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Dominant principles of establishment, when it comes to public space in our environment, represent the space mostly scheduled for specific gender only. Starting with separated public toilet premises to betting places, large beauty shops and saloons? Entering post socialistic era and losing of formed national identity have brought comeback of traditional values of patriarchal system in which all relationships are placed in special hierarchy. That state is additionally enhanced by arrival of large corporate systems (capitalism) which logic of permanent market expansion erased this hierarchy to some extent but contributed its additional alienation. Lilly Project represents an action in which at one point 200 man performed unannounced guerilla invasion into the largest beauty shop in Belgrade- Lilly. This literal and not metaphoric performance of ?patriarchal?, ?male? behavior- which is based on assumption that He has the right to occupy any space or person by all means, with or without permission (standpoint that is mostly unique to individuals raised as man)- exists as an example of pure form of protest by which the distance that suspends normal, utilitarian and social process is marked. On the other hand, the fact that performers of the action agreed to participate in project on condition to be paid - carrying out of particular behavior that in our surrounding can be seen as sexually ?wrong?- indicates exclusively material determination of acceptable behavior limits and mechanism to determine some of the most vital human identity aspects (such as sexual) in capitalistic society. Author

CV: 2001-2006 Faculty of Fine Arts, Novi Sad, Serbia. 2007-2008 Interdisciplinary Master Studies ? Theory of Art and Media, University of Arts in Belgrade, Serbia. SELECTED GROUP EXHIBITIONS/PROJECT: 2008 THE LAND OF HUMAN RIGHTS, Rotor, Contemporary Art Association, Grac, Austria. 49. OCTOBER SALON (curated by Bojana Pejić), Museum of 25.May, Belgrade, Serbia. 13. BIENNIAL OF CONTEMPORARY ARTS, Pančevo, Serbia. POLITICS OF CONTEMPORARY ARTS (curated by Stefano Romano), Stacion Center for Contemporary Art, Prishtina, Republic of Kosova. AKTO_3 FESTIVAL FOR CONTEMPORARY ARTS, Bitola, FY Republic of Macedonia. INTRUDE: ART & LIFE 366 (curated by Shen Qibin), Zendai Museum of Modern Art, Shanghai, China. 13. BIENNIAL PUGLIA 2008, Puglia, Italy. CONTROL AND RESISTANCE ON THE STREET (curated by Marko Miletić and Srđan Prodanović), Kontext gallery, Belgrade, Serbia. RECAPITULATION ... (curated by Susana Vuksanović), Museum of Contemporary Arts, Novi Sad, Serbia. K - R ART SHOW, Kelly Reedy Art Studio, Singapore, Singapore. 2007 PARALAX, Festival of New Visual Tendencies- Film/Video/New Media Art (curated by Maja Cirić), Dom omladine, Belgrade, Serbia. DIFFERENCE, Galleria d`arte Cortina, Rome, Italy. MEDIA ART BIENNIIAL OCTOPUS (curated by Biba Vicković), Belgrade, Serbia. MANGELOS ? Young Visual Artist Award, finalist exhibition, Kontext gallery, Belgrade, Serbia. RE_SET: (02) (curated by Jelena Radić), Contemporary Art Gallery, Pančevo, Serbia. LILYHIP-BODY & CONSUMPTION, (curated by Sanja Kojić-Mladenov), Museum of Contemporary Art, Novi Sad, Serbia. 2006 TRE_BA, Mazhaus Mestna Galeria, Pilsen, Czech Republic. www.EGOart.sk/ web exhibition. PERSPEKTIVE V, Art klinika gallery, Novi Sad/ Remont gallery, Belgrade/Museum of Srem, Sremska Mitrovica, Serbia. KEF, Festival of Short Electronic Forms, Cultural centre REX, Belgrade, Serbia. STREET ART, Art klinika gallery, Novi Sad, Serbia. SARTFEST-Student Art Festival, Museum of Contemporary Art, Novi Sad, Serbia. RE_SET:(01) (curated by Jelena Radić), Context gallery/DEZ.org, Belgrade, Serbia. OUTSIDE PROJECT, La Corte, Galleria di Arte Contemporanea, Florence, Italy. 02-2006, Art Academy, Matica srpska gallery, Novi Sad, Serbia. CITY-ARTISTIC STAGE, free and alternative spaces (curated by Svetlana Mladenov), Novi Sad, Serbia N.A.F.06, Serbia gallery, Ni? / Belgrade, Serbia. APRIL MEETINGS ? AS 06 / Video modules, SKC gallery, Belgrade, Serbia. 34. NOVI SAD?S SALON, Vojvodina bank gallery, Novi Sad, Serbia. 2005 VIDEOMEDEJA 05, International video festival, Museum of Contemporary Art, Novi Sad, Serbia. YOUTH PHOTO, Ljubljana, Slovenia. 2004 RP ? Real presense 04 (curated by Biljana Tomić i Dobrila Denegri), Museum 25th May, Belgrade, Serbia. SOLO SETS/EXHIBITIONS: 2008 TEMPO PROJECT, performance, Srbija. WILD BEAUTY MODELS, digital print project, Most gallery, Podgorica, Montenegro. 2007 LILLY PROJECT, performance, Mangelos Art Award Finalists, Belgrade, Serbia. HARMONY, mixmedia project, Novi Sad, Serbia. SENTIMENTAL ACTION, photography exhibition, SKC gallery, Kragujevac, Serbia. 2006 BEAUTIFUL DEATH /with A.Fafulić/, performance, Multimedia centre Led Art/Art klinika gallery, Novi Sad, Serbia. PERFECT LOVER, performance, SACI ? Studio Art Centre International, Florence, Italy. RED, performance, Red Square, Moscow, Russia. VIDEO-PERFORMANCES 2005/06, Art klinika gallery, Novi Sad, Serbia. 2005 BODY III, photography exhibition (with R. Koler and S. Junačkov), Ankh gallery, Novi Sad, Serbia. VIEW, performance-installation/site-specific, Central Square, Novi Sad, Serbia. PHOTOGRAPHIES 2005, photography exhibition, gallery BUNKER, SKC gallery, Novi Sad, Serbia. BODY II, photography exhibition (with R. Koler and S. Junačkov), Faculty Of Humanitas ? Central Area, Pesc, Hungary. BODY I, photography exhibition (with R. Koler and S. Junačkov), SKC gallery, Belgrade, Serbia. AWARDS: 2007 Mangelos ? Young Visual Artist Award, the best young artist in Serbia, finalist. 2006 Eurobank EFG Award for exceptional achievements, Belgrade, Serbia. Little Prince, Annual prize for exceptional art Achievements Art Academy and Foundation Little Prince (Italy), Fine Art Academy, Novi Sad, Serbia. Perspective V ? Prize for sculpting, Multimedia center Led Art, Novi Sad, Serbia. Annual Art Academy prize for sculpting, Novi Sad, Serbia. 2004 Annual prize for drawing in second year of study at Art Academy, Novi Sad, Serbia. 2002 Francophone Society Award (II),Trebinje/Banja Luka, Bosnia & Herzegovina. Art Academy Award for graphics, Trebinje, Bosnia & Herzegovina.

