfare and its mediation.

Adam Kaplan is an artist, ­a graduate of the Fine Arts department in Bezalel Academy in Jerusalem and the Academy of Fine Arts Vienna. Born in Jerusalem, he currently lives between Montreal and Berlin where he is studied under Hito Steyerl as a guest student in the Universität der Künste. Boaz Levin is an artist and writer based in Berlin. He studied at the Bezalel Academy of Arts and Design in Jerusalem and under Hito Steyerl at the Universität der Künste in Berlin.

MIDSENTENCE, filmed over five years inside a county jail, lays bare larger truths about incarceration, institutional authority, confinement, shame, guilt, and power dynamics between those in and out of uniform.

Erik Levine was born in Los Angeles, California in 1960. He has exhibited widely in the United States and Europe, most recently at Ludwig Forum Aachen with a solo survey exhibition of his videos from the past 15 years. His work includes video, sculpture, and drawings, and is in the public collections of the Whitney Museum of American Art, Museum of Contemporary Art, Los Angeles, Walker Art Center, Hirshhorn Museum and Sculpture Garden, and Des Moines Art Center, among several others. He has received numerous awards including a Guggenheim Fellowship and three Pollock–Krasner Foundation awards. In addition, he’s received two grants each from the National Endowment for the Arts, the New York Foundation for the Arts, the New York State Council on the Arts, and the Massachusetts Cultural Council, as well as grants from Awards in the Visual Arts, Nancy Graves Foundation, and the Jerome Foundation.

The Guilty Sleep, filmed during more than 75 overnight ride-along shifts with the police, illuminates urgent issues related to the current state of policing. It's a composed collage of raw, slow paced, and evocative imagery and sounds that frame polarities such as justice/injustice, observer/observed, confined/free, power/disempowered, and innocence/guilt. The video highlights the landscape behind these dualities and focuses on their complex relationship to one another.

Erik Levine was born in Los Angeles, California in 1960. He has exhibited widely in the United States and Europe, most recently at Ludwig Forum Aachen with a solo survey exhibition of his videos from the past 15 years. His work includes video, sculpture, and drawings, and is in the public collections of the Whitney Museum of American Art, Museum of Contemporary Art, Los Angeles, Walker Art Center, Hirshhorn Museum and Sculpture Garden, and Des Moines Art Center, among several others. He has received numerous awards including a Guggenheim Fellowship and three Pollock–Krasner Foundation awards. In addition, he’s received two grants each from the National Endowment for the Arts, the New York Foundation for the Arts, the New York State Council on the Arts, and the Massachusetts Cultural Council, as well as grants from Awards in the Visual Arts, Nancy Graves Foundation, and the Jerome Foundation.

Dans une routine déjà bien installée, le personnage commence sa journée en revêtant une combinaison intégrale en tricot. Cette mise en abyme d’un huit clos domestique le guidera tout au long de ses activités quotidiennes : lire, manger, nettoyer, brosser. Cette seconde peau le suivra jusqu’à la délivrance d’une nouvelle nuit dont il en oubliera même de la retirer. Le mystère de son identité perdurera dans la monotonie détricotée de ses journées.

Mehryl Levisse (né à Charleville-Mézières) est un artiste français qui explore les frontières, les enjeux sociologiques et les représentations archétypales du corps, au travers de médiums tels que la photographie, l’installation ou les pratiques performatives. Dans son travail le corps n’est pas une fin mais un commencement, un matériau malléable et adaptable aux idées. Mehryl Levisse se met en scène dans des environnements de fortune inspirés par son histoire familiale, la littérature, les expériences de vie, la philosophie, la musique, la mythologie, le cinéma, les cultures populaires et beaucoup d’autres sources encore... Ses environnements entre parodie sociale et pathétisme critique, prennent les codes du théâtre et utilisent le corps comme s’il était un objet. Mehryl Levisse considère son travail photographique comme la trace documentaire de situations s’étant déroulées dans l’intimité de son atelier. Il construit soigneusement et patiemment ses environnements pièce après pièce au sein de son espace de travail, dans la volonté permanente de n’utiliser aucune retouche informatique une fois la captation photographique réalisée. Il vit et travaille entre Paris et Raillicourt (Champagne-Ardenne), France.

Filmed in Maison de l`Armateur, One of the few houses in Le Havre, France that remained in tact after the city was almost completely destroyed in the allied bombings of 1944. The tower like mansion is a kind of museum. A woman, the curator, is rigorously organizing objects. All kinds of dishes, globes, shells, sculptures, paintings, taxidermy animals, maps, ship models etc... There is something obsessive about her preciseness and the time she invests in placing each item. It is clear that despite the objects useful proposes, they are not being used, lifeless. The more she organizes them, the more she kills them. The work is about a nostalgia to a world that no longer exists, and perhaps never did. The house is built like a spiral, where each floor has more and more rooms, full of treasures that all tell the story of western colonialism, particularly French 19th century bourgeoisie objects, with curiosity cabinets full of exotic oddities from faraway conquered lands. The woman seems to have a special relationship to the objects. Her love and care for the objects, also express her love of the culture she belongs to. The film makes references to suspense movies, such as Hitchcock Vertigo. And the soundtrack is based parts of Bernard Hermann?s Psycho soundtrack.

Born in Tel Aviv, lives in New York Levy?s solo exhibitions include World Order, Center For Contemporary Arts, Tel Aviv (2012); The Wake/ Silent Among Us, Loop Fair, Barcelona (2012); Wild Thing, Nicelle Beauchene Gallery, NYC (2010); and Dreams & Disasters, Habres+Partner Gallery, Vienna, Austria (2009). Her group exhibitions include Unnatural, Bass Museum of Art, Miami (2012); Art and Social Activism, Nicholas Cohn Art Projects, Long Island City, NY (2012); Magic Lantern: Recent Acquisitions in Contemporary Art, Israel Museum, Jerusalem (2012); Lush Life, Invisible-Exports Gallery, NYC (2010); and Trembling Time: Recent Videos from Israel, Tate Modern, London (2010). Levy was awarded residencies by the LMCC in 2012, Omi International Arts Center (2011), the I-Park Residency Program (2011), and the Institut Francais/Triangle Arts Association (2010), and received the Young Artist Award by the Ministry of Culture and Sport, Israel (2008). She received her B.A. from Camberwell College of Art and her Post Graduate Diploma from Duncan of Jordanstone ? College of Art, Dundee University.

In the midst of the recent revolution in Egypt, Beduins in Israel get updated on the latest news from their car`s radio, in what seems to be the middle of nowhere. Suddenly a bus load of Polish "holyland" pilgrims fill the landscape, posing with Beduin`s camel and taking pictures.

Born in Tel Aviv, Israel, lives in New York 1998 PostGrad- Electronic Imaging Duncan of Jordanstone College of Art, Dundee 1997- BA Camberwell College of Art, London . Won the Dumbo Arts Festival NYC best open studio award in 2010; Won the 2008 Young Israeli Artist Award, The Hamburg Film festival low budget jury award 2006, Took part in the Berlinale Talent Campus in 2006. Took part in various international artist residencies in the USA: New York 2009-2010, 2011, Florida 2001,Connecticut 2011; In France: Le Havre 2011; in Austria: Vienna 2005, Linz 2003, and in Italy Milan 2007. Solo exhibitions include at: Nicelle Beauchene NYC 2010, Habres+Partner Gallery Vienna 2009; Tavi Dresdner Gallery Tel Aviv 2008; Rosenfeld Gallery, Tel Aviv 2004; Haifa Museum of Art 2004.

The film is built from a sequence of photographs which I took at an abandoned house near the separation wall in Palestinian territory. The graffiti on the walls of the house indicates that the Israeli army had once occupied the site. Its just another ordinary day, the locals can not leave without permits and they are imprisoned like the sheep. But the children haven`t lost faith and are flying a black kite made from a plastic bag.

Born in Tel Aviv 1973 1997-1998 MA in Electronic Imaging at the Duncan of Jordanstone College of Art - Dundee, Scotland 1994-1997 BA in Graphic Design at the Camberwell College of Art, London. Currently lives in Israel, Creates in the field of digital photography, single channel video and video/multi media installations. Her work deals with notions of identity and borders. Home, belonging, and temporal architecture . Participated in artist residencies in Austria ,Finland and the US. She has had solo shows at the Haifa Museum of Art, Rosenfeld Gallery Tel Aviv, Digital art lab Israel. She has participated in various group shows including Tel Aviv Museum of Art, Smack Mellon NY, OK center for Contemporary art Austria, Jewish Museum NY and her videos were screened at various film festivals

A la frontière entre film de science-fiction, roman-photo et found-footage film, another picture for the end questionne la multiplication des images autant que la domination du discours et de la pensée médiatique contemporaine par les tech-entrepreneurs et autres milliardaires-héroïques. Une I.A., dans un futur incertain, essaye de se souvenir, ou de recréer une mémoire, pour comprendre comment le monde qui l’entoure est devenu ainsi.

Né en 1981 à Genève. Après une première vie dans les méandres de la communication audiovisuelle d’entreprises, Jonathan Levy-Forcada a fait un virage à 180 degrés en 2015 et repris des études en Arts Visuels, d’abord à la HEAD Genève puis à l’EDHEA à Sierre, dont il est sorti diplômé d’un Master en juin 2023. Son travail porte sur les questions du langage capitaliste à l’heure du Capitalocène, sur les liens entre humains et non-humains et sur les différents modes de représentations d’un monde en pleine hybridation. Ses médiums de prédilection sont la vidéo, la photographie, l’écriture et la performance.

Creatures of the Lines is an artist film and collaboration with anthropologist Heather Anne Swanson. It explores how desires for economic growth and linear progress have produced straightened forms in England’s watery terrains and asks what risks are associated with the conversion of once-curvy and braided worlds into a linearised landscape. Drawing on their longstanding research interests and conversations exploring the risks to and in aquatic ecologies with freshwater scientists, the film explores how English waterscapes have been transformed via the construction of canals. As arteries of British Empire, canals linked Indian cotton fields to domestic textile mills, facilitating vast ecological transformations from monoculture agriculture in the colonies to industrial discharges in England’s waters, soils, and air– and thus serve as a key site for exploring often-overlooked histories of colonial capitalism and their material presences in contemporary worlds. Attempting to work from within muddy, submerged sites, rather than from grand narratives or “god’s-eye” viewpoints, the work begins inside canals, telling stories from within the lines. Making use of the open-ended sensibilities of ethnography and natural history, it raises questions about ecological transformations and their ties to infra/structures of global political economy.

Sonia Levy's inquiry-led practice considers shifting modes of engagement with more-than-human worlds in light of prevailing Earthly precarity. Her work operates at the confluence of knowledge practices to interrogate Western expansionist and extractivist logics. She is the 2023-2024 recipient of the European Marine Board artist-in-residence programme. She was the 2022 selected artist of the S+T+ARTS4Water residency hosted by TBA21 in Venice and the 2021 commissioned artist at Radar Loughborough and Aarhus University's "Ecological Globalization Research Group". She has presented her work internationally, including shows and screenings at Ocean Space, Venice; Museo Thyssen, Madrid; Museo CA2M, Madrid; Sainsbury Centre, Norwich; ICA, London; The Showroom, London; Goldsmiths College, London; BALTIC, Gateshead; ZKM, Karlsruhe, Art Laboratory Berlin; HDKV, Heidelberg; Centre Pompidou, Paris; Musée de la Chasse et de la Nature, Paris; Muséum d'Histoire Naturelle, Paris, Verksmiðjan á Hjalteyri, Iceland Whale Museum, Iceland; Harvard Graduate School of Design, Cambridge USA; NYU Gallatin, New-York, Paris. Her work has been published by MIT Press and Thames & Hudson.

Mark Lewis was born in 1958 in Hamilton, Ontario. From 1989 to 1997 he lived in Vancouver becoming part of the burgeoning photoconceptualism scene of the Vancouver School. Much of his work focuses on the technology of film and the different genres which have been developed in over 100 years of film history. His films are often short, precise exercises on particular techniques. His films tend to look at contemporary cities, film history, and the way film has impacted ideas about everyday life—subjects, for instance, have included ice skaters at Toronto’s Nathan Phillips Square and a custodial worker at Vancouver’s 1500 West Georgia Street. In 2009, Lewis represented Canada at the Venice Biennale. Other exhibitions include shows at the Power Plant, the Vancouver Art Gallery, the Hamburger Kunstverein, BFI Southbank and the Art Gallery of Ontario. His work is in many collections including the National Gallery of Canada, the Museum of Modern Art and the Centre Pompidou. Lewis is also co-editorial director of Afterall, which produces a journal and books on contemporary art.

`Backstory` introduces the remaining stars of rear projection, a technique prevelant in cinema until the development of green screen. In Backstory, Lewis invited the Hansard family, which has been instrumental in the provision and development of rear projection for hundreds of Hollywood productions over several decades, to tell (with humour and straight-laced directness) their own story of the heyday of the techniques and their decline and disappearance as they are replaced by new technologies and new tastes in visibility.

Born in Ontario in 1957, Mark Lewis is an artist who lives and works in London. Solo Exhibitions include: the Vancouver Art Gallery (Canada), Hamburger Kunstverein (Germany), Musée d?art moderne (Luxembourg), BFI Southbank (London) and Museo Marino Marini (Italy) Forte Di Bard (Italy) and Monte Clark (Vancouver, Canada). In 2009 Mark represented Canada at the 53rd Venice Biennale with his exhibition Cold Morning. His films have been shown at a number of international film festivals including; Rotterdam International Film Festival 2010 (The Netherlands), Toronto International Film Festival 2009 (Canada) and Berlin International Film Festival 2010 (Germany).