Catalogue > List by artist

What happens when two enterprising young artists abandon the sheltered sphere of art school decadence for life in the real word? A frank portrait of excess, indulgence, and dysfunction, "A Hand on the Doorknob of Greatness" follows its protagonists down a path toward inner enlightenment... and never emerges. As it turns out, the "real world" for this precocious pair of partners in their prime is one in which the most ordinary of gestures ? dressing, sitting, speaking, being ? adopt the most profoundly meaningless overtones. A veritable smorgasbord of meaninglessness ensues: Are they trapped, much like their captive audience, in a prison of their own making? Is there any escape? Who holds the keys? And does it matter? A thoroughly underachieving anti-video art art piece for the contemporary age, "A Hand on the Doorknob of Greatness" asks this and more, finally begging the question: What did I just watch?

Gigi Ng is an artist living in New York City. She graduated from a combined degree program with Tufts University and the School of the Museum of Fine Arts, Boston, with a BA in Psychology and a BFA in Film & Video. Having recently completed a series of Rorschach paintings, Gigi is now squarely focused on a film about the Hindenburg and ongoing projects with her 'partners in prime' partner. Gigi works for The Mill, a world-leading visual effects company, with aspirations of becoming a special effects artist. David Thacker is a Boston-based artist and music critic for Boston?s Weekly Dig magazine. Having graduated from Tufts University and SMFA, Boston, with a BA in Women?s Studies and a BFA in Sculpture & Media Arts, he has since metamorphosed into an IT professional for the Massachusetts state government. David?s recent work is concerned with complicating the boundaries of art and enabling viewer participation in sculptural environments.

What if everyday was just a rehearsal for the next? Would you be satisfied with the way things are. You question the system, but does it work for you? Routines and worth. We battle that everyday

Over fifty years ago in the United States, thirteen female pilots were tested to see if they were capable of going into space as astronauts. The program was cancelled prematurely, but this medical experiment became a call for two of them, Jerrie Cobb and Janey Hart, to petition for a Congressional Hearing in an attempt to change the requirements so that women could become astronauts alongside their male counterparts. Huong Ngo and Or Zubalsky took this act of resistance as a departure point for their album and film, "Shadows Making Shadows." These videos, which combine appropriated period footage with newly shot 8mm film, serve as a love letter to these thirteen women and a contemporary reflection on systems that exclude specific bodies from representing our future.

Hương Ngô is an artist and educator, born in Hong Kong, and based in Paris, FR and Brooklyn, NY. Her work, often collaborative and performance-based, has been supported by the New Museum, Rhizome, LMCC, The Kitchen, EFA Project Space, iLAND, CulturePush, Eyebeam, Tate Modern, Vox Populi, The Aldrich Contemporary Art Museum, The Museum of Contemporary Art in Chicago, the Madison Museum of Contemporary Art, and the National Museum in Prague. She is a part of the collective Fantastic Futures, is a recent Whitney Independent Study Program Fellow, and earned her MFA from the School of the Art Institute of Chicago. Or Zubalsky a programmer, artist, musician, and collaborator. He is a lover of sound, listening, collaboration, open source, questions, language, exchange, walking, and low technology. He is also a part of the collectives Fantastic Futures and Trade School, and music projects Juviley and The Youngest.

Thuy-Han Nguyen-Chi's film Into the Violet Belly is a striking work blending family lore, mythology, science fiction, and digital abstraction. The film captures the experimental collaboration between the artist and her mother, Thuyen Hoa, who survived a perilous sea journey while fleeing Vietnam after the end of the American War. The film oscillates seamlessly between multiple voices, visual registers, and timescales,—was it seven months or seven thousand years?—creating an image of multitudes: migrating bodies swimming in an infinite blue, depicted as both a massive digital swarm and tiny avatars.

Thuy-Han Nguyen-Chi is a Milky Way-based artist whose practice mutates in and out of film, sculpture, installation, performance, and interdisciplinary research. Her work explores the epistemological, aesthetic, and political possibilities of the moving image at the intersections of art and science, documentary and fiction, personal/prosthetic memory and individual/collective histories. Having studied Fine Arts at the Städelschule and Film at the School of the Art Institute of Chicago, she is currently pursuing PhD research in Film at the University of Westminster. Thuy-Han’s work has been presented in both the art and cinema context, including Akademie der Künste, Berlin; Atletika, Vilnius; Belvedere 21, Vienna; Centro di Musica Contemporanea di Milano, Milan; De Appel, Amsterdam; Gene Siskel Film Center, Chicago; Kunsthal Charlottenborg, Copenhagen; Kunsthall Trondheim, Trondheim; Museum für Moderne Kunst, Frankfurt; Museum of Contemporary Art and Design, Manila; Nottingham Contemporary, Nottingham; Sàn Art, Saigon; Villa Medici, Rome; Whitechapel Gallery, London; the 12th Berlin Biennale, Berlin; the 12th BlackStar Film Festival, Philadelphia; the 20th Copenhagen International Documentary Film Festival, Copenhagen; the 19th 25FPS International Experimental Film and Video Festival, Zagreb; the 60th New York Film Festival, New York; Rencontres Internationales, Paris; the 20th Reykjavík International Film Festival, Reykjavík; the 33rd Singapore International Film Festival, Singapore; among other spaces. She is working on her first feature-length film.