Work is made by photo-montage and digital manipulation of images and quotations from numerous sources and formally reminds to an old newspaper. Modernistic representations of myths and utopias are here converted into a present context. Layered meanings shape a nonlinear narrative, reflecting upon popular culture, consumerism and globalization.

Graduated in painting at Academy of Fine Arts in Belgrade in 2004.

Serenade to Spectacle is a documentation, shot on 16mm film, of a performance of three members of Vincent Vincent and the Villains and the lead singer of A Human to Gemma Arterton, shot on location at the George Loveless House in East London on the 1st of June 2006. The main elements of the film, thus the architectural space of the event and its location, and the performers and their actions are observed through a structural methodolodgy. This structure, both in terms of duration and representation, allows the introduction of this narrative act into the sociohistorical space of the building. The investment in upsetting the normal operations of this building by a set of emerging musicians and an actress through the romantic act of the serenade doesn?t only confine in a disruption of the everyday aesthetic experience of this typical early 60?s social housing block of flats, by introducing an action bound with Mediterranean traditions and mythical love stories in hostile social situations. The name of the building stands as a monument to George Loveless, a historical figure from the tradition of British trade unionism, similarly the choice of the bands and the actress refer to popular music and cinematic moments of the 60?s bound to revolutionary moments in both fields.

Theo Prodromidis was born in Thessaloniki, Greece in 1979. Studied Media Art at the University of Westminster and was awarded an MFA in Fine Art at Goldsmiths in 2007, in London, UK, where he lives and works. He has been a guest lecturer in Art at various institutions in the UK and since 2004 at the University College for the Creative Arts and has been awarded the Onassis Foundation award. He has recently participated in group exhibitions such as Heterotopias, 1st Thessaloniki Biennale of Contemporary Art, curated by Jan-Erik Lundstrom, Catherine David and Maria Tsantsanoglou, State Museum of Contemporary Art, Thessaloniki, Greece, (2007) National Review for the Live Arts ,Tramway, Glascow, Scotland (2007) We`ve lost the hearts and minds..., E:vent Gallery, London, UK (2006), Strange Screen IV, Museum of Cinema, Thessaloniki, Greece (2006), Images of Violence, Violence of Images, The Young Artists? Biennale, Bucharest, Romania (2004), Experiments in Moving Image: A retrospective of works from the 60?s to now, The Old Lumiere Cinema, London, UK, (2004), amongst others.

"Towards the Bank of the Future" observes and engages with two conceptual axes. The first axis derives from the analysis of Aristotle in the Nicomachean Ethics, where Aristotle presents the problematic of a definition of the "work of man". In the same way that Aristotle sets the work of man in motion, this form of a life that is activated by the operation of Logos, Cavafys repositions life, or a form of life at least, in the sphere of History, a history of action, an action beyond a simple livelihood (ζῆν). At this exact point, the work focuses on the second axis, on the concept of historicity, thus the specific position and use of History in the work of Cavafys. The poet frequently narrates in his works, of a man who is historically located either in the classical or the modern times.The above element is the one that transforms the work of Cavafys to a significant moment of modernity in poetry. The displaced historicity of the form, where the atemporal collides with the historical.

Theo Prodromidis born in Thessaloniki in 1979, lives and works in Athens, Greece. He studied Contemporary Media Practice at the University of Westminster and was awarded an MFA in Fine Art at Goldsmiths in 2007, in London, UK. His work has been exhibited in galleries, museums and institutions such as the 4h Athens Biennale, Athens, Greece, ReMap, Athens, Greece, Athens & Epidaurus Festival, Athens, Greece, Kunsthalle Athena, Athens, Greece, Ileana Tounta Art Centre, Athens, Greece, Werkleitz zentrum für medienkunst, Halle, Germany, Contour Mechelen, Brussels, Belgium, State Museum of Contemporary Art, Thessaloniki, Greece, Tramway, Glascow, Scotland, Centre Pompidou, Paris, France, Fondazione Merz, Torino, Italy, the 1st Thessaloniki Biennale, Thessaloniki, Greece, Museum of Cinema, Thessaloniki, Greece, Macedonian Museum of Contemporary Art, Thessaloniki, Greece i.a. He has been awarded with European Media Artists Award (EMARE), 2008 and Onassis Foundation Award, 2006. His work is in public and private collections in Greece, UK and Italy.

The video installation “Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials” has as a starting point of reference Bertolt Brecht’s The Messingkauf Dialogues, a theoretical work in a dialectical form that dates back to 1939 and was written in four different versions in a period of four years but remained incomplete. The work situates a reinterpreted version of Brecht’s work, connected to the socio-economic circumstances regarding contemporary society and the implications that these may cause, in the structures of a monetary policy, and its reverberations in the cultural sphere. Based on Brecht’s four nights’ structure the artist aims to provoke correlations regarding two structures, the structure of politics and the structure of finance using their architectural form and specificities as a visual starting point. The work motivates the viewer to contemplate all the above elements in a manner that the aesthetic experience of viewing it produces a platform for the critical engagement of the spectator with the socio-political signifiers that are presented. Theo Prodromidis’s video installation has a specific social context, to collective and private experiences as a consequence of politico-economic and political-cultural locations that are densified in a narrativized, critical and poetic process. Katerina Nikou, co-curator of AGORA text for the guidebook of AGORA, 4th Athens Biennale, Greece

Theo Prodromidis born in Thessaloniki in 1979, lives and works in Athens, Greece. He studied Contemporary Media Practice at the University of Westminster and was awarded an MFA in Fine Art at Goldsmiths in 2007, in London, UK. His work has been exhibited in galleries, museums and festivals such as Stavros Niarchos Foundation Cultural Centre, 5th Thessaloniki Biennale, 4th Athens Biennale, Athens & Epidaurus Festival, Kunsthalle Athena, Ileana Tounta Art Centre, Werkleitz zentrum für medienkunst, Contour Mechelen, State Museum of Contemporary Art, Tramway, Glascow, Centre Pompidou, Fondazione Merz, Museum of Cinema, Thessaloniki, Macedonian Museum of Contemporary Art i.a. He has been awarded with European Media Artists Award (EMARE), 2008 and Onassis Foundation Award, 2006.

- Why do you want to blow fireworks on a swamp? - Well, I want it to happen in reality. There was fireworks on the swamp, that's for sure. The intensity of what is happening is so high that the consciousness does not have time to deconstruct the image of this event. Once the smoke dissipates, we can talk about interpretation field. But this is not so important, because it consists only of versions of reality and their totality does not give us a complete picture. It is important to live directly in the experience, where absolute reality can be revealed.

Born in 1983 in Moscow, Russia. Lives and works in Paris, France. In 2011 he graduated from the School of Contemporary Art "Free Workshops'' at MMOMA, Moscow. From 2011 to 2016, he co-founded and participated in the non-profit contemporary art site «It is not here», Moscow. In 2013 he won a competition to create a light installation "New Media Night" in Nikola-Lenivec, Russia. In 2013 he graduated from the Institute of Contemporary Art (ICA), Moscow. In 2014 he became a finalist in the international competition "Center - Periphery", Italy. From 2016 to 2020, he was a member of the Elektrozavod gallery team, Moscow. In 2021, he received the Second prize of “Zverev Art Prize”, Moscow. In 2022 he received the Charlottenborg Spring Exhibition Solo Award, Denmark. In mid-2022 he became an artist in exile because of his stance against Russia's full-scale military invasion of Ukraine. He is a participant and curator of exhibitions in Russia, Italy, Austria, Sweden, Hungary, Poland, Norway and Denmark. His current work includes graphics, sculpture, installations, performance and video. The works are in private collections and collections of the Luciano Benetton Foundation (Italy), the Sphere Foundation (Russia), the State Tretyakov Gallery (Russia) and Uppsala Art Museum (Sweden).

In 'DIT LEARN' the viewer is enticed into an abstract, pre-verbal condition from which to rediscover the learning of language, words and their associated meanings. With a fast-paced procession of objects and images, an accompanying aural and written narrative directly implicates the viewer.

Laure Prouvost was born in Croix, near Lille, France, in 1978. After graduating from high school, she studied plastic arts and entered the Saint Luc de Tournai Institute, Belgium. In 1999, she went to London to study at Central Saint Martins College of Art and Design (CSM) and settled in the capital. She became the assistant of conceptual artist John Latham, who taught at CSM until 1966. She then then to Goldsmiths, University of London where she obtained her MFA. Winner of the Turner Prize, Laure Prouvost is known for her lush, immersive films and mixed-media installations. Interested in confounding linear narratives and expected associations among words, images, and meaning, she has said that in her works “fiction and reality get really tangled.” At once seductive and jarring, her films are composed of a rich, almost tactile assortment of pictures, sounds, and spoken and written phrases, which appear and disappear in quick, flashing cuts. They are often nested among installations filled with a dizzying assortment of found objects, sculptures, paintings, drawings, furniture, signs, and architectural assemblages, based on the themes and imagery in her films. Prouvost does not allow for passive viewing. Through her work, she often addresses viewers directly, pulling them into her unruly, imaginative visions. Her work was exhibited at the Tate Britain in 2011, then at the Whitechapel Gallery in Londonand the Images Festival in Toronto in 2012. In 2013, her work was presented at the Lyon Biennial and at the Institute for Contemporary Arts in London. In 2014, she set up a display at the Grand Palais for the FIAC (International Contemporary Art Fair). Her work was also exhibited at Danspace in New York and at the Laboratorio Arte Alameda in Mexico City the same year. In 2016, her work wasdisplayed at the Kunstmuseum Luzern in Switzerland, the Museum of Modern Art (MMK) in Frankfurt, and the Red Brick Museum in Beijing. In 2009, she won the EAST International Award. For two consecutive years, she was the winner of the Oberhausen Short Film Festival. In 2011, she won the Max Mara Prize for Women, thanks to which she obtained a residency at the British School in Roma and at the Pistoletto Foundation in Biella. In 2013, she won the Turner Prize with her film «Wantee».

In `How to Make Money Religiously` (2014) two slightly altered versions of the same piece play sequentially in a loop, creating a moment of deja-vu. Centering on the problems as well as the possibilities of memory and forgetting, the piece addresses the arbitrary distinctions that can be ascribed to power and possession. Prouvost expands her multilayered investigation of the slippages between systems of communication, and conjures diverse interpretations dependent on how one perceives or remembers the story, while considering consumption, desire and the persuasive syntax of Internet scams.

Laure Prouvost was born in Lille, France and now lives and works in London. Her films and videos are distributed by LUX and she is represented by MOT International

“Re-dit-en-un-in-learning” emphasises and concludes the linguistic training. This film has been co-produced with Van Abbemuseum, where echoes of this installation will occur (from 28 November 2020 to 25 April 2021) and is a sequel to Prouvost’s earlier foray into her unconventional lexicon from 2017, entitled DIT LEARN (using the French for speak, thus pronounced ‘de-learn’ in English), produced for Walker Art Centre, in which the viewer was verbally harangued and visually disoriented by a strobing collage of words and images, translations and slippages that destroyed the edifices of meaning, recognition, voicing and seeing. In that work we were urged to remember that a hammer means ‘no’ and a lizard means ‘yes’ – “this shoe means car,” continues Prouvost in her voiceover, “You cannot find the words for the images you see… All becomes one.” Upon leaving the Re-Learning center, the induction is over and the real-world examination begins, with the ideographic effects of the technique now translating object and signs into Prouvost’s language.

Laure Prouvost was born in Lille, France and is currently based in Antwerp. In 2002, she received her BFA from Central St Martins, London and studied towards her MFA at Goldsmiths College, London. She also took part in the LUX Associate Programme. Solo exhibitions have been held at venues including ‘AM-BIG-YOU-US LEGSICON’, M HKA – Museum of Contemporary Art Antwerp, Belgium (2019) Palais de Tokyo, Paris (2018); BASS Museum, Miami (2018); They Are Waiting for You, Performance for stage at the McGuire Theatre, Minneapolis (2018); SALT Galata, Istanbul (2017); Kunstmuseum Luzern (2016); Pirelli HangarBicocca, Milan (2016); Museum Für Moderne Kunst, Frankfurt (2016); Red Brick Art Museum, Beijing (2016); Haus Der Kunst, Munich (2015); New Museum, New York (2014); Laboratorio Arte Alameda, Mexico City (2014); Max Mara Art Prize for Women, Whitechapel Gallery, London and Collezione Maramotti, Reggio Emilia (2013); and The Hepworth Wakefield (2012). In 2011, Prouvost won the MaxMara Art Prize for Women and was the recipient of the Turner Prize in 2013. Prouvost was selected to represent France at the 58th Venice Biennale in 2019.

Shed A Light shows us a space where nature is purported to have taken over from humanity. Inspired by global warming, the filmed environment invites us to explore and celebrate ambiguity by being at once intimate and expansive. The video is an ode to diagonal lines, the transcending of limits and the joy of slipping over a fence to discover a wasteland. Or, a now-abandoned but marvelous garden, in which the artist has discovered a forgotten dystopic biological laboratory.

Laure Prouvost was born in 1978 in Croix-Lille, France. She lives and works in London, UK and Antwerp, Belgium. After receiving the Max Mara Prize for Women [2011], Prouvost was the first French artist to win the prestigious Turner Prize for contemporary British artists and/or living in Great Britain. Prouvost was a LUX Associate Artist 2008/9. Upcoming exhibitions include a major touring solo exhibition between Consortium Dijon, MMK Frankfurt and Kunstmuseum Luzern [2016] in addition to solo exhibitions at the Centre for Contemporary Art Laznia, Gdansk; Walker Art Centre, Minneapolis; Witte de With Center for Contemporary Art, Rotterdam [2017]; Hangar Biccoca, Milan; FRAC/Consortium, Dijon; and State of Concept, Athens [2016]. 2016 also includes residencies at Bogliasco Foundation, Genoa and at Fahrenheit for FLAX Foundation, Los Angeles. Recent solo exhibitions include A Way To Leak, Lick, Leek at Fahrenheit, Los Angeles [2016]; DER ÖFFENLICHKEIT: Laure Prouvost at Haus Der Kunst, Munich; Dear dirty dark drink drift down deep droll (in der dole) at carlier|gebauer, Berlin; Laure Prouvost: It, Heat, Hit, e-flux, New York; We Will Go Far, Musée départemental d’art contemporain de Rochechouart, Rochechouart; Burrow Me, Rupert, Vilinus; L’écran: Entre ici et Ailleurs, CAPC Musée d’Art Contemporain de Bordeaux, Bordeaux. Other selected solo exhibitions include The Meeting at MOT International, Brussels [2014]; Polpomotorino at Morra Greco Foundation, Naples [2014]; For Forgetting at New Museum, New York [2014]; From Wantee to Some Signs at Extra City Kunsthal, Antwerp [2014]; Laure Prouvost / Adam Chodzko at Tate Britain, London [2013]; Laure Prouvost at The Hepworth, Wakefield [2012].

Ses films sont des montages sensuels créés à partir de situations données. L’artiste développe en parallèle des clips à saynète réalisés de façon directe et spontanée, des oeuvres plus élaborées dans lesquelles elle produit des tissages visuels à partir de coupes franches et précises dans des séquences filmiques au long court. L’habillage, l’ornementation, la prise à partie du spectateur et la mise en difficulté du récit font parties intégrantes de ses créations. Lick In The Past a été réalisé dans le cadre de sa résidence à la Fahrenheit Flax Foundation (Los Angeles).

Laure Prouvost est née à Croix, en France. Elle vit et travaille à Londres. Lauréate du prestigieux Prix Turner en 2013 – la seule Française à l’avoir jamais gagné, s’empresse-t-on en général d’ajouter – Laure Prouvost est devenue l’une des artistes les plus reconnues et les plus en vogue de la scène internationale. Elle a déjà exposé à New-York, Pékin, Athènes, Mexico… et elle travaille officiellement entre Anvers et Londres.

In the system of culture, eternity is perceived as something transcendental and which is beyond human understanding. Circumstances, that devour life, and beings, that are doomed to live, are metaphorically brought together in the ?Eternity?project. A metaphor of Eternity is a little girl who mentally withstands and resists destructive force and always wins a victory over it. This is the Eternity of an absolute and timeless being. The little girl finds herself in a number of deadly circumstances, it gradually turns into existential cycle, her ?life appears to be Eternity, and her death appears to be only an instant?.

The artists work in various genres of contemporary art: video art, experimental films, photography installations and opera theater. Their works were presented at the 51st Venice Biennale, Kunstfilm Biennale (Museum Ludwig, Cologne), Hors Pistes (Centre Pompidou, Paris), Biennial of Moving Images (Saint-Gervais, Geneva) and other notable events. Over twenty films of the art group participated in international festivals and were awarded with: Tiger Award for Short Film (38th International Film Festival Rotterdam), Gran Premio (25th Asolo International Art Film Festival), Best Experimental Film (15th Chilean International Short Film Festival). In 2010 the ?Inspiration? film was a part of ?Orizzonti? program at the 67th Venice International Film Festival and in 2012 the ?Eternity? is invited by Roma International Film Festival to competition program ?Cinema XXI?. ?Three String Quartets For One Video? was a Grand Prix winner of the Kuryokhin Contemporary Art Awards.

A visual story that roughly puts on the scene the recent history of a nation. A group of young people are trying to climb a mountain, but they always get shot, they roll down and however they start again, on the rhythm of the gun shots. An horrible dream, that opens to hope, to the wish of living and change represented by the young people.

Since 1993 Galina Myznikova and Sergey Provorov have created a large number of projects, which demonstrate a wide range of the artists` interests and their inclination to creative experiments in sphere cinema and of contemporary art. Among them there are experimental films which took part in numerous international festivals around the world (such as Rotterdam, Oberhausen, Clermont-Ferrand, Milan, Hamburg, Montreal, Moscow, Pesaro. Sao Paulo and others). Many of films have won several awards and belong to the museum collections; a number of installations created as joint international projects and presented at some Biennale (such as Moscow Biennale of Contemporary Art /Moscow/, The young artist?s Biennial/Bucharest/, KunstFilmBiennale/Cologne/, Biennial of Moving Images/Geneva/. In 2005, Myznikova and Provorov /PROVMYZA/ represented Russia with innovative project ?Idiot Wind? at 51st Venice Biennial. In 2007 they became nominees of Main National Premiums of Contemporary Art ?Innovation? and ?Kandinsky Award?.

Provost shot this final part of the `Plot Point Trilogy` in Tokyo. He here presents the man in the street as a film protagonist whose reality lies somewhere between a dream and a nightmare. In these three aesthetic reinterpretations, Provost, using seemingly insignificant raw material, not only moulds mystical spaces that compellingly absorb the viewer, but also masterfully shows that the dream-world called ?cinema? is simply a constructed parallel reality comprising clichés, technical rules and dramaturgical conventions.

Nicolas Provost (° 1969, Belgium) is a visual artist who recently moved back to Belgium after a 10 years? stay in Oslo, Norway. Now he lives and works in Brussels, Belgium. His work is to be seen worldwide on both film- and visual arts platforms. His films have earned a long list of awards and screenings at prestigious festivals as among others The Sundance Film Festival, The San Francisco International Filmfestival, Cinevegas, The International Film Festival Rotterdam, The Viennale, The Locarno Film Festival, The Ann Arbor Film Festival, Clermont-Ferrand, Impakt Film Festival, The Asian International Film Festival (Seoul), ?? The works of Nicolas Provost can be seen as cinematic experiences as much as they are poetic audiovisual paintings. They intend to walk on the fine line between dualities and balance between the grotesque and the moving, beauty and cruelty, the emotional and the intellectual, between cinema and fine arts. Time and again his phantasmagorias provoke both recognition and alienation and succeed in catching our expectations into an unravelling game of mystery and abstraction forcing the viewer to reflect on the fenomenon of the audiovisual. With manipulations of time, codes and form, cinematographic and narrative language is analysed, accents are shifted and new stories are told. Apart from the use of film and visual language, sound is also a constant factor in Provost?s body of work, as a rhythmical spine or an emotional guideline.

Provost most often makes use of the sister disciplines of video art as a reference for the viewer, most notably using those aspects that are etched in our collective cultural memory. For "The Diver", he chose the balcony scene from the theatre ? immortalised in Romeo and Juliet - as the setting for a lovers' tryst. He uses music for emotions that are too great to be described in words ? in a way that is familiar from film classics. The way in which colour and light determine the atmosphere is reminiscent of the art of painting. From modern dance he has borrowed the ability to express great yearning by the slightest physical change in posture, gesture or glance. The title of this work, "The Diver", evokes literary-dramatic associations, in so far as it remains unclear from the video whether the couple standing there on the edge of a tall building are not in fact experiencing a dreamed-up yearning. The distance between them could well be unbearable for one of them. With all these ingredients combined, Provost reaches an over-the-top effect, so that each still from this scene would serve very well as the cover of a pulp-fiction book. The music and the bang of fireworks in the background swell up in such a way that the loudspeakers become agitated, and the surroundings are basked in dramatic light. Passion is all around, and the viewer shares in what the two lovers must secretly be feeling.

Provost`s 2007 piece `Plot point` used a subtle combination of music, editing and photography to lead the viewer into a subconscious process of establishing and discovering a story. `Stardust` takes this a stage further, manipulating recorded conversations taken from films as well as background music. Provost moves from New York to Las Vegas, filming the public going about their daily business. He then uses these clips of people engaging in conversations, making phone calls, watching a screen or gazing into space, and adds film music and dialogue over the top. Provost is the master of exploiting the associations and reactions learned by the public through years of watching crime and action films and television programmes, using film music to build tension, to induce emotional responses, to alter the nature of what is seen or heard. He also uses parataxis to great effect, presenting two separate and unrelated things together, so that the audience generates links. For example, hearing gunshots while the camera shows only a closed door, we think that the shots have been fired in the room behind the door. Through his understanding of cinematographic language, Provost manipulates the audience into generating narratives and developing characters. As the piece progresses, the plots that must be built become more complex and less believable, exposing the tricks Provost is playing.

Nicolas Provost (b.1969, Belgium) is a filmmaker and visual artist living and working in Brussels, Belgium. His work is a reflection on the grammar of cinema and the relationship between visual art and the cinematic experience. He has also written and directed several short and mid-length fiction films. His work has been broadcast, screened and exhibited worldwide on both visual art platforms and film festivals and have earned a long list of awards and screenings at prestigious festivals including The Sundance Film Festival, The Berlinale, The Viennale, The San Francisco International Filmfestival, Cinevegas, The International Film Festival Rotterdam, and The Locarno Film Festival. Solo exhibitions include The Seattle Art Museum, USA, Musée d!art moderne et contemporain, Strasbourg, France, De Brakke Grond, Amsterdam, Tim Van Laere Gallery, Antwerp, Belgium, C-Space Gallery, Beijing, China, The International Media Art Biennale, Poland, Solar Galeria de Arte Cinematica, Vila do Conde, Portugal.

Dans "Gravity", l`univers rassurant créé par un enchaînement de scènes de baisers est brisé par un effet stroboscopique qui nous perd dans le vertige étourdissant de l?étreinte où, comme souvent dans le cinéma de Nicolas Provost, l`amour devient une bataille passionnée dans laquelle les monstres finissent par être démasqués.

Artiste visuel, Nicolas Provost a vécu 10 ans à Oslo. Il vit et travaille actuellement à Bruxelles. Son travail est diffusé dans le monde entier dans des lieux de cinéma et d`arts visuels. Ses oeuvres ont reçu de nombreux prix et sont diffusées dans des festivals prestigieux comme le Festival du Film de Sundance, le Festival International du Film de San Francisco, Cinevagas, le Festival International du Film de Rotterdam, la Viennale, le Festival du Film de Locarno, le Ann Arbor Film Festival, le Festival de Clermont-Ferrand, Impakt Film Festival, The Asian International Film Festival (Séoul). Les oeuvres de Nicolas Provost sont à la fois des tableaux audiovisuels et des expériences cinématiques dans lesquelles il tente de s`accommoder des dualités et de trouver le ton juste entre grotesque et émouvant, beauté et cruauté, émotionnel et intellectuel, cinéma et beaux-arts. Ses fantasmagories provoquent à la fois reconnaissance et aliénation et répondent à retiennent notre attention avec une énigme mystérieuse et abstraite qui nous force à développer une réflexion sur le phénomène de l`audiovisuel. Le langage cinématographique est analysé via des manipulations de temps, de codes et de forme, l`angle d`approche est modifié, de nouvelles histoires sont racontées. Le son est, avec le langage filmique et visuel, une composante essentielle de l`?uvre de Nicolas Provost dont il constitue une charpente rythmique et un guide émotionnel. Dans son oeuvre faite de fragments de films récupérés, Nicolas Provost stimule la mémoire et la perception filmique. Il réalise également des films d`art contemporain. "Exoticore", un moyen métrage de fiction sur le cauchemar de l`intégration d`un immigré en Norvège, était en compétition au Festival du Film de Sundance en 2006. Son film "Papillon d`amour" a reçu de nombreux prix et une Mention Spéciale au Festival du Film de Sundance en 2004. "Induction", une déconstruction cinématique, était en compétition à Sundance en 2007. Il travaille actuellement sur "The Invader", un long-métrage sur le déclin psychologique d`un homme sur fond d`immigration clandestine à Bruxelles. Ce cauchemar poétique sur un thème universel offre une nouvelle fois une réflexion sur la question cinématographique et son impact émotionnel.

Après avoir joué avec les émotions des spectateurs dans "Cinématics", sa précédente exposition, Nicolas Provost nous propose avec "Plot Point" un voyage en apnée. Si le choc sensoriel reste un élément majeur, l`artiste en appelle cette fois à nos capacités de narration. L`intuition est au centre de ces ?uvres que ce soit du point de vue de leur conception ou de la façon dont elles sont investies par les spectateurs. Sans jamais dévoiler leur essence et leur signification, ces films sont autant de puzzles mystérieux qui distillent ça et là des indices et réveillent notre imagination et nos pulsions les plus sombres. Dans "Plot Point", le célèbre univers de la police américaine avec ses sirènes, ses uniformes, ses ambulances et ses rues bondées se transforme rapidement en un décor de cinéma parfait. Le film pose la question des frontières entre réalité et fiction et des codes narratifs au cinéma (tension ascendante, climax, n?ud de l?intrigue). Mais "Plot Point", tout en jouant avec les attentes du spectateur, laisse le mystère entier.

Artiste visuel, Nicolas Provost a vécu 10 ans à Oslo. Il vit et travaille actuellement à Bruxelles. Son travail est diffusé dans le monde entier dans des lieux de cinéma et d`arts visuels. Ses oeuvres ont reçu de nombreux prix et sont diffusées dans des festivals prestigieux comme le Festival du Film de Sundance, le Festival International du Film de San Francisco, Cinevagas, le Festival International du Film de Rotterdam, la Viennale, le Festival du Film de Locarno, le Ann Arbor Film Festival, le Festival de Clermont-Ferrand, Impakt Film Festival, The Asian International Film Festival (Séoul). Les oeuvres de Nicolas Provost sont à la fois des tableaux audiovisuels et des expériences cinématiques dans lesquelles il tente de s`accommoder des dualités et de trouver le ton juste entre grotesque et émouvant, beauté et cruauté, émotionnel et intellectuel, cinéma et beaux-arts. Ses fantasmagories provoquent à la fois reconnaissance et aliénation et répondent à retiennent notre attention avec une énigme mystérieuse et abstraite qui nous force à développer une réflexion sur le phénomène de l`audiovisuel. Le langage cinématographique est analysé via des manipulations de temps, de codes et de forme, l`angle d`approche est modifié, de nouvelles histoires sont racontées. Le son est, avec le langage filmique et visuel, une composante essentielle de l`?uvre de Nicolas Provost dont il constitue une charpente rythmique et un guide émotionnel. Dans son oeuvre faite de fragments de films récupérés, Nicolas Provost stimule la mémoire et la perception filmique. Il réalise également des films d`art contemporain. "Exoticore", un moyen métrage de fiction sur le cauchemar de l`intégration d`un immigré en Norvège, était en compétition au Festival du Film de Sundance en 2006. Son film "Papillon d`amour" a reçu de nombreux prix et une Mention Spéciale au Festival du Film de Sundance en 2004. "Induction", une déconstruction cinématique, était en compétition à Sundance en 2007. Il travaille actuellement sur "The Invader", un long-métrage sur le déclin psychologique d`un homme sur fond d`immigration clandestine à Bruxelles. Ce cauchemar poétique sur un thème universel offre une nouvelle fois une réflexion sur la question cinématographique et son impact émotionnel.

The unexpected meeting of a shaman, a lonely woman, and a young boy, whose paths will cross and slip away. After magnifying suffering in "Exoticore" and "Papillon d?amour", and revealing wonder in "Oh Dear", Nicolas Provost dives into a world of anxiety and strangeness, questioning our fears for the invader and plunging us into the heart of a new emotional experience. Provost, just like his alter ego the shaman, plays tricks, working once again on the cinematographic matter and the sensorial shock it engenders, but also on its illusionary nature like white magic, manipulating time and narrative logic, finally leaving us alone with his latest creation's unfathomable mystery.

Nicolas Provost is a visual artist and recently moved back to Belgium after a 10 year stay in Oslo, Norway. He now lives and works in Brussels. His work is to be seen worldwide on both film- and visual arts platforms. His films "Papillon d?amour", "Bataille", "Oh Dear...", and "EXOTICORE" have been awarded at prestigious festivals such as The Sundance Film Festival, The San Francisco International Film Festival, The Nashville Film Festival, The Ann Arbor Film Festival, Clermont-Ferrand, The Asian International Film Festival Seoul, and Vila Do Conde Filmfestival... Nicolas Provost's work balances between fiction and fine arts, the grotesque and the moving, and beauty and cruelty, and it attempts to walk on the fine line between dualities. Time and again his phantasmagorias provoke both recognition and alienation and succeed in catching our expectations in an unravelling game of mystery and abstraction that impact emotionally as much as intellectually. With manipulations of time and form, cinematographic and narrative language is analysed, accents are shifted, and new stories are told. The extraordinary is elucidated in order to reveal the global. Apart from the use of film and visual language, sound is also a constant factor in Provost's body of work, as a rhythmical spine or an emotional guideline. In some videos filmic memory and perception are stimulated by fragments from classic films by Akira Kurosawa, Igmar Bergman, Alain Resnais, and Russ Meyers. But Provost is as likely to shoot films and videos with inspiration from obscure B-films as well as from contemporary cinema. Provost recently wrote, produced and directed "EXOTICORE", his first fiction film. In his own words, "My field of interest is to analyse and question the phenomenon of cinema, its various elements, its influence, and conventional rules. My work is a reflection on the grammar of cinema and the relation between visual art and the cinematic experience".

A tale about an immigrant from Burkina Faso and his attempt to integrate in an alien culture, Norway. Exoticore is a touching film about people trying to find their place in the world. A film about being a foreigner, about solitude and contemporary insanity. A dark journey into exoticism.

Nicolas Provost is a visual artist and recently moved back to Belgium after a 10 years stay in Oslo, Norway. Now he lives and works in Antwerp. His work is to be seen worldwide on both film- and visual arts platforms. His films ?Papillon d?amour?, ?Bataille?, ?Oh Dear?? and ?EXOTICORE? have been awarded at prestigious festivals as among others The Sundance Film Festival, The San Francisco International Filmfestival, The Nashville Film Festival, The Ann Arbor Film Festival, Clermont-Ferrand, The Asian International Film Festival, Seoul, and Vila Do Conde Filmfestival? The work of Nicolas Provost balances between fiction and fine arts, the grotesque and the moving, beauty and cruelty and it intends to walk on the fine line between dualities. Time and again his phantasmagorias provoke both recognition and alienation and succeed in catching our expectations into an unravelling game of mystery and abstraction that impacts emotionally as much as intellectually. With manipulations of time and form, cinematographic and narrative language is analysed, accents are shifted and new stories are told. The extraordinary is elucidated in order to reveal the global. Apart from the use of film and visual language, sound is also a constant factor in Provost?s body of work, as a rhythmical spine or an emotional guideline. In some videos filmic memory and perception are stimulated by fragments from classic films by Akira Kurosawa, Igmar Bergman, Alain Resnais or Russ Meyers. But Provost is as likely to shoot films and videos with inspiration from obscure B-films aswell as from contemporary cinema. Provost recently wrote, produced and directed "EXOTICORE", his first fictionfilm.

I ritualize a lament through a performance to camera, the coming to terms with the loss of my partner, Sandra Lahire. A journey of mourning incorporates a staging both for myself and for the camera. The hallucinatory power of the phantom of memory is set alongside the nature of lens based material to carry ghosts. Textures of the skin and voice of the deceased are infused with the pixellation and grain of photograph, film and video. --S.P.

"Sarah Pucill is a Senior Lecturer of the Fine Art Mixed Media BA at University of Westminster. She studied Creative Arts at Manchester Metropolitan University (BA 1987) and Fine Art-Media at the Slade School of Art in London (Postgraduate Diploma 1990). She then did an MA in Visual Theory at the University of East London (1997). Her photographic work and films have been shown internationally in museums, film festivals and galleries. She has been nominated for awards at the Norwich Women`s Film Festival for Back Comb and Milk and Glass. Her film You Be Mother won the experimental award at the Oberhausen Short Film Festival (Germany, 1991) and the innovation award at the Atlanta Short Film Festival (USA, 1995). Sarah?s film Stages of Mourning will be premiered at the London Lesbian and Gay Film Festival 2004, on 29 March at 20.40pm and 1st April at 18.30 at the NFT. Sarah?s films: Backcomb UK, Mirrored Measure Australia, and You be Mother UK are to be televised later on in the year." source: luxonline

Est-il vrai qu’on peut s’attacher une jeune femme par l’écriture ? Correspondance longue de 149 lettres, ce film est basé sur les lettres que m’a adressées mon frère Didier. Deux acteurs portent son écriture poétique à la perception inédite. Axel Bogousslavsky et Nathalie Richard sont le frère et la sœur. Ils chantent, ils dansent sur les routes, en voyage. Ce film explore comment l’écriture, l’expérience d’un langage hybride, fabriquent un film d’amour.

La filmographie de Noëlle Pujol est une constellation de courts et longs métrages qui ont été présentés dans des festivals internationaux et des institutions artistiques. Ses différents films mêlant l’enquête et des éléments autobiographiques questionnent des enjeux de société intimes et collectifs à la fois. Son univers visuel simple et dépouillé mêle avec force et excitation, malice et gravité, l’étonnement qui s’ouvre sur des mondes qu’elle traverse et qu’elle habite longuement. http://noellepujol.free.fr

From Germany to Italy, the United States to Île-de-France, Jumbo/Toto, Stories About an Elephant shadows the itinerary of a single forgotten animal, an African elephant doubly-named Jumbo/Toto. Jumbo, as he was called on German colonial ships, at the Amerikakai port of Hamburg, and in Carl Hagenbeck’s zoos; Toto, as he’d come to be known with great fame in fascist Italy. An urban investigation and an adventure film, a ballet of flora and fauna and pavement and sea, Jumbo/Toto, Stories About an Elephant is a modern epic of the joy and pain of the 20th century set in what still remains strange and unknown: the 21st century, and the solitude of telling a story.

Two young girls are haunting the corridors of a deserted school building. A boy enters their space and becomes a prisoner of their game. Based on documents of the school archive the film tells a story about love, betrayal and endlessly returning. A ghost story.

Andreas Bolm is a german filmmaker who studied at the University of Television and Film in Munich. He directed and produced several films that have been screened at many festivals worldwide. Jaba (2006) was presented by Cinéfondation at the Festival de Cannes and won the ?Golden Mikeldi? for best documentary at the Zinebi film festival in Bilbao. In 2009 Andreas attended the Cinéfondation Residence Festival du Cannes, where he developed his film Die Wiedergänger/ The Revenants (2012). The film was premiered in 2013 at the 63th Berlinale, Perspektive deutsches Kino. Noëlle Pujol is a french artist and a filmmaker. Her practice spans documentary films, video installations, photography and drawings. Since 1998 Noëlle had numerous presentations of her work in contemporary art spaces and international film festivals. Her latest work consists in two films, Histoire racontée par Jean Dougnac (2010) and Le Dossier 332 (2012), meant as a two-part piece.

Through a voice-off reading of the letters kept in her social services file, the filmmaker indirectly tells the story of a childhood marked by bureaucracy. The images of landscapes edited in counterpoint banish all pathos from this very originally authored film.

Noëlle Pujol was born in 1972, in Saint Girons, and now works between France and Hungary. She graduated from the High School of Fine Arts in Paris and Le Fresnoy National Studio of Contemporary Arts. Her practice spans documentary films, video installations, photography and drawings. Since 1998 Noëlle had numerous presentations of her work in contemporary art spaces and international film festivals.

Mrs and Mr B. have been running the M. K. factory for 20 years. From a hundred twenty employes down to two, the firm has been approching its end for many years. Their main activity "perruquer" ("to go canny"). With their son, they use a `working time` in a roundabout way, they recycle their machines tools, some materials and files for household, artistic and various other purposes. "They hedge for pleasure to create free products,to make through their `work` known a peculiar skill and to reply with an expense in solidarity with the working-class and households..." (Michel de Certeau)

Noëlle Pujol was born in 1972 in Saint-Bosoms (France). She is a graduate from École Nationale Supérieure of the Art schools of Paris and National Studio of Contemporary arts Le Fresnoy, in Tourcoing. Her artistic work explores the fields of the documentary cinema and video installation. Her films were shown at the International Festival of Documentary Film of Marseilles, at the International Festival of Film of Belfort, at the Filmmaker Film Festival - Doc11 of Milan, at the International Festival of Locarno. In 2008, two personal exhibitions of the artist took place in the Gallery of the Triangle in Rennes and at the ERBA of Valence. The work of Noëlle Pujol was shown in many group exhibitions in particular ?Variations? at the Gallery the Girls of the Martyrdom of Paris in 2007 and at the World Fair of Aïchi, French house in 2005. She is currently preparing her first full-length film ?They were once monmon?.

Est-il vrai qu’on peut s’attacher une jeune femme par l’écriture ? Correspondance longue de 149 lettres, ce film est basé sur les lettres que m’a adressées mon frère Didier. Deux acteurs portent son écriture poétique à la perception inédite. Axel Bogousslavsky et Nathalie Richard sont le frère et la sœur. Ils chantent, ils dansent sur les routes, en voyage. Ce film explore comment l’écriture, l’expérience d’un langage hybride, fabriquent un film d’amour.

La filmographie de Noëlle Pujol est une constellation de courts et longs métrages qui ont été présentés dans des festivals internationaux et des institutions artistiques. Ses différents films mêlant l’enquête et des éléments autobiographiques questionnent des enjeux de société intimes et collectifs à la fois. Son univers visuel simple et dépouillé mêle avec force et excitation, malice et gravité, l’étonnement qui s’ouvre sur des mondes qu’elle traverse et qu’elle habite longuement. http://noellepujol.free.fr

From Germany to Italy, the United States to Île-de-France, Jumbo/Toto, Stories About an Elephant shadows the itinerary of a single forgotten animal, an African elephant doubly-named Jumbo/Toto. Jumbo, as he was called on German colonial ships, at the Amerikakai port of Hamburg, and in Carl Hagenbeck’s zoos; Toto, as he’d come to be known with great fame in fascist Italy. An urban investigation and an adventure film, a ballet of flora and fauna and pavement and sea, Jumbo/Toto, Stories About an Elephant is a modern epic of the joy and pain of the 20th century set in what still remains strange and unknown: the 21st century, and the solitude of telling a story.

Two young girls are haunting the corridors of a deserted school building. A boy enters their space and becomes a prisoner of their game. Based on documents of the school archive the film tells a story about love, betrayal and endlessly returning. A ghost story.

Andreas Bolm is a german filmmaker who studied at the University of Television and Film in Munich. He directed and produced several films that have been screened at many festivals worldwide. Jaba (2006) was presented by Cinéfondation at the Festival de Cannes and won the ?Golden Mikeldi? for best documentary at the Zinebi film festival in Bilbao. In 2009 Andreas attended the Cinéfondation Residence Festival du Cannes, where he developed his film Die Wiedergänger/ The Revenants (2012). The film was premiered in 2013 at the 63th Berlinale, Perspektive deutsches Kino. Noëlle Pujol is a french artist and a filmmaker. Her practice spans documentary films, video installations, photography and drawings. Since 1998 Noëlle had numerous presentations of her work in contemporary art spaces and international film festivals. Her latest work consists in two films, Histoire racontée par Jean Dougnac (2010) and Le Dossier 332 (2012), meant as a two-part piece.

Through a voice-off reading of the letters kept in her social services file, the filmmaker indirectly tells the story of a childhood marked by bureaucracy. The images of landscapes edited in counterpoint banish all pathos from this very originally authored film.

Noëlle Pujol was born in 1972, in Saint Girons, and now works between France and Hungary. She graduated from the High School of Fine Arts in Paris and Le Fresnoy National Studio of Contemporary Arts. Her practice spans documentary films, video installations, photography and drawings. Since 1998 Noëlle had numerous presentations of her work in contemporary art spaces and international film festivals.

Mrs and Mr B. have been running the M. K. factory for 20 years. From a hundred twenty employes down to two, the firm has been approching its end for many years. Their main activity "perruquer" ("to go canny"). With their son, they use a `working time` in a roundabout way, they recycle their machines tools, some materials and files for household, artistic and various other purposes. "They hedge for pleasure to create free products,to make through their `work` known a peculiar skill and to reply with an expense in solidarity with the working-class and households..." (Michel de Certeau)

Noëlle Pujol was born in 1972 in Saint-Bosoms (France). She is a graduate from École Nationale Supérieure of the Art schools of Paris and National Studio of Contemporary arts Le Fresnoy, in Tourcoing. Her artistic work explores the fields of the documentary cinema and video installation. Her films were shown at the International Festival of Documentary Film of Marseilles, at the International Festival of Film of Belfort, at the Filmmaker Film Festival - Doc11 of Milan, at the International Festival of Locarno. In 2008, two personal exhibitions of the artist took place in the Gallery of the Triangle in Rennes and at the ERBA of Valence. The work of Noëlle Pujol was shown in many group exhibitions in particular ?Variations? at the Gallery the Girls of the Martyrdom of Paris in 2007 and at the World Fair of Aïchi, French house in 2005. She is currently preparing her first full-length film ?They were once monmon?.

Est-il vrai qu’on peut s’attacher une jeune femme par l’écriture ? Correspondance longue de 149 lettres, ce film est basé sur les lettres que m’a adressées mon frère Didier. Deux acteurs portent son écriture poétique à la perception inédite. Axel Bogousslavsky et Nathalie Richard sont le frère et la sœur. Ils chantent, ils dansent sur les routes, en voyage. Ce film explore comment l’écriture, l’expérience d’un langage hybride, fabriquent un film d’amour.

La filmographie de Noëlle Pujol est une constellation de courts et longs métrages qui ont été présentés dans des festivals internationaux et des institutions artistiques. Ses différents films mêlant l’enquête et des éléments autobiographiques questionnent des enjeux de société intimes et collectifs à la fois. Son univers visuel simple et dépouillé mêle avec force et excitation, malice et gravité, l’étonnement qui s’ouvre sur des mondes qu’elle traverse et qu’elle habite longuement. http://noellepujol.free.fr

From Germany to Italy, the United States to Île-de-France, Jumbo/Toto, Stories About an Elephant shadows the itinerary of a single forgotten animal, an African elephant doubly-named Jumbo/Toto. Jumbo, as he was called on German colonial ships, at the Amerikakai port of Hamburg, and in Carl Hagenbeck’s zoos; Toto, as he’d come to be known with great fame in fascist Italy. An urban investigation and an adventure film, a ballet of flora and fauna and pavement and sea, Jumbo/Toto, Stories About an Elephant is a modern epic of the joy and pain of the 20th century set in what still remains strange and unknown: the 21st century, and the solitude of telling a story.

Two young girls are haunting the corridors of a deserted school building. A boy enters their space and becomes a prisoner of their game. Based on documents of the school archive the film tells a story about love, betrayal and endlessly returning. A ghost story.

Andreas Bolm is a german filmmaker who studied at the University of Television and Film in Munich. He directed and produced several films that have been screened at many festivals worldwide. Jaba (2006) was presented by Cinéfondation at the Festival de Cannes and won the ?Golden Mikeldi? for best documentary at the Zinebi film festival in Bilbao. In 2009 Andreas attended the Cinéfondation Residence Festival du Cannes, where he developed his film Die Wiedergänger/ The Revenants (2012). The film was premiered in 2013 at the 63th Berlinale, Perspektive deutsches Kino. Noëlle Pujol is a french artist and a filmmaker. Her practice spans documentary films, video installations, photography and drawings. Since 1998 Noëlle had numerous presentations of her work in contemporary art spaces and international film festivals. Her latest work consists in two films, Histoire racontée par Jean Dougnac (2010) and Le Dossier 332 (2012), meant as a two-part piece.

Through a voice-off reading of the letters kept in her social services file, the filmmaker indirectly tells the story of a childhood marked by bureaucracy. The images of landscapes edited in counterpoint banish all pathos from this very originally authored film.

Noëlle Pujol was born in 1972, in Saint Girons, and now works between France and Hungary. She graduated from the High School of Fine Arts in Paris and Le Fresnoy National Studio of Contemporary Arts. Her practice spans documentary films, video installations, photography and drawings. Since 1998 Noëlle had numerous presentations of her work in contemporary art spaces and international film festivals.

Mrs and Mr B. have been running the M. K. factory for 20 years. From a hundred twenty employes down to two, the firm has been approching its end for many years. Their main activity "perruquer" ("to go canny"). With their son, they use a `working time` in a roundabout way, they recycle their machines tools, some materials and files for household, artistic and various other purposes. "They hedge for pleasure to create free products,to make through their `work` known a peculiar skill and to reply with an expense in solidarity with the working-class and households..." (Michel de Certeau)

Noëlle Pujol was born in 1972 in Saint-Bosoms (France). She is a graduate from École Nationale Supérieure of the Art schools of Paris and National Studio of Contemporary arts Le Fresnoy, in Tourcoing. Her artistic work explores the fields of the documentary cinema and video installation. Her films were shown at the International Festival of Documentary Film of Marseilles, at the International Festival of Film of Belfort, at the Filmmaker Film Festival - Doc11 of Milan, at the International Festival of Locarno. In 2008, two personal exhibitions of the artist took place in the Gallery of the Triangle in Rennes and at the ERBA of Valence. The work of Noëlle Pujol was shown in many group exhibitions in particular ?Variations? at the Gallery the Girls of the Martyrdom of Paris in 2007 and at the World Fair of Aïchi, French house in 2005. She is currently preparing her first full-length film ?They were once monmon?.

The documentary Brotherhood and Unity was shot in April and May 2006 on the building site of the Hrastje ? Lesnica highway section at Novo mesto in Slovenia. The highway section was opened on June 23nd, 2006. In 1958 were the Yugoslavian shock brigades building the Dolenjska highway, the part of the road called the Road of Brotherhood and Unity, in the same place. With the construction of the new one most of the old highway was demolished and rebuilt a new. A documentary gives an insight into the lives of men working on construction sites and living in single`s home. Most of them have only a temporary job in Slovenia. Times of shock brigades with the higher goal to bring people together are over, and today all that workers have in common is the struggle to survive. Slovenia, once a part of the common fatherland is now a foreign country for them.

Marija Mojca Pungercar was born in Novo mesto and lives and works in Ljubljana. A former fashion designer, she holds a BFA in painting from the Academy of Fine Arts in Ljubljana (1989) and an MFA in new genres from the San Francisco Art Institute (2001). She works as a freelance artist (video, photography, performance, installation), edits the web portal Artservis, and designs theatre costumes. She exhibits nationally and internationally. Her work is marked by a strong social engagement, critically reflecting consumerist culture and underscoring issues of locality and community. Her awards include an Austrian Academic Exchange Scholarship, an ArtsLink Grant and a Fulbright Scholarship. More at: www.mojca.info

A queer poem about gender transformations, hallucinogenic desires, and uncanny relationships. It’s past dawn, in an apartment inhabited by several figures. They are frozen in time, frozen in the movements they were making. They look at each other, caress each other, sleep, masturbate with VR helmets on their faces. In one magical moment, they come to life and start a languidly intoxicating party. In Wojciech Pu?’s essayistic 360° film, we follow several people of different genders and ethnic identities as they navigate a path through night, life, desire, and futility. Fragments of their stories are only fleetingly revealed in poetic speeches that resemble a verbal symphony rather than a narrative. The director builds the experience on hallucinogenic light work and uncomfortable camera movements. Will this party ever end, or have we found ourselves trapped with the characters in a labyrinth of existence that has no end?

Wojciech Pu? - filmmaker and artist. They work with moving images and sound. Their films/installations/live acts have been screened / exhibited / shown at Warsaw’s Museum of Modern Art, Haus der Kulturen der Welt in Berlin (Rencontres Internationales Paris/Berlin), ICA in London, Museé du Louvre in Paris (Rencontres Internationales Paris/Berlin), Foksal Gallery in Warsaw, Art Museum in Lodz, Urban Glass in New York, A:D: Curatorial in Berlin, Spike Art Magazine / Yvonne Lambert in Berlin and Exchange Gallery in Lodz. Professor at the Cinematography Department in Lodz Film School, Poland.