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Park Sky Split is a study of temporal abstraction and rhythmic structures in video. The film presents an ambiguous black and white image, fragmented into small sections and repeated in seemingly random sequences. Brief moments of repeated rhythms and patterns are quickly broken as the film traverses back and forth across the timescale of the original footage. The film is comprised of a single piece of footage, copied and superimposed upon itself at half speed. Using digital compositing, the differences between the two videos are manifested in the frame as light, while the areas that remain the same across both images are represented by darkness. As the film progresses and this difference becomes greater, the dark areas of the frame appear to tear, filling with light. The rhythmic repetition creates a tension with the audience`s expectations of temporality in film as linear, while investigating the possibilities of visual interpretations of time.

Mark Reid is a new media artist who lives and works in Melbourne, Australia. He completed a Bachelor of Fine Arts (Honours) majoring in Media Arts at RMIT University in 2010. In 2011, Mark is moving to the United Kingdom to further explore his current body of work, which focuses on studies of place in artists` video.

An end. Impasse. The ciné collages, 3 screenings parallel, only in black and white, without tone. The dialogue takes place between the individual scenes. By using different imaging sequences and lengths a new conflict, a new language, a new image is created. Ein Nachtstück is created in great detail from still photographs. Reinhart uses a technique to make her film loops which she has named ciné-collage.
 Multiple still photographs of characters and location details are collaged together in painterly layers and given just enough movement to provide a depth of colour and space.
 Architectural elements and public spaces of Paris are montaged together to present a destroyed, post-apocalyptic world. By using the bilateral symmetry of a building and its surroundings, or seen in the tradition of the Rorschach test, perspectives change. The world reflects itself, and seems to break and collapse. Patricia Reinhart created a world full of darkness, fear and the feeling of oppression. The disaster of the present has become an irrevocable reality. Lautréamont`s " Les Chants de Maldoror " and Max Ernst`s collages "Une semaine de Bonté" influenced Reinhart during the process of developing this work.

Patricia Reinhart studied painting at the Academy of Fine Arts in Vienna/AT and currently lives in Paris/FR. She has exhibited widely throughout Europe, including solo exhibitions at Gallery Lisa Ruyter/AT, Gallery Dana Charkasi/AT, marks blond project/CH, as well as public screenings at the beach in Venezuela and Spain. Her work has been shown in group exhibitions at Kunst im Tunnel/DE, Eglise Saint-Merry Paris/FR, Kerstin Engholm Gallery/AT, Essl Museum/AT and she also showed video work at Paris Nuit Blanche 2013. Works of her`s are included in many collections such as CCA Andratx/ES, Essl Museum/AT and Ursula Blickle Archiv - Kunsthalle Wien/AT.

Johann Wolfgang is a poet and an alcoholic. For years Dieter and Andi, both heroin addicts, have been sheltered in his flat. For Andi, the 24 hours of the day are just enough to score his daily ration of heroin. Andi lives in Wolfgang?s bathroom. Dieter is continually postponing a one hundred day stretch in prison because of his fear of withdrawal symptoms. Dieter lives in Wolfgang?s kitchen. Despite the hopelessness of their addiction and the conflicts that regularly break out between them, they still manage to get close to each other and think about a better life.

Wolfgang Reinke was born in 1974 in Güstrow, GDR. 1984 - First encounter with a documentary film team from East German television, who gave up interviewing him after two hours. 1986 - The East German "People's Police" tried to recruit him after he turned in a family of "troublesome citizens" for stealing his bicycle. His first unexpressed scepticism about the victory of socialism was when he saw the inside of the Police car that brought them to the gang of thieves. 50 East German Marks blood money. 1987 - His first and last scientific thesis titled "Is there life on Saturn`s moon, Titan?" (Life hasn't been detected on Titan yet.) 1988 - A film team shoots parts of "Emergency Room Dr. Federau", an East German TV series, in his front yard. His impression: a film team consists of electricians. 1989 - Presentation of his first multimedia show about the "Nuclear threat resulting from the weapons race". After finishing High School in 1992 worked as an assistant for a photographer (studio, industry, landscape), an archaeological excavation assistant, a barman, a construction worker, an employment agent, a press spokesman for the Rostock University student parliament, a freelance news photographer, especially for German human rights associations, as a "medico international" in Kurdistan, Turkey, a freelance author for the satirical magazin ?eulenspiegel?, Berlin, a VTR engineer at the Bavaria TV studios in Munich, a gaffer, and a script/continuity assistant to an art director.

Reinke proposes a new holiday with the motto MORE RAGE LESS DISGUST: David Wojnarowicz Week and takes us through his seven days of celebration of the life of artist, writer and AIDS activist, David Wojnarowicz. Plankton, Kafka, Bette Davis, Wednesday afternoon visits with friends, more plankton, burning villages, Hollis Frampton, Sammy Davis Jr. as a libidinal machine producing sadness, opera, disembowelment, poetry.

Steve Reinke is an artist and writer best known for his monologue-based video essays, which are widely screened and collected. Originally from Canada, he know lives in Chicago and teaches in the department of Art, Theory, Practice at Northwestern.

Rib Gets in the Way is narrated in the first person by Reinke and addresses mortality, the body, the archive, and the embodiment of a life’s work. The final and longest section of the video presents an animated children’s adaptation of Friedrich Nietzsche’s philosophical novel Thus Spoke Zarathustra (1883–85). The hand-drawn animations in this and earlier sections of the video are by Jessie Mott, a visual artist and writer whose work consistently engages a menagerie of human, animal, and celestial forms and with whom Reinke has collaborated on several previous videos.

Steve Reinke has long been lauded for his irreverent, philosophical, and often acerbic works, which typically adopt the form of personal essays to wryly bend and reread wide-ranging topics from pop culture to sex to theories of visual perception and beyond.

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Au milieu des décors de la ville de Tokyo, des messages circulent par l`intermédiaire d`un signal rendu perceptible grâce à des objets génériques aux allures de sculptures. Un routeur wifi signale l'existence d'une ville en activité. La radio diffuse une voix qui annonce la météo du jour. Un objet rectangulaire blanc semblable à la forme d'un téléphone portable, glisse sur une surface en tissu aux imprimés faux bois. Un satellite en orbite géostationnaire au milieu des nuages synchronise son mouvement au rythme d`une respiration. La voix d'un GPS prend le relais et semble diriger enchaînement des images. La présence humaine est dématérialisée. Cette présence que l'on ne voit qu'à travers l'entité de la ville mais dont on entend les voix et les messages. Les corps ont pris la forme de ces objets sans fil qui relaient tout un tas d'informations. Des images nous reviennent en écho comme des repères, révélant petit à petit le chemin d`un signal jusqu'au point d'arrivée : L` île artificielle d`Odaïba construite sur des déchets. Gloires et Déclins invite le spectateur à observer les constructions d`un paysage contemporain, là où s`opère un glissement des identités.

Clémence Renaud est diplômée des Beaux-arts de Paris et lauréate du prix paris jeunes talents ; elle travaille d`abord dans le cadre de résidences en France puis décide de voyager et part vivre à Tokyo. Elle expose en Europe et au Japon. Elle élabore un travail sous forme de sculpture sonore, d`installation et de vidéo, au cœur duquel objets/sculptures et spectateurs se rencontrent et s`interpellent.

Writer, Visual Artist and pioneer of the Queer movement in Latin America, Pedro Lemebel shook up conservative Chilean society during Pinochet?s dictatorship in the 1980s. Body, blood and fire were protagonists in his work that he attempted to perpetuate in the last eight years of his life in a film he was never able to see finished. In an intimate and poetic journey through his risky performances dealing with homosexuality and human rights, "Lemebel" portrays a culmination of yearning immortality.

Joanna Reposi Garibaldi (1971). Chilean screenwriter, director and visual artist. Master of Arts at Goldsmiths College, University of London. In 2003 she did her first feature film "Locos del alma". His second documentary "Lemebel" was winner of the Docs in Progress of Visions du Réel, Switzerland (2018) and got the Teddy Award to Best Documentary/Essay Film during Berlinale (2019). She is currently developing her next film.

For decades, nation states and politicians have proven unable to decarbonize the economy. Oil corporations have funded climate change denial for a quarter century while their own scientists plied them with proofs of disaster. At a moment when most people feel the effects of climate change in their own lives, oil corporations have changed their strategies and are now pushing for the generalized use of technological procedures that would allow them to continue extracting oil. Recorded at the Technology Centre Mongstad (TCM) in Norway the film introduces various perspectives on Carbon capture and storage. CCS is presented as technofix to prevent catastrophic global warming. But CCS remains a relatively immature technology deepening our dependence on fossil fuel energy. The film refers to humanity’s “captivity” which seems to carry extractivism onward to the point of no return.

Oliver Ressler is an artist and filmmaker who produces installations, projects in public space, and films on issues such as economics, democracy, migration, the climate crisis, forms of resistance and social alternatives. Ressler has had solo exhibitions at Berkeley Art Museum, USA; Museum of Contemporary Art, Belgrade; Centro Cultural Conde Duque, Madrid; Alexandria Contemporary Arts Forum, Egypt; The Cube Project Space, Taipei; Kunsthaus Graz, Graz and comprehensive solo exhibitions at Wyspa Institute of Art, Gdansk; Lentos Kunstmuseum, Linz; Centro Andaluz de Arte Contemporaneo – CAAC, Seville; SALT Galata, Istanbul; MNAC – National Museum of Contemporary Art, Bucharest; and Cultural Centre of Belgrade. Ressler has participated in more than 400 group exhibitions, including Museo Reina Sofía, Madrid; Van Abbe Museum, Eindhoven; MASSMoCA, North Adams, USA; Centre Pompidou, Paris; the biennials in Prague (2005), Seville (2006), Moscow (2007), Taipei (2008), Lyon (2009), Gyumri (2012), Venice (2013), Athens (2013, 2015), Quebec (2014), Helsinki (2014), Jeju (2017), Kyiv (2017), Gothenburg (2019) and Stavanger (2019), and at Documenta 14, Kassel, 2017 (exhibition organized by EMST). Ressler has completed thirty-four films that have been screened in thousands of events of social movements, art institutions and film festivals. A retrospective of his films took place at Centre d’Art Contemporain Genève in 2013. In 2002, Ressler won the first prize at the International Media Art Award of the ZKM in Karlsruhe and he is the first prize winner of the newly established Prix Thun for Art and Ethics Award in 2016. For the Taipei Biennale 2008, Ressler curated an exhibition on the counter-globalization movement, A World Where Many Worlds Fit. A travelling show on the financial crisis, It’s the Political Economy, Stupid, co-curated with Gregory Sholette, has been presented at nine venues (2011-2016), including Pori Art Museum in 2013. Since 2019 Ressler directs Barricading the Ice Sheets, a research project on the climate justice movement, funded by the Austrian Science Fund, that will lead to an exhibition at Camera Austria in Graz in September 2021.

The film focuses on Nauru, a tiny remote island in the Pacific with 10,000 inhabitants. The narration discusses different voids that have shaped the islands past and future. The largest void is a physical one, the island is a raised reef consisting of calcite and phosphate on a volcanic base, which since 1906 has been mined and exported to Australia, to fertilise the former colonisers’ farms. When phosphate extraction came to a stop in the 1980s, Nauru was bankrupt and 80 percent of the land area uninhabitable and infertile. In an attempt to generate income, in the 1990s Nauru became a prime money-laundering haven. After the disappearance of soil and money, today Nauru involves in the “disappearance of people” - housing one of Australia’s offshore refugee detention centres. In a reaction to the criticism on terrible human right situation in the detention centre, Nauru severely restricted access to the island. Four whistleblowers, who worked as doctors and nurses in the detention centre, describe the institutionalised human rights violations in the offshore detention. Today a new void threatens the island, rising sea-levels threaten the coastal edge, which is the only area left for its inhabitants to live.

Zanny Begg is a Sydney based artist whose work focuses on political activism and community. Her work is often collaborative inviting engagement with key themes such as resilience, financial disobedience and unthinking borders. Zanny has an experimental and research driven practice that works across film, performance, installation, activism and drawing. Zanny’s exhibitions include The Museum of Contemporary Art, Sydney, 2017; Sharjah Biennale, 2011; Istanbul Biennale, 2009. Oliver Ressler produces installations, projects in public space, and films on issues such as economics, democracy, global warming, forms of resistance and social alternatives. Solo exhibitions: Berkeley Art Museum, USA; Alexandria Contemporary Arts Forum, Egypt; Wyspa Institute of Art, Gdansk; Lentos Kunstmuseum, Linz; MNAC - National Museum of Contemporary Art, Bucharest; SALT Galata, Istanbul. Ressler is the first price winner of the Prix Thun for Art and Ethics Award in 2016.

Refugees attempting to enter the European Union play a specific role in the relation between the EU and Turkey. The same European powers that routinely invoke “ human rights ” to justify military action in Africa and Asia (including the “ Middle East ”) deny all protection to survivors fleeing the slaughter they order. The EU border regime is responsible for tens of thousands of drownings in the Mediterranean, while Turkey has opened its borders to nearly three million refugees, more than all EU states combined. The film channels voices that not only go unheard but are quite unheard-of in the western “ refugee debate ” because if Europe is the center of the world, speakers like these couldn`t possibly exist. They are Syrian refugees who preferred not to seek a way into the EU, choosing to continue their lives in Istanbul instead. The Syrians describe their life as “ guests ” in the continent`s largest metropolis, which for 500+ years has sheltered survivors of wars and pogroms started by powers to its north and west. One thing they discuss at length is the difficulty of making a living in Istanbul. Another is the reluctance of the EU to admit more than a pitiful number of refugees, whom it treats collectively as a social pathogen, a mobile hazard to be isolated and “ made safe ”. All the conversations were recorded in Arabic in the days after the coup attempt in Turkey on 15 July 2016, which therefore also became a topic of the film. Quietly reversing the entire perspective of the “ efugee debate ”, the film develops a political analysis of Turkish and European politics from the standpoint of Syrian refugees. The speakers are not seen in the film. Their anonymity is maintained as a precaution against repression and unwanted consequences of all kinds. The interviews are combined with images made from long single shots taken in Istanbul. The words and images are accompanied by an experimental audio composition “ produced specifically for the film”which likewise bears witness to conditions of war and terror and to things left unsaid.

Oliver Ressler, born 1970, lives and works as an artist and filmmaker in Vienna, Austria, and produces exhibitions, projects in the public space, and films on issues such as economics, democracy, forms of resistance and social alternatives.

"In Venezuela, a deep social change has been happening ever since Hugo Chávez has taken the power in 1998. A huge process of self-organization as well as many other reforms is taking place. In the movie "Venezuela from below", the actors who play a leading part in this social process talk. They describe what they are doing, what they think about the bolivar process, what they expect from it and their ideas."

Olivier Ressler was born in Vienna in 1970. He lives and work there. Ressler is an artist who works on several socio-political subjects simultaneously. He has been involved in precise thematic exhibitions, projects open to the public, and videos (with racism, immigration, genetics, economics, resistance forms and social alternatives as subjects) since 1994. His recent projects and solo exhibitions are Alternative Economics, Alternative Societies (Galerija Skuc, Ljubljana, 2003; Kunstraum der Universität Lüneburg, 2004), European Corrections Corporation (installation in a container in Wels, Graz and Munich, 2003/3004, with Martin Krenn) and Boom! (with David Thorne, since 2001). Ressler took part in collective exhibitions including »fly utopia !« , Transmediale 04 de Berlin; »The Interventionists«, MASS MoCA ( Massachusetts Museum of Contemporary Art) ; »Emoção Art.ficial II«, Itaucultural Institute of São Paulo; »Banquete«, Center of Contemporary Art Palau of la Virreina in Barcelone; »Conde Duque«, Cultural Center of Madrid; »Attack !«, Kunsthalle of Wien; »Empire/State: Artists Engaging Globalization«, Whitney Museum of American Art of New York; »Exchange & Transform«, Kunstverein of Munich; , »Steirischer Herbst«, Graz. He also took part in numerous video festivals in Europe and North America. In 2002 his video »This is what democracy looks like !« was awarded with the 1st International Prize in Media Arts at the ZKM.

For decades, nation states and politicians have proven unable to decarbonize the economy. Oil corporations have funded climate change denial for a quarter century while their own scientists plied them with proofs of disaster. At a moment when most people feel the effects of climate change in their own lives, oil corporations have changed their strategies and are now pushing for the generalized use of technological procedures that would allow them to continue extracting oil. Recorded at the Technology Centre Mongstad (TCM) in Norway the film introduces various perspectives on Carbon capture and storage. CCS is presented as technofix to prevent catastrophic global warming. But CCS remains a relatively immature technology deepening our dependence on fossil fuel energy. The film refers to humanity’s “captivity” which seems to carry extractivism onward to the point of no return.

Oliver Ressler is an artist and filmmaker who produces installations, projects in public space, and films on issues such as economics, democracy, migration, the climate crisis, forms of resistance and social alternatives. Ressler has had solo exhibitions at Berkeley Art Museum, USA; Museum of Contemporary Art, Belgrade; Centro Cultural Conde Duque, Madrid; Alexandria Contemporary Arts Forum, Egypt; The Cube Project Space, Taipei; Kunsthaus Graz, Graz and comprehensive solo exhibitions at Wyspa Institute of Art, Gdansk; Lentos Kunstmuseum, Linz; Centro Andaluz de Arte Contemporaneo – CAAC, Seville; SALT Galata, Istanbul; MNAC – National Museum of Contemporary Art, Bucharest; and Cultural Centre of Belgrade. Ressler has participated in more than 400 group exhibitions, including Museo Reina Sofía, Madrid; Van Abbe Museum, Eindhoven; MASSMoCA, North Adams, USA; Centre Pompidou, Paris; the biennials in Prague (2005), Seville (2006), Moscow (2007), Taipei (2008), Lyon (2009), Gyumri (2012), Venice (2013), Athens (2013, 2015), Quebec (2014), Helsinki (2014), Jeju (2017), Kyiv (2017), Gothenburg (2019) and Stavanger (2019), and at Documenta 14, Kassel, 2017 (exhibition organized by EMST). Ressler has completed thirty-four films that have been screened in thousands of events of social movements, art institutions and film festivals. A retrospective of his films took place at Centre d’Art Contemporain Genève in 2013. In 2002, Ressler won the first prize at the International Media Art Award of the ZKM in Karlsruhe and he is the first prize winner of the newly established Prix Thun for Art and Ethics Award in 2016. For the Taipei Biennale 2008, Ressler curated an exhibition on the counter-globalization movement, A World Where Many Worlds Fit. A travelling show on the financial crisis, It’s the Political Economy, Stupid, co-curated with Gregory Sholette, has been presented at nine venues (2011-2016), including Pori Art Museum in 2013. Since 2019 Ressler directs Barricading the Ice Sheets, a research project on the climate justice movement, funded by the Austrian Science Fund, that will lead to an exhibition at Camera Austria in Graz in September 2021.

The film focuses on Nauru, a tiny remote island in the Pacific with 10,000 inhabitants. The narration discusses different voids that have shaped the islands past and future. The largest void is a physical one, the island is a raised reef consisting of calcite and phosphate on a volcanic base, which since 1906 has been mined and exported to Australia, to fertilise the former colonisers’ farms. When phosphate extraction came to a stop in the 1980s, Nauru was bankrupt and 80 percent of the land area uninhabitable and infertile. In an attempt to generate income, in the 1990s Nauru became a prime money-laundering haven. After the disappearance of soil and money, today Nauru involves in the “disappearance of people” - housing one of Australia’s offshore refugee detention centres. In a reaction to the criticism on terrible human right situation in the detention centre, Nauru severely restricted access to the island. Four whistleblowers, who worked as doctors and nurses in the detention centre, describe the institutionalised human rights violations in the offshore detention. Today a new void threatens the island, rising sea-levels threaten the coastal edge, which is the only area left for its inhabitants to live.

Zanny Begg is a Sydney based artist whose work focuses on political activism and community. Her work is often collaborative inviting engagement with key themes such as resilience, financial disobedience and unthinking borders. Zanny has an experimental and research driven practice that works across film, performance, installation, activism and drawing. Zanny’s exhibitions include The Museum of Contemporary Art, Sydney, 2017; Sharjah Biennale, 2011; Istanbul Biennale, 2009. Oliver Ressler produces installations, projects in public space, and films on issues such as economics, democracy, global warming, forms of resistance and social alternatives. Solo exhibitions: Berkeley Art Museum, USA; Alexandria Contemporary Arts Forum, Egypt; Wyspa Institute of Art, Gdansk; Lentos Kunstmuseum, Linz; MNAC - National Museum of Contemporary Art, Bucharest; SALT Galata, Istanbul. Ressler is the first price winner of the Prix Thun for Art and Ethics Award in 2016.

Refugees attempting to enter the European Union play a specific role in the relation between the EU and Turkey. The same European powers that routinely invoke “ human rights ” to justify military action in Africa and Asia (including the “ Middle East ”) deny all protection to survivors fleeing the slaughter they order. The EU border regime is responsible for tens of thousands of drownings in the Mediterranean, while Turkey has opened its borders to nearly three million refugees, more than all EU states combined. The film channels voices that not only go unheard but are quite unheard-of in the western “ refugee debate ” because if Europe is the center of the world, speakers like these couldn`t possibly exist. They are Syrian refugees who preferred not to seek a way into the EU, choosing to continue their lives in Istanbul instead. The Syrians describe their life as “ guests ” in the continent`s largest metropolis, which for 500+ years has sheltered survivors of wars and pogroms started by powers to its north and west. One thing they discuss at length is the difficulty of making a living in Istanbul. Another is the reluctance of the EU to admit more than a pitiful number of refugees, whom it treats collectively as a social pathogen, a mobile hazard to be isolated and “ made safe ”. All the conversations were recorded in Arabic in the days after the coup attempt in Turkey on 15 July 2016, which therefore also became a topic of the film. Quietly reversing the entire perspective of the “ efugee debate ”, the film develops a political analysis of Turkish and European politics from the standpoint of Syrian refugees. The speakers are not seen in the film. Their anonymity is maintained as a precaution against repression and unwanted consequences of all kinds. The interviews are combined with images made from long single shots taken in Istanbul. The words and images are accompanied by an experimental audio composition “ produced specifically for the film”which likewise bears witness to conditions of war and terror and to things left unsaid.

Oliver Ressler, born 1970, lives and works as an artist and filmmaker in Vienna, Austria, and produces exhibitions, projects in the public space, and films on issues such as economics, democracy, forms of resistance and social alternatives.

Provocative documentary that exposes a personal look at the stigmatization produced by police forces and the state in the current xenophobic heritage. Using found footage, the film seeks to establish a social monitoring map available through the Internet, while following the journey of two marauding through the night. One of them will surely be stopped.

Born in 1991, he currently lives and works in Cordoba, Argentina. A filmmaker and cinematographer, he studied at the Universidad de Cordoba. His short film Merodeo has received the Special Jury Prize in [23] FICValdivia and participated in several festivals. With his first feature film in progress, Construcciones, has participated in the Rough Cut Lab of the 49 Visions du Réel, the 31 MDQ Film Fest, DocMontevideo 2016 and the TransLAB 2015 of Festival Transcinema. In 2016 he received an scholarship to attend the IDFAcademy in Amsterdam, The Netherlands.

10 Seconds or Greater by Rachel Reupke is shown as a single screen installation at Picture This. The film was made during the third in a series of residencies based at Picture This supported by Film London. Formally based on the production of royalty-free stock footage, 10 Seconds or Greater maps the logical progression of a director through a check list of popular scenarios designed to illustrate such commercially lucrative concepts as ?communication', ?relaxation' and ?healthy life-style'. With an original R&B score by Simon and Matt Ward

The journey proceeds on desertic lands. Starting with the laborers quarrying red dirt at open-air mines, it follows the iron ore all the way to the ocean, aboard the world`s longest train. At the end, the wrecks scattered on the beach announce the voyage`s end. Meanwhile, bound for prosperous countries, the cargo of valuable ore is heaped into the holds of ships at the dock. This film uses the age-old camera obscura device, one of the earliest ways of capturing reality. The technique yields an unusual perception of the desert`s geology, light, machines, and men.

The Palast der Republik (Palace of the Republic) Opened in 1976 as a meeting place for the East German people and an emblem of the future. The unique modern building made of distinctive golden-mirrored windows was home to not just the East German Parliament but auditoriums, art galleries, five restaurants, concert halls, and even a bowling alley. The building`s dazzling public lobby, surrounded by several tiers, was once the center of social life in East Berlin with thousands of sparkling lamps filling the open space of the lobby`s grand staircase. Many Berliners recall attending a play in one of the theaters or dancing the night away in the underground disco, others seeing their first rock concert, or being married. Later, thousands of citizens demonstrated against the planned demolition and hoped the building would be protected against historical censorship, but alas, one day, twenty years after the fall of the Berlin wall, the Palace completely disappeared. This day was the: Last Day of the Republic. Letzter Tag der Republik. Written by Gerhard Falkner Ich hatte einst ein schönes Vaterland das Weiß-nicht-mehr wuchs dort so schön das Weiß-nicht-mehr Weißt du noch wo du warst, als Troja fiel? Bist du in deinem Alter noch der Mensch. Der vor Karthago stand? Na siehst du: ceterum censeo. Sind die Wolken die einzigen Mauern die nicht fallen weil sie fahren. Die einzigen Mauern, die Posaunen nicht einreißen. Die fließenden Mauern. Ich bin immer noch nicht da, wo ich war, wenn ich weg bin. Ich stehe nach Abschluss der Arbeiten nun kurz vor der Beseitigung. Es wird schwer sein, mich zu vergessen, jetzt wo ich nicht mehr da sein werde. Meine Anwesenheit in der Abwesenheit wird nachklingen. Ein Koloss aus Beton, Geschichte und Zeit, der geht nicht, - ohne dass etwas bleibt, was noch verschwindet, wenn alles längst vorbei ist. Karthago ist auch nicht an einem Tage zerstört worden. Es wird bleiben ein Loch in der Luft, so groß wie ein Schloss. Mit oben lauter antike Figuren. Und unten lauter Figuren mit keine Ahnung von Antike. Das Schloss wird sich schließen um den versunkenen Bau und die Zeit wird im Schloss den Schlüssel umdrehen! Bis der Schlüssel (mit der Zeit) das Schloss umdreht. Und immer so weiter. die Philosophen haben die Welt nur verändert heute geht es darum, sie verschieden zu interpretieren am Besten pro Mann eine Meinung zu Allem dann bleibt unterm Strich alles offen und, wenn alles gut geht, kein Stein auf dem andern Bleiben werden: das Wasser über der Spree und die Wolken unter dem Schloss Alles andre muss fallen. Erst wenn die Wolken ins Gras beißen, wird dieses Stück Geschichte gegessen sein.

Reynold Reynolds was born in 1966 in Central Alaska. During his undergraduate schooling at the University of Colorado, Boulder, Reynolds initially studied physics receiving a bachelor`s degree under the professorship of Carl Wieman (Physics Nobel Laureate 2001). Changing his focus to studio art he remained two more years in Boulder to study under experimental film maker Stan Brakhage. Reynolds then finished an M.F.A. in New York City at the School of Visual Arts. Influenced early on by philosophy and working primarily with 16mm and Super 8mm film as an art medium he has developed a common film grammar based on transformation, consumption and decay. Reynolds` depictions frequent disturbed psychological and physical themes, increasingly provoking the viewer`s participation and dismay. In 2003 Reynold Reynolds was awarded the John Simone Guggenheim Memorial Foundation Fellowship and in 2004 he was invited to The American Academy in Berlin with a studio at Kunstlerhaus Bethanien for one year. In 2007 he received the German Kunstfonds support to develop two projects in Berlin in 2008. In 2010 he will have a eight month residency at Akademie Schloss Solitude (Germany).

Secret Life is the first from a three-part cycle exploring the unperceivable conditions that frame life. In Secret Life, a woman is trapped in an apartment that experiences a collapse of time. While time is perceived as linear, the space is a clock machine that runs circular and repetitive. New durations come into the normal rhythm of life and the apartment suffers an explosion of activity. Without the certainty of time, the occupant of the apartment is unable to keep her location, and her mind neglects the organization of the experience, leaving her only with sensations. The thoughts escape from her and grow like plants out into the space around her, living, searching, overtaking her apartment, wild threatening her; then dieing and decaying like animals.

Reynold Reynolds is an American born in Alaska. For ten years he has been working primarily with 16mm and Super 8mm film as an art medium. He has created installations, documentaries, found footage works, made narrative and experimental films, and developed a common film grammar based on transformation, consumption and decay. Reynolds` depictions frequent disturbed psychological and physical themes, increasingly provoking the viewer`s participation and dismay. He has participated in numerous art exhibitions, including the 4th Berlin Biennale for Contemporary Art, Into Me/ Out Me at P.S.1 Contemporary Art Center and Kunst-Werke Berlin Institute for Contemporary Art, Focus Istanbul at Martin Gropious Bau and Destroy, She Said at Julia Stoschek Collection. His works have been shown in many international film festivals and have won numerous awards including from the Black Maria Film Festival, the South by Southwest Film Festival and the Sundance Film Festival. In 2003 Reynold Reynolds was awarded the John Simone Guggenheim Memorial Foundation Fellowship and in 2004 he was invited to The American Academy in Berlin with a studio at Kunstlerhaus Bethanien that enabled him to start working in Berlin. Reynold Reynolds lives in New York City and in Berlin, Germany.

A young woman descends into madness in a gripping one-hour looped film by Reynold Reynolds and Patrick Jolley. That's what seems to happen anyway as the film's nonlinear narrative and mix of grainy black-and-white and lucid color tend to confuse what is real and what is hallucinated or dreamed. By turns funny, sad, mysterious, and scary, the film's events take place in a squalid studio apartment. A young woman played by Samara Golden arrives carrying a suitcase and starts to clean. At one point, she extracts a corpse resembling her from behind a radiator screen and tends to it as though preparing it for a funeral. In other scenes the room violently shakes and water starts to flood it. Light bulbs pop and overloaded electrical connections crackle and buzz. A man appears out of nowhere and tries to rape the woman, but he quickly disappears. At another point she mixes a batter including roach powder that she had put into a sugar container - hence, presumably, the film's title "Sugar" - and eats it. Finally, she transfers her doppelganger's body from the refrigerator to the suitcase she came in with and departs.

Reynolds was born in Alaska, USA, and now lives in New York. His work includes short films and commercial productions. He works with the Alexandra Saheb Galleries in Berlin, T20 in Spain, and the Roebling Hall in New York. He has exhibited his work at the Contemporary Art Biennial and the KW of Berlin; the Bass Museum in Miami; the P.S.1 in Long Island; and the Phoenix Art Museum. He participated in the X and XI Biennial of Moving Images in Geneva; in "Urban Realities ? Fokus" in Istanbul; in the Martin-Gropius-Bau in Berlin; and the Chelsea Art Museum in New York; as well as in exhibitions in Vienna, Los Angeles, and Zurich. His works are on permanent exhibition at the Elipse Foundation in Alcoitao, Portugal. Jolley was born in Ireland in 1965. He now splits his time between New York and London. He is primarily interested in photography and has created various exhibitions. He works with the T20 Gallery in Spain and the Roebling Hall in New York. In 2006, he exhibited his work in the Contemporary Art Biennial and the KW of Berlin; the Dublin IMMA (in collaboration with Focus); at the Fire Biennial of Caracas (Venezuela), and in New York. Before these he had already exhibited in NY (Chelsea Art Museum, Tina Kim Art, Ronald Feldman Fine Art and the Roebling Hall), in LA, Glasgow, and Vienna. His pictures are shown in a permanent exhibition at the Irish Museum of Modern Art -IMMA, Dublin. Reynold Reynolds and Patrick Jolley have been collaborating on short films for the past few years. Although they share similar aesthetic concerns, they are not intended to be set together. Res magazine recently included Reynolds and Jolley in their "10 Filmmakers to Watch" line-up, and their films have been screened at the Sundance Film Festival. Reynolds and Jolley met in 1995 in the graduate program of the School of Visual Arts in Manhattan. They came up with the idea of a short video installation, "Seven Days Til Sunday". Today they both continue to work on their own projects. Reynolds says that Jolley "is very interested in symbology. He likes to say that he makes work that is so loaded with symbols that it has no meaning." "Sugar" has been presented in the Roebling Hall, New York, and the Alexandra Saheb Gallery in Berlin, 2005.

In "This Door, This Window", choreographer Alma Söderberg and musician Nilo Gallego create a blind duet, investigating the boundaries of the individual in a relation. Where do "I" end and does "we" begin? How can we live together with our personal rhythms? How do we influence, steer or manipulate each other? How do we find or lose each other? The film sits somewhere between portaiture and sonic performance, the result of fantasizing with a calculated "and perverse" use of sound and rhythm in order to consciously invade, connect, and alter the body. It reflects on the theme of cohabitation through sound, thinking of living together as a matter of listening and of negotiating rhythms, earworms and boundaries when there are no doors or windows to keep out sound, or inversely, anything may serve as door or window.

ALEX REYNOLDS is an artist and filmmaker living in Brussels and Berlin. Honing into the intersection of portraiture and fiction, her films explore the expansive and invasive potential of point of view, empathy, and rhythm, often walking the line between tenderness and violence to insistently ask: how to live together? Recent exhibitions and projects include Querer parecer noche, Ca2m, Madrid, Every Object is a Thing but not every thing is an object, Hollybush Gardens, London; This Door, this Window, Estrany de la Mota, Barcelona; La timidite? des cimes, FRAC Lorraine, Metz; Playground Festival, Leuven; She is a Film, galería Marta Cervera, Madrid; Moving Image Contours: Points for a Surrounding Movement, Tabakalera, San Sebastián; We Can't Go Home Again, CAC, Vilnius; Elisabet, Lena, Tobias', National Music and Theatre Library of Sweden, Stockholm; A Trip to the Moon, Before and After Film, Bonniers Konsthall, Stockholm... Her films have been screened at festivals and programmes including FIDMarseille, Les Rencontres Internationales, Aesthetica Film Festival, Kunstfilmtage Düsseldorf, or Cinematek, Brussels.

The testimony of a patient as he is going through an eye operation serves as a starting point to talk about a working process that involves a slow search for meaning and concision.

The Palast der Republik (Palace of the Republic) Opened in 1976 as a meeting place for the East German people and an emblem of the future. The unique modern building made of distinctive golden-mirrored windows was home to not just the East German Parliament but auditoriums, art galleries, five restaurants, concert halls, and even a bowling alley. The building`s dazzling public lobby, surrounded by several tiers, was once the center of social life in East Berlin with thousands of sparkling lamps filling the open space of the lobby`s grand staircase. Many Berliners recall attending a play in one of the theaters or dancing the night away in the underground disco, others seeing their first rock concert, or being married. Later, thousands of citizens demonstrated against the planned demolition and hoped the building would be protected against historical censorship, but alas, one day, twenty years after the fall of the Berlin wall, the Palace completely disappeared. This day was the: Last Day of the Republic. Letzter Tag der Republik. Written by Gerhard Falkner Ich hatte einst ein schönes Vaterland das Weiß-nicht-mehr wuchs dort so schön das Weiß-nicht-mehr Weißt du noch wo du warst, als Troja fiel? Bist du in deinem Alter noch der Mensch. Der vor Karthago stand? Na siehst du: ceterum censeo. Sind die Wolken die einzigen Mauern die nicht fallen weil sie fahren. Die einzigen Mauern, die Posaunen nicht einreißen. Die fließenden Mauern. Ich bin immer noch nicht da, wo ich war, wenn ich weg bin. Ich stehe nach Abschluss der Arbeiten nun kurz vor der Beseitigung. Es wird schwer sein, mich zu vergessen, jetzt wo ich nicht mehr da sein werde. Meine Anwesenheit in der Abwesenheit wird nachklingen. Ein Koloss aus Beton, Geschichte und Zeit, der geht nicht, - ohne dass etwas bleibt, was noch verschwindet, wenn alles längst vorbei ist. Karthago ist auch nicht an einem Tage zerstört worden. Es wird bleiben ein Loch in der Luft, so groß wie ein Schloss. Mit oben lauter antike Figuren. Und unten lauter Figuren mit keine Ahnung von Antike. Das Schloss wird sich schließen um den versunkenen Bau und die Zeit wird im Schloss den Schlüssel umdrehen! Bis der Schlüssel (mit der Zeit) das Schloss umdreht. Und immer so weiter. die Philosophen haben die Welt nur verändert heute geht es darum, sie verschieden zu interpretieren am Besten pro Mann eine Meinung zu Allem dann bleibt unterm Strich alles offen und, wenn alles gut geht, kein Stein auf dem andern Bleiben werden: das Wasser über der Spree und die Wolken unter dem Schloss Alles andre muss fallen. Erst wenn die Wolken ins Gras beißen, wird dieses Stück Geschichte gegessen sein.

Reynold Reynolds was born in 1966 in Central Alaska. During his undergraduate schooling at the University of Colorado, Boulder, Reynolds initially studied physics receiving a bachelor`s degree under the professorship of Carl Wieman (Physics Nobel Laureate 2001). Changing his focus to studio art he remained two more years in Boulder to study under experimental film maker Stan Brakhage. Reynolds then finished an M.F.A. in New York City at the School of Visual Arts. Influenced early on by philosophy and working primarily with 16mm and Super 8mm film as an art medium he has developed a common film grammar based on transformation, consumption and decay. Reynolds` depictions frequent disturbed psychological and physical themes, increasingly provoking the viewer`s participation and dismay. In 2003 Reynold Reynolds was awarded the John Simone Guggenheim Memorial Foundation Fellowship and in 2004 he was invited to The American Academy in Berlin with a studio at Kunstlerhaus Bethanien for one year. In 2007 he received the German Kunstfonds support to develop two projects in Berlin in 2008. In 2010 he will have a eight month residency at Akademie Schloss Solitude (Germany).

Secret Life is the first from a three-part cycle exploring the unperceivable conditions that frame life. In Secret Life, a woman is trapped in an apartment that experiences a collapse of time. While time is perceived as linear, the space is a clock machine that runs circular and repetitive. New durations come into the normal rhythm of life and the apartment suffers an explosion of activity. Without the certainty of time, the occupant of the apartment is unable to keep her location, and her mind neglects the organization of the experience, leaving her only with sensations. The thoughts escape from her and grow like plants out into the space around her, living, searching, overtaking her apartment, wild threatening her; then dieing and decaying like animals.

Reynold Reynolds is an American born in Alaska. For ten years he has been working primarily with 16mm and Super 8mm film as an art medium. He has created installations, documentaries, found footage works, made narrative and experimental films, and developed a common film grammar based on transformation, consumption and decay. Reynolds` depictions frequent disturbed psychological and physical themes, increasingly provoking the viewer`s participation and dismay. He has participated in numerous art exhibitions, including the 4th Berlin Biennale for Contemporary Art, Into Me/ Out Me at P.S.1 Contemporary Art Center and Kunst-Werke Berlin Institute for Contemporary Art, Focus Istanbul at Martin Gropious Bau and Destroy, She Said at Julia Stoschek Collection. His works have been shown in many international film festivals and have won numerous awards including from the Black Maria Film Festival, the South by Southwest Film Festival and the Sundance Film Festival. In 2003 Reynold Reynolds was awarded the John Simone Guggenheim Memorial Foundation Fellowship and in 2004 he was invited to The American Academy in Berlin with a studio at Kunstlerhaus Bethanien that enabled him to start working in Berlin. Reynold Reynolds lives in New York City and in Berlin, Germany.

A young woman descends into madness in a gripping one-hour looped film by Reynold Reynolds and Patrick Jolley. That's what seems to happen anyway as the film's nonlinear narrative and mix of grainy black-and-white and lucid color tend to confuse what is real and what is hallucinated or dreamed. By turns funny, sad, mysterious, and scary, the film's events take place in a squalid studio apartment. A young woman played by Samara Golden arrives carrying a suitcase and starts to clean. At one point, she extracts a corpse resembling her from behind a radiator screen and tends to it as though preparing it for a funeral. In other scenes the room violently shakes and water starts to flood it. Light bulbs pop and overloaded electrical connections crackle and buzz. A man appears out of nowhere and tries to rape the woman, but he quickly disappears. At another point she mixes a batter including roach powder that she had put into a sugar container - hence, presumably, the film's title "Sugar" - and eats it. Finally, she transfers her doppelganger's body from the refrigerator to the suitcase she came in with and departs.

Reynolds was born in Alaska, USA, and now lives in New York. His work includes short films and commercial productions. He works with the Alexandra Saheb Galleries in Berlin, T20 in Spain, and the Roebling Hall in New York. He has exhibited his work at the Contemporary Art Biennial and the KW of Berlin; the Bass Museum in Miami; the P.S.1 in Long Island; and the Phoenix Art Museum. He participated in the X and XI Biennial of Moving Images in Geneva; in "Urban Realities ? Fokus" in Istanbul; in the Martin-Gropius-Bau in Berlin; and the Chelsea Art Museum in New York; as well as in exhibitions in Vienna, Los Angeles, and Zurich. His works are on permanent exhibition at the Elipse Foundation in Alcoitao, Portugal. Jolley was born in Ireland in 1965. He now splits his time between New York and London. He is primarily interested in photography and has created various exhibitions. He works with the T20 Gallery in Spain and the Roebling Hall in New York. In 2006, he exhibited his work in the Contemporary Art Biennial and the KW of Berlin; the Dublin IMMA (in collaboration with Focus); at the Fire Biennial of Caracas (Venezuela), and in New York. Before these he had already exhibited in NY (Chelsea Art Museum, Tina Kim Art, Ronald Feldman Fine Art and the Roebling Hall), in LA, Glasgow, and Vienna. His pictures are shown in a permanent exhibition at the Irish Museum of Modern Art -IMMA, Dublin. Reynold Reynolds and Patrick Jolley have been collaborating on short films for the past few years. Although they share similar aesthetic concerns, they are not intended to be set together. Res magazine recently included Reynolds and Jolley in their "10 Filmmakers to Watch" line-up, and their films have been screened at the Sundance Film Festival. Reynolds and Jolley met in 1995 in the graduate program of the School of Visual Arts in Manhattan. They came up with the idea of a short video installation, "Seven Days Til Sunday". Today they both continue to work on their own projects. Reynolds says that Jolley "is very interested in symbology. He likes to say that he makes work that is so loaded with symbols that it has no meaning." "Sugar" has been presented in the Roebling Hall, New York, and the Alexandra Saheb Gallery in Berlin, 2005.

“People live together, parents and children, husband and wife, but don’t know that communication is only an illusion, that in the last analysis each of us is locked up in his own secret?” wrote Argentine author Adolfo Bioy Casares in his short story Carta Sobre Emilia Emilia is nothing but an image of ‘pathosformel’. What we understand from images of passions that express anxiety in uncertainty, depression, sadness, mourning, bitterness, or great joy and passion, resistance and indolence might be a state of "weak decadence in hope of optimism" and a new form of cognition, “the tragic cognition of being”. One afternoon, a third person narrator and fictional character, Emilia, happens upon a second-hand bookshop and there, she finds an old and discolored book of poems written by René Laurids Brigge that includes short notes about the death of 19-year-old Wera Ouckama-Knoop, who was a female dance performer. Then, she decides to rewrite the notes and short sketches about W.O. Knoop, and her collected documents remembering someone’s death. This quadriptych style which is a four-chapter work of film shows a certain fold of pathosformel, polyvalent forces in which she recognizes the short sketches on her notes as "a non-real time and a heterogeneous space", and gets a feeling all of memories which come to a vague ‘future historical landscape”, like a flash of light at a moment of danger.

Rhee Hun is a filmmaker and researcher working on artist film and moving images. Working as a board member of Asian Artist Moving Image Platform(AAMP), his activities focus on artistic and curatorial practices across ranges of artist film and archive research with asking questions of ‘the future of landscape and moving image’ based on the archeological space and speculative narrative, language and allegorical epistemology. His film and video works have been shown in exhibitions and screenings at Far From Here in SeMA Storage (2019), International Short Film Festival in Oberhausen, Labs Program(2019), Collective research in MMCA Changdong residency program(2016), ACC Network platform: Asia-Kula, Kula Ring(2016), Arkipel(2015) and Rough Cut Night-Stop Motion(Expanded Cinema, Arts Council Korea Arts Theatre, 2014).

Babel is a drone shot centered on the Ziggurat of Borsippa, which was long considered to be the remains of the Tower of Babel before a more likely location for the edifice was found. Our imaginations have been nourished by the story of Genesis, which popularized this construction as excessive as the pride of the people who built it. It marked mankind’s inability to reach the heavens, despite its efforts to build a monument of unprecedented elevation. And the contemporary situation of Babylon, the cosmopolitan capital of an empire that then covered the entire Near East, was a good illustration of the diversity of languages that was the consequence of the failure of the attempt. In the soundtrack, a composition by Romain Poirier and excerpts from Genesis are translated and read by two artificial intelligence programs (DeepL and ElevenLabs), redefining the permanent link between humanity’s attempts to rebuild – this time virtually – the Tower of Babel through artificial intelligence and transhumanism, and humanity’s constantly renewed errors.

The Middle East, countries that are not internationally recognized, radioactive or forbidden zones considered as “involuntary natural parks” are all territories that Louis-Cyprien Rials has traveled or inhabited. The artist, born in Paris in 1981, uses video and photography to present a silent, sometimes mystical image of these areas marked by past violence or agitated by major conflicts. These moving pictures composed of fixed shots, often long and devoid of human presence, tell of the impossibility of capturing these abandoned and transformed spaces, impregnated with beliefs and strewn with stigmata.

Au Liban, pr�s du village de Mleeta situ� dans les montagne du sud-Liban, Tourist Landmark of the Resistance est un champ de bataille devenu mus�e du Hezbollah Libanais. Ouvert en 2010 au public, c?est un vaste complexe de bunkers et de collines, transform� en une subtile et �tudi�e mise en sc�ne de la d�faite d?Isra�l au Liban, en mus�e et en centre de propagande avec des obus, des carcasses rouill�es de chars et de camions militaires. Des messages dans des mises en sc�ne th��tralisantes.Laur�at du Prix SAM pour l`art contemporain 2017, Louis-Cyprien Rials b�n�ficie d`une exposition au Palais de Tokyo - 20 f�vrier au 12 mai 2019 -, commissariat d?Ad�la�de Blanc. Il pr�sentera le r�sultat de son travail lors de ses voyages en Ouganda, gr�ce � SAM Art Projects : Au bord de la route de Wakaliga.

N� en 1981 � Paris, Louis-Cyprien Rials d�couvre la photographie au Japon, o� il s?installe plusieurs ann�es. Il vit ensuite � Paris, Bruxelles et Berlin, tout en r�alisant de longs d�placements dans des zones de conflits et des lieux interdits au public. � partir du d�but des ann�es 2000, il emploie la photographie et la vid�o pour tenter de saisir et de raconter la violence sous-jacente � ces territoires. Louis-Cyprien Rials a pr�sent� son travail dans plusieurs expositions collectives ainsi que dans le cadre d?expositions personnelles, notamment � Hestia (Belgrade, 2018), � la galerie Dohyang Lee (Paris, 2016) et � IDK Contemporary (Bruxelles, 2014). Au printemps 2019, il r�alisera deux expositions : � Par la fen�tre bris�e � � la galerie Eric Mouchet (Paris) et � Au pied du gouffre � � la galerie Dohyang Lee (Paris). Avec � Au bord de la route de Wakaliga � au Palais de Tokyo, ces expositions pr�sent�es simultan�ment � Paris formeront une trilogie.

Mene, Mene, Tekel, Upharsin est une vidéo tournée en 2015 en Irak, à Kirkouk, à quelques kilomètres de l’Etat Islamique. Dans le champs pétrolier majeur de Baba Gurgur, un feu éternel brûle, celui du Livre de Daniel, duquel Dieu sauve trois enfants juifs jetés dans les flammes par le roi Nabuchodonosor car ils ne vénéraient pas ses idoles. Cette succession de plans fixes montre à la fois les installations pétrolières, menaçants monstres de métal perdus dans le désert, et ce feu sacré inscrit dans un cercle, mythique punition d’une idolâtrie, et devenu lui-même idole et objet de toutes les prédations contemporaines. Des gros plans de flammes, semblent sortir des voix, des choeurs, comme si le gaz et la chaleur déformant l’image voulaient rendre cette dystopie mélodieuse. Discrètement mêlées à la bande son, des choeurs de femmes en araméen, priant, enregistrées pendant plusieurs mois dans des camps de réfugié du Nord de l’Irak apportent la voix nécessaires des victimes les plus immédiates des conflits, donnant la profondeur biblique, archéologique et spirituelle que nécessite à la fois un tel lieu et le sentiment menaçant, quasiment apocalyptique qui se dégage de ces flammes et que révèle le titre : Pesé, Pesé, Compté, divisé.

Né en 1981 à Paris, Louis-Cyprien Rials à étudié le théâtre en France avant de découvrir la photographie au Japon, oui il a vécu plusieurs années. En 2007, il entreprends un voyage sur les traces du peintre Hiroshige pour livrer une analyse comparative du paysage japonais dans le temps. Depuis son retour du Japon, en 2008, il vit entre Paris, Bruxelles et Berlin, tout en continuant ses voyages souvent dans des pays non-reconnus internationalement ou dans des zones interdites au public qu’il voit comme des « parc naturels involontaires ». Parallèlement à son oeuvre photographique, il travaille sur le minéral et la relation que l’humain entretient avec les « pierres à images », livrant dans de grands tirages photographiques des paysages tirés des pierres, que l’humain se plait à associer à d’autres formes, par le phénomène de paréidolie. Le travail sur le paysage, sa profondeur, et l’interprétation que nous avons de ses représentations est une partie importante du travail de l’artiste, que ce soit dans des installations de projecteurs de dispositives générant des peintures-paysages, ou sa trilogie de vidéo sur le Désert et la violence, terminée en 2015 en Irak.

Polygon est une vidéo de douze minutes, tournée dans le Polygone nucléaire de Semipalatinsk au Kazakhstan en 2016. Il vient comme une suite naturelle du film tourné en Irak par Rials, Mene, Mene, Tekel, Upharsin où l’auteur avait filmé un cercle de flammes éternelles dans un champ pétrolifère de Kirkouk.
C’est un cercle d’eau, de 400 mètres de diamètres, qui a retenu l’attention cette année, de l’artiste. Creusé par une bombe atomique en 1965, ce lac est empli d’une eau, radioactive, presque plus brûlante que le feu lui-même. Inspiré par La Jetée de Chris Marker, et Stalker