Nhà Sàn Collective presents a new moving image work filmed at the residence of Mr. Manh Duc, a home in close proximity to the collective and their community of artist friends for many years. In this playground, a mystical world emerges; a cinema is reenacted. As the film unfolds, a river, a garden, spirits, wooden structures, people and objects appear, dissolve and reappear, as if they were characters morphing into one another. The film draws attention to cinematic transformation of physical and immaterial beings as a process of experiencing diverse forms of archives.

Nhà Sàn Collective (NSC) began operating as an independent artist collective in Hanoi in 2013, when a group of friends set up their publicly accessible space. With or without a physical base, NSC has worked with fellow companions and collaborators to organise exhibitions, workshops, film screenings, talks and other activities as a supporting platform for artists in the community. An initiative for exchanges, expansions and connections. A place that’s also open toward works-in- progress and the unexpected, a just-do-it attitude which doesn’t always yield answers. Some of the Collective's main projects, which have been held on numerous occasions, are Skylines With Flying People, IN:ACT Performance Art Festival, Queer Forever!, Emerging Artists programme, amongst others. The collective board consists of Tr??ng Qu? Chi, Nguy?n Ph??ng Linh, Nguy?n Qu?c Thành, V? ??c Toàn, and Tu?n Mami. In 2022, they participated in Documenta 15 curated by Ruangrupa with their invited artist friends. The name ‘Nhà Sàn’ signifies the Collective’s foundation which is rooted in the spirit of Nhà Sàn Studio, an artist-run space founded in 1998 in Hanoi. The original Nhà Sàn, a house on stilts, was taken apart in 2020. In the Ng?c Th?y area by the bank of the Red River, the artists imagine this house to become the new Nhà Sàn Collective space, rebuilt, and transformed.

Phill Niblock travaille entre autres avec la musique et le son, le cinéma, la photographie, la vidéo et les technologies informatiques. Il crée un bourdonnement dense, intense, dans lequel vibrent des microtons de timbres instrumentaux, qui induisent à leur tour un série d'autres sons sur le lieu de la performance. Il présente simultanément des films et des vidéos qui fixent le déroulement des gestes de personnes au travail, ou bien des images flottantes, dirigées par ordinateur et abstraites en noir et blanc. Phill Niblock est né en 1933dans l'Indiana, depuis le milieu des années 60 il fait de la musique et des performances intermédiaires qui ont été internationalement présentées et réalisées dans différents lieux et institutions, entre autres: The Museum of Modern Art; The Wadsworth Atheneum; the Kitchen; the Paris Autumn Festival; Palais des Beaux Arts, Bruxelles; Institute of Contemporary Art, London; Akademie der Künste, Berlin; ZKM; Carpenter Center for the Visual Arts at Harvard; World Music Institute at Merkin Hall NYC. Depuis 1985 il est directeur de la Experimental Intermedia Foundation à New York (www.experimentalintermedia.org), dont il est membre depuis 1968 comme artiste . Depuis 1973 il est producteur/organisateur de musique et de présentations intermédiales à l'EI (env. 1000 performances)et administrateur du label de l'EI XI. En 1993 il a été co-fondateur de l'Experimental Intermedia Organization à Gent, Belgique- EI v.z.w. Gent - qui offre à des artistes dans le cadre de résidences la possibilité de séjours de travail, mais apporte aussi son soutien à des installations intermédiaires. Des enregistrements de Phill Niblock sont sortis aux labels XI, Moikai und Touch. Un DVD de ses films et de sa musique est disponible chez Extreme. www.kunstradio.at

The traditional Viennese amusement park, the "Prater", as seen from the perspective of those who work there: the ground operators and general staff. How did they arrive at this world-renowned park, what expectations did they have? "Fokus Pokus ?uromatik" reveals the reality: the life of an amusement park employee has little of the reputed Viennese charm. The workers, most having come from former socialist countries, tell the story of their everyday lives, of missed chances, poverty, and of a society where economic migration has become a necessity for many and where identity could no longer be defined merely by nationality.

Borjana Ventzislavova was born in 1976 in Sofia, Bulgaria, and graduated in visual media art/digital art at the University for Applied Arts Vienna. She is a member of Dezentrale Medien and Nebudu Group. Miroslav Nicic was born in 1975 in Djakovica, Kosovo in ex-Yugoslavia. He studied visual media art/digital art at the University for Applied Arts Vienna. He graduated from the University of Economic Sciences, Sofia, Bulgaria with a degree in International Economics. He is a member of Nebudu Group.

Four transvestites are brought in to a hotel room on the same night. One by one, they take on the director?s game: to lie down on the bed and stay in the empty room with a camera. They recreate themselves to this camera and through that character they start to slowly reveal themselves: their fantasies, hopes, questionings and their experiences in the streets of Sao Paulo.

Graduated in Cinema and Video by the University Of Sao Paulo in 1999, Kika Nicolela began her career as assistant director for feature films. In 2002, after concluding film courses at UCLA ? University of California, Kika founded her own production company, Dilema Studio, based in Sao Paulo. Since then, she has produced and directed several experimental videos and documentaries. Her works have been exhibited in several festivals worldwide.

As everything stopped and the lockdown extended all over the planet, I dedicated myself to create new original music and review some historical works, with material that had been left out of the initial postproduction of the videos. In this way I approached again to the expedition in the Patagonian Ice Fields, a project that I made in collaboration with members of a rescue mountain team. Patagonia is dramatically affected by climate change and global warming. The glaciers are disappearing in front of our eyes. In this context, a group of persons find themselves lost in a labyrinth of ice. United and in solitude, they contemplate the collapse of their universe.

Charly Nijensohn (Buenos Aires, 1966) ist ein multidisziplinärer Künstler der in Berlin lebt und arbeitet. Seine künstlerische Arbeit ist vielschichtig. Nijensohn arbeitet an der Idee einer Konfrontation zwischen dem Menschsein und den natürlichen Kräften des Universums, die uns umgeben. Die Beziehung zwischen der menschlichen Figur und dem sie umgebenden Raum stellt einen Konflikt dar, der real und existenziell zugleich ist. Er vertrat Argentinien mit einer Einzelausstellung auf der 50. Biennale in Venedig. Nijensohns Arbeit wurde auf der BienalSur in Buenos Aires (2017) und der Mediations Biennale in Polen (2012) präsentiert. Er stellte auf der Valencia Biennale (2001) kuratiert von Peter Greenaway, der Singapur Biennale (2008) kuratiert von Fumio Nanjo und der Dojima River Biennale in Osaka (2009) aus. Er stellte auch auf vielen Festivals aus, darunter die Transmediale, Videobrasil in Sao Paulo, Rencontres Internationales im Haus der Kulturen der Welt (Berlin), Museo Nacional Centro de Arte Reina Sofia (Madrid) und Centre George Pompidou (Paris), Monitoring in Kassel, Visions of Nature, Kunst Haus Wien (2017/2018), Video Art in Latin America, States of Crisis, LAXART in Kalifornien (2017). Des Weiteren stellte er im Kröller-Müller Museum (Windflower, Perceptions of Nature, 2011) in Otterlo, Museum Morsbroich (Radical Shift) in Leverkusen, der Akademie der Künste (Realidad y Utopía, Argentiniens künstlerischer Weg in die Gegenwart, 2011) in Berlin, Whitechapel Gallery (2010) in London, Políticas de la diferencia im Museo de Arte Latinoamericano (MALBA) und Latin America: Video Views - Latin American Artist of the Twentieth Century, Museum of Modern Art (MOMA) in New York aus.

Regions that remain inaccessible and deserts of ice that extend beyond sight. Geographies that have attracted the thought of explorers and navigators fascinated by the end of the world. Situated in the southern region of the Andes mountain range, the Patagonian Ice Fields represent the largest mass of ice in South America. The exodus of the forgotten explores the impulse that drives humans to leave everything behind to immerse themselves in an unknown territory. In their fascination for the abyss and the search for the unreachable, they are united in a strange act of intensity.

Double Noir is a video animation made of 60 sequences relating a man pursuing his own double. Each sequence is made of drawings realized with white chalk and pastel on wood blackboards. Altogether there are circa 1800 drawings. But just the last drawing stay visible on the surface of each sequence, as an indice of that sequence. The iconic character of this project is Humphrey Bogart whose various figures are inspired by 19 black movies.

Born in Serbia in 1987, Nemanja Nikoli? currently lives and works in Belgrade. He graduated from the Faculty of Fine Arts in Belgrade, department of painting (2010), and received his PHD in art studies at the same faculty in 2019. He won several awards, such as Award for drawing from Vladimir Veli?kovi? Fund, special award for mural and wall installation from Raiffeisen Bank and Gallery 12HUB and Award for an exceptional creative innovation from Miloš Baji? Fund. Since 2010 his works have been exhibited on numerous exhibitions and festivals in Serbia and abroad such as the Art Gallery of the Cultural Center of Belgrade, the Youth House of Belgrade, the Gallery of Rome in Kragujevac, 57th October Salon in Belgrade curated by Gunar and Danielle Kvaran and 56th October Salon curated by David Elliott, KunstlerHaus in Wien, Austria, Caixa Forum in Barcelona and Madrid (« Cinema and painting », curated by Dominique Païni, Rencontres Internationales Paris-Berlin, Kunsthal KAdE, Amersfoort NL(« Chalk » curated by Judith van Meeuwen). He currently has a solo show at the Center for Contemporary Art of Montenegro. His works figure in many public and private collections including Lucas Museum of Narrative Art in Los Angeles, Ekard collection in Wassenaar, NL, ABN AMRO Amsterdam, NL, WAP Art Foundation in Seoul, JSM collection in Paris, Telenor Collection and collection of Sumatovacka Center for Art Education, both in Belgrade Nemanja Nikoli?

Panic Book is both a set of drawings and an animated video. The drawings are made on book pages. The books often come from the family library, and deal with the political and philosophical thought of Yugoslav socialism. The pages then become part of a reconstruction of cult sequences of Hitchcock movies: scenes of fear, panic or flight. This rereading of the legacy of Tito`s socialism that ended in a “cul de sac” is close to power-up mechanisms and disaster announcements used by the master of suspense

Born in 1987, Nikolic lives and works in Belgrade, Serbia. Graduated from the Faculty of Fine Arts (painting department) , currently in PhD, he received several prizes for drawing and a special prize for his mural installations. Initiator of U10 Art Space, a self-managed artist space, he was exhibited since 2007 in numerous solo and group shows in Serbia and abroad. In 2015 he was invited to Basel (List), Vienna (Parallel) and Paris (Cultural Center of Serbia). He is currently on show at Caixa Forum in Barcelona, Spain and Kunslerhaus in Vienna, Austria

Art project The Plot was created in a span of three years and it consists of about 5,000 drawings that have been turned into a sound film by frame-by-frame animation. Fragments taken from various cinematographic achievements made during the period of Cold War by major film productions of "Western Powers" (USA, UK) are drawn on book sheets, maps and encyclopedias written and published during the same period in the territory of SFR Yugoslavia. Books and encyclopedias used as a background for the drawings have for subject theoretical reflections on the socialist system, while maps represent cartographic documents of cities, borders, states and continents from the same era. In this historical period, Yugoslavia was one of the few countries behind the "iron curtain" in which Hollywood movies, TV series, jazz, rock'n'roll and Coca-Cola were not only allowed but were an integral part of everyday life. American film, as the most massive form of artistic expression, entertainment, and often propaganda, played a special role in Yugoslav society, holding absolute dominance among foreign cinematography in domestic cinemas. Getting to know luxury, wealth and unconventional way of life through it, the ordinary man in Yugoslav socialism had the opportunity to dream the American dream in non-American conditions.

Nemanja Nikoli? (born 1987) graduated from the Faculty of Fine Arts in Belgrade in 2010, department of Painting. He finished his PhD studies at the same faculty in 2019. From 2018 he works on Faculty of Fine Arts in Belgrade as assistant professor. Nemanja Nikoli? is initiator of Belgrade based U10 Art Space, independent artist-run space dedicated to supporting young contemporary artist. Nemanja has presented his works on solo exhibitions since 2010: in the Art Gallery of the Cultural Center of Belgrade, Gallery Dix9 Helene Lachermoise in Paris, ERD Gallery in Seoul, Rima Gallery in Belgrade, U10 Art Space in Belgrade, etc. He has participated in many group exhibitions in the country and abroad: Caixa Forum in Madrid and Barcelona, Kunsthal KadE in Amersfoort in the Netherlands, Kunstlerhaus in Vienna, 56th and 57th October Salon in Belgrade (Belgrade Biennale), Center for Contemporary Art of Montenegro, etc.

It’s about the state of being in-between. The decision to grow old or continue to be a child - the transformation from girl to woman.

Faezeh Nikoozad (Tehran 1984) based in the Germany since 2009, is a freelance filmmaker and Video Artist. She studied stage design (BA) in Tehran and film making (BA) and (MA) at University of Fine Arts of Hamburg ( HFBK Hamburg). Her work covers a spectrum of themes such as displacement, absence, homeland, family and childhood memories. Her mediums range from Experimental film, documentary film and mixed media. Her films have been shown at various festivals and won numerous awards.

March 2020: in a messy and apocalyptic world, what happens if your mind is egoistically obsessed with your love life? If you start searching for potential lovers via dating sites? If most of them do not react to your messages (although you can see them online) probably insufficiently stimulated by your profile? Others might agree for a walk, if it does not rain, Saturday afternoon or next Tuesday. That does not sound promising. Almost always, communication stops for no obvious reason, even though everybody stays online. Attention and curiosity disappear. Will they all remain virtual fantasies? Was it any different before the lockdown? Thanks to the Internet, multiplied screens are our new fragmented windows to the outside world. Connected with anyone, anywhere, anytime. However, isolated: alone and lonely in a room. This vocal and visual poem is a deconstruction of short sentences that one uses to arrange a meeting with a stranger. Hesitant and polite, "two simple letters" imply permanent insecurity, modesty, timidity — avoiding to offend or frighten the interlocutor(s). To put a lighter tone on this self-ironic situation, there is a conscious use of playful pop-elements, both with sound and color effects.

Miljana Nikovic is an architect and researcher experimenting with video, photography, sound, collage, and writing. Born in Belgrade, based in Berlin. After obtaining a Bachelor's degree in 2013 (Ecole Nationale Supérieure d'Architecture de Nancy, France) and a Master of Arts in 2015 (Hochschule für Technik und Wirtschaft Leipzig, Germany), worked as a workplace strategist and project coordinator. Currently starting a doctoral archival-artistic project at the HafenCity University (Hamburg) on the parallels between cities, cinema, and historical perceptions of collective memories. Recently initiated a collective for French-speaking poets and got selected at international film festivals with the experimental short "Seven Seven" and the video-poem "La Rive Virale" (Los Angeles, Mexico, Athens).

Au coeur de Saint-Désir l'Exil se trouve une piscine. Au coeur de la piscine se trouvent les corps nocifs. A côté de la piscine, ma maman vit ses derniers instants sous le soleil.

OSORESAN Natacha Nisic & Daimaru Ken 3 channels installation, stereo sound, 17’, 2018 The Itako are women who train to become spiritual mediums in Northeast region of Japan and to evoke departed spirits for the living seeking to communicate with the dead. Most of them have visual disabilities and learn language and rites to describe a rich spiritual world entirely through oral communication. Our first meeting wit Nakamura Take took place in Hachinohe city in Jully 2015. Fiming a blind person is a challenge, in one hand, we would see what she would never share with us, and on the other hand, it seems that she « sees » things that we aslo don’t see. We met her two times in 2015 and in 2017. Each sequence was very short between clients who were regularely knocking at her door. Those fragments of her life, moments of remembering songs, rites and legends were too short to build up a large portrait. They became elements of a constellation we wanted to draw : balancing her humility and modesty versus the huge scale of the desaster which happened not so far fom a living region. Her way to travel in unknown countries of dead and spirits, using a treasure of words, notes, incantation, has been guiding own journey into the landscapes revealing the traces of the post catastrophy. (imprégnant par ses paroles chacune de nos visions des paysages que nous traversions). She told us the legend of «Oshirasama», the founding tail for Itakos, a cruel story of a father, a beloved daughter and a horse. As we crossed the city of Soma, we remembered the Horse Festival organized by the city just one year after the disaster. The horses are still there, waiting. The desire to make peace with the dead motivates each one visiting an Itako. What could help us to make our own peace with the heritage of the post catastrophy ? What kind of political individual gestures could face the large scale of political environmental decisons ? We still have to deal wih nuclear threat. As a symbol of fear, the mount Osoresan, a lansdcape of ashes, smoke and dark water, responds to the hyptnotic beauty of the fragmentation of alpha an beta rays displayed at the Rokkasho PR Center. Fear, to be acclimated must show a fascinating face, as Itakos used to be represented ; stranges, unreachable and dangerous figures of women. Witches. We discovered a touching, smily, opened woman. We realized that Take Nakamura is a monument of Japan history. Very precious, rare and fragile. With participation of Take Nakamura and Itakos of Osorezan Cast: Satoko Abe, Fumie Kubota, Yohei Kobayashi, Kyoko Takenaka, Mika Shigemori

Bio Natacha: The work of Natacha Nisic explores the invisible, even magical relationship between images, words, ritual and memory. She interweaves links between stories, past and the present, to reveal the complexities of the relationship of what is shown and what is hidden, the spoken and the unspoken. Her work questions the nature of the image through various media: Super 8, 16MM, video, photography and drawing. In 2014, her highly acclaimed solo exhibition, Echo at the Jeu de Paume in Paris presented several installations created since 1995 and new works produced specifically for this show. She exhibits extensively around the world : recent shows include the Media City Biennale in Seoul (2016), Bienal de la Imagen en movement in Buenos Aires, Munfret in Buenos Aires (2016), Hermès Foundation in Seoul (2012), K21 in Düsseldorf (2011), Metropolitan Museum of Photography in Tokyo (2010), British Film Institute, London (2010), and the Centre Georges Pompidou, Paris (2009). Nisic has been awarded numerous grants and residencies including the Villa Kujoyama, Tokyo in 2001 and 2016 Gyeonngi Creation Center, South Korea (2010) and the Villa Medici, Rome in 2007. Education: Ecole Nationale Supérieure des Arts Décoratifs, Paris; Deutsche Film und Fernseh Akademie, Berlin; La Femis, Paris. Born Grenoble, France, 1967. Bio Ken: Ken Daimaru is a history researcher at the Ecole des hautes études en sciences sociales (Paris, France), and is the author of Between War Wounds and a War of Wounds (Mouvement social). Over the years, his researches have ranged from the social and cultural history of Japan in the late nineteenth and early twentieth centuries, to medical histories of military conflict between the Russo-Japanese war and the Second World war, focusing on the understanding of subjects “violence, the body, the suffering, the emotions” central to human experience. During 2011-2012, he wrote prolifically on question of health, emotional responses in the aftermath of 2011 Tohoku earthquake and tsunami. Daimaru was born in the city of Fukuoka. As a young child, he lived in Hiroshima, before moving to Brussels for high school. Since 2003, he lives in Paris.

− e est le récit d`un voyage dans le nord du Japon à la recherche d`un territoire inaccessible : un territoire transformé, meurtri par un tremblement de terre d`intensité 6,7 sur l`échelle de Richter en juin 2008. La montagne déplacée, ouverte en quelques minutes par le choc violent des éléments, est une cicatrice ouverte d`une étrange beauté dont le sort reste indéterminé Cette cicatrice qui ne peut se refermer, reste un paysage d`une grande beauté, un grand canyon qui pourrait devenir un parc d`attraction, un « ecopark » qui attirerait les touristes, faisant de la catastrophe un argument de vente, .. − Nous survolons ce territoire, tentons d`y accéder malgré les barrages qui le clôturent. Ne peuvent y accéder que les camions des travailleurs à la reconstructions et les résidents reclus. Ceux qui ont vécu le tremblement de terre racontent et rejouent ces instants violents. Apprivoiser la catastrophe est une attitude culturelle japonaise. Si on ne peut apprivoiser le futur, on peut le prévenir.

Née en 1967 à Grenoble, Natacha Nisic poursuit des études d`art à l`ENSAD de Paris, et de cinéma à DFFB de Berlin et à la Femis. Son travail se situe à la frontière des différents supports de l`image en mouvement, Super 8, film et vidéo, mais aussi par la photographie et l`installation. Elle réalise de nombreuses expositions en France, Printemps de Cahors, Centre National de la Photographie, Le plateau-Frac Ile-de-France. Ses films ont été récemment présentés au Centre Georges Pompidou à Paris, K21, Düsseldorf, Metropolitan Museum of Photography, Tokyo, British Film Institute, Londres.

L`usine Desurmond à Tourcoing a fermé en 2004. C`était la dernière usine de filature de cette région. Les ouvriers se sont regroupés en association afin de faire valoir leurs droits et créer une communauté, au delà de la perte du travail. Les hommes puis les femmes ont reproduits la chaine et les gestes du travail à la chaine dans cette filature. Certains y ont travaillés en équipe de nuit pendant 35 ans.

Née en 1967. Ecole Nationale Supérieure des Arts Décoratifs de Paris, poursuit des études à la Deutsche Film und Fernseh Akademie de Berlin et à la Femis à Paris pour l`écriture de scénario. Elle réalise de nombreuses expositions et films où la question de l`image est mise en jeu. Elle utilise pour cela différents médiums : super 8, 16 mm, vidéo, photographie. Images fixes ou en mouvement fonctionnent comme substrat de la mémoire, mémoire tendue entre sa valeur de preuve et sa perte. Les différentes expositions personnelles comme au Plateau, Frac île de France, puis au musée Zadkine à Paris, sont des autant de prises de positions sur le statut des images et les possibles de la représentation.Ces oeuvres ont été montrées dans de nombreux pays, Allemagne, Espagne, Japon, Corée, canada, Argentine... Ses films sont diffusés sur Arte et au Centre Georges Pompidou à Paris. Pensionnaire de la Villa Kujoyama (2001) et Villa médicis (2007).

voir ouvrier 1

Voir ouvrier 1

The Crown Letter The Crown Letter is an international collective of women artists. It was founded by Natacha Nisic in April 2020, in response to the first wave of the coronavirus pandemic. Natacha Nisic created this art project to respond to a needandsupport women artists at a time when their lives, their networks and the visibility of their work were particularly disrupted. Beyond the circumstances that gave birth to it, The Crown Letter has become a fertile, organic, self-managed and independent space for creation and dialogue, crystallizing the lack of such openings to creation and the encounter of women artists. From the beginning, the artists have published a new edition of The Crown Letter online every week, with the works of many international contributors. These works reflect our current times through drawing, sculpture, photography, collage, writing, sound and video. In 2022, Natacha Nisic received the Hans und Lea Gründig Preis for the project in Berlin. Fluxus Art Project has promoted the project in 2022.

Exhibitions 2020 - Publication of the website 2021 - Photodays Paris, outdoor exhibitions at the square Chatelet and Vuillemin garden, Paris. Hyperfestival. - Fondation Fiminco, Photodays 2022 - KG+, French Institut Kyoto, Japan - Bienal Sur, Centro Cultural Cordoba - MAPI, Montevideo, Uriguay 2023 - Residencie at Luxfer, in Ceska Skalice, Czech Republic - We will want to dance tomorow. Tales for the future, Galerie 35, Institut Français, Prague Publication 2021 - Trigger magazine 3, "Care" - Moving Image Review and Art Journal, Volume 9, Number 2, London

Au coeur de Saint-Désir l'Exil se trouve une piscine. Au coeur de la piscine se trouvent les corps nocifs. A côté de la piscine, ma maman vit ses derniers instants sous le soleil.

OSORESAN Natacha Nisic & Daimaru Ken 3 channels installation, stereo sound, 17’, 2018 The Itako are women who train to become spiritual mediums in Northeast region of Japan and to evoke departed spirits for the living seeking to communicate with the dead. Most of them have visual disabilities and learn language and rites to describe a rich spiritual world entirely through oral communication. Our first meeting wit Nakamura Take took place in Hachinohe city in Jully 2015. Fiming a blind person is a challenge, in one hand, we would see what she would never share with us, and on the other hand, it seems that she « sees » things that we aslo don’t see. We met her two times in 2015 and in 2017. Each sequence was very short between clients who were regularely knocking at her door. Those fragments of her life, moments of remembering songs, rites and legends were too short to build up a large portrait. They became elements of a constellation we wanted to draw : balancing her humility and modesty versus the huge scale of the desaster which happened not so far fom a living region. Her way to travel in unknown countries of dead and spirits, using a treasure of words, notes, incantation, has been guiding own journey into the landscapes revealing the traces of the post catastrophy. (imprégnant par ses paroles chacune de nos visions des paysages que nous traversions). She told us the legend of «Oshirasama», the founding tail for Itakos, a cruel story of a father, a beloved daughter and a horse. As we crossed the city of Soma, we remembered the Horse Festival organized by the city just one year after the disaster. The horses are still there, waiting. The desire to make peace with the dead motivates each one visiting an Itako. What could help us to make our own peace with the heritage of the post catastrophy ? What kind of political individual gestures could face the large scale of political environmental decisons ? We still have to deal wih nuclear threat. As a symbol of fear, the mount Osoresan, a lansdcape of ashes, smoke and dark water, responds to the hyptnotic beauty of the fragmentation of alpha an beta rays displayed at the Rokkasho PR Center. Fear, to be acclimated must show a fascinating face, as Itakos used to be represented ; stranges, unreachable and dangerous figures of women. Witches. We discovered a touching, smily, opened woman. We realized that Take Nakamura is a monument of Japan history. Very precious, rare and fragile. With participation of Take Nakamura and Itakos of Osorezan Cast: Satoko Abe, Fumie Kubota, Yohei Kobayashi, Kyoko Takenaka, Mika Shigemori

Bio Natacha: The work of Natacha Nisic explores the invisible, even magical relationship between images, words, ritual and memory. She interweaves links between stories, past and the present, to reveal the complexities of the relationship of what is shown and what is hidden, the spoken and the unspoken. Her work questions the nature of the image through various media: Super 8, 16MM, video, photography and drawing. In 2014, her highly acclaimed solo exhibition, Echo at the Jeu de Paume in Paris presented several installations created since 1995 and new works produced specifically for this show. She exhibits extensively around the world : recent shows include the Media City Biennale in Seoul (2016), Bienal de la Imagen en movement in Buenos Aires, Munfret in Buenos Aires (2016), Hermès Foundation in Seoul (2012), K21 in Düsseldorf (2011), Metropolitan Museum of Photography in Tokyo (2010), British Film Institute, London (2010), and the Centre Georges Pompidou, Paris (2009). Nisic has been awarded numerous grants and residencies including the Villa Kujoyama, Tokyo in 2001 and 2016 Gyeonngi Creation Center, South Korea (2010) and the Villa Medici, Rome in 2007. Education: Ecole Nationale Supérieure des Arts Décoratifs, Paris; Deutsche Film und Fernseh Akademie, Berlin; La Femis, Paris. Born Grenoble, France, 1967. Bio Ken: Ken Daimaru is a history researcher at the Ecole des hautes études en sciences sociales (Paris, France), and is the author of Between War Wounds and a War of Wounds (Mouvement social). Over the years, his researches have ranged from the social and cultural history of Japan in the late nineteenth and early twentieth centuries, to medical histories of military conflict between the Russo-Japanese war and the Second World war, focusing on the understanding of subjects “violence, the body, the suffering, the emotions” central to human experience. During 2011-2012, he wrote prolifically on question of health, emotional responses in the aftermath of 2011 Tohoku earthquake and tsunami. Daimaru was born in the city of Fukuoka. As a young child, he lived in Hiroshima, before moving to Brussels for high school. Since 2003, he lives in Paris.

− e est le récit d`un voyage dans le nord du Japon à la recherche d`un territoire inaccessible : un territoire transformé, meurtri par un tremblement de terre d`intensité 6,7 sur l`échelle de Richter en juin 2008. La montagne déplacée, ouverte en quelques minutes par le choc violent des éléments, est une cicatrice ouverte d`une étrange beauté dont le sort reste indéterminé Cette cicatrice qui ne peut se refermer, reste un paysage d`une grande beauté, un grand canyon qui pourrait devenir un parc d`attraction, un « ecopark » qui attirerait les touristes, faisant de la catastrophe un argument de vente, .. − Nous survolons ce territoire, tentons d`y accéder malgré les barrages qui le clôturent. Ne peuvent y accéder que les camions des travailleurs à la reconstructions et les résidents reclus. Ceux qui ont vécu le tremblement de terre racontent et rejouent ces instants violents. Apprivoiser la catastrophe est une attitude culturelle japonaise. Si on ne peut apprivoiser le futur, on peut le prévenir.

Née en 1967 à Grenoble, Natacha Nisic poursuit des études d`art à l`ENSAD de Paris, et de cinéma à DFFB de Berlin et à la Femis. Son travail se situe à la frontière des différents supports de l`image en mouvement, Super 8, film et vidéo, mais aussi par la photographie et l`installation. Elle réalise de nombreuses expositions en France, Printemps de Cahors, Centre National de la Photographie, Le plateau-Frac Ile-de-France. Ses films ont été récemment présentés au Centre Georges Pompidou à Paris, K21, Düsseldorf, Metropolitan Museum of Photography, Tokyo, British Film Institute, Londres.

L`usine Desurmond à Tourcoing a fermé en 2004. C`était la dernière usine de filature de cette région. Les ouvriers se sont regroupés en association afin de faire valoir leurs droits et créer une communauté, au delà de la perte du travail. Les hommes puis les femmes ont reproduits la chaine et les gestes du travail à la chaine dans cette filature. Certains y ont travaillés en équipe de nuit pendant 35 ans.

Née en 1967. Ecole Nationale Supérieure des Arts Décoratifs de Paris, poursuit des études à la Deutsche Film und Fernseh Akademie de Berlin et à la Femis à Paris pour l`écriture de scénario. Elle réalise de nombreuses expositions et films où la question de l`image est mise en jeu. Elle utilise pour cela différents médiums : super 8, 16 mm, vidéo, photographie. Images fixes ou en mouvement fonctionnent comme substrat de la mémoire, mémoire tendue entre sa valeur de preuve et sa perte. Les différentes expositions personnelles comme au Plateau, Frac île de France, puis au musée Zadkine à Paris, sont des autant de prises de positions sur le statut des images et les possibles de la représentation.Ces oeuvres ont été montrées dans de nombreux pays, Allemagne, Espagne, Japon, Corée, canada, Argentine... Ses films sont diffusés sur Arte et au Centre Georges Pompidou à Paris. Pensionnaire de la Villa Kujoyama (2001) et Villa médicis (2007).

voir ouvrier 1

Voir ouvrier 1

Dans la tour de la ville de Malakoff "Et n’être que brume » met en place le cadre expérimental d’une improvisation.Plongés dans les brumes, les êtres se révèlent. L’écran de la fumée permet une libération des affects car au sein du brouillard se logent les souvenirs, les torpeurs et les désirs. Le film est en hommage à la Crimée annexée depuis 2014 par la Russie.

The man’s presence lingers in the room that for years served as his study. Present and past intertwine as he follows threads of his memory and recalls events from the time of his participation in the colonial war against Ethiopia in 1935-36.

Rossella Nisio [IT] is a visual artist based in Rotterdam whose work has a strong focus on notions of memory, imagination and space. She has a background in the theory of cinema and performing arts; she pursued her practical training first within the field of documentary photography, eventually moving towards a more autonomous approach to still and moving image-making. She completed the advanced photography studies in Ar.Co in Lisbon in 2017 and earned an MA in Fine Art and Design at the Piet Zwart Institute in Rotterdam in 2019.

Against the backdrop of a vacant house, two voices pursue the shadows of 1968 and its aftermath: Drifter, brooding over the revolution that never came, and his unnamed comrade, who addresses him from the ranks of a funeral procession. The film is based on the events surrounding the death of M.A., a left-wing activist.

Rossella Nisio is an Italian visual artist based in Rotterdam. She has a background in the theory of cinema and performing arts at the University of Roma Tre and holds an MA in Fine Art and Design from the Piet Zwart Institute in Rotterdam. Her moving image works have been shown in festivals in the Netherlands and abroad and are included in the collection of the EYE Film Institute. She is a resident artist at the Rijksakademie in Amsterdam in 2021-22.

In the background of complicated relations between the major population and gypsy community in Slovakia appears Gabriel, a young gypsy who is willing to establish a cultural life in his sleepy little village. The village sometimes wakes up, but than the most things happen in the pub. Gabriel offers more ? his own music as well as a folk ensemble, performing gypsy and non-gypsy dance. The village people look at him with mistrust. What has actually happened and what was only a dream? This story doesn?t answer it. It is only a testimony of a persistent attempt made by somebody who believes in himself and in people.

Ana Njemoga-Kolar was born in former Yugoslavia. She has been living in the Slovak Republic since 1993. She has contributed to the culture of both countries. Her plays were transmitted at the Radio Beograd, Novy Sad, Sarajevo, Ljubljana? and in the Slovak Republic in the programs of the Slovak broadcast station. She is the author of many theater plays and a publicist too. In this new environment, she started to dedicate herself to documentaries. Many awards were given to her for her documentary and literary work. Ana Njemoga- Kolar is preparing also other projects devoted to the themes of her new environment, which indeed always have a universal human undertone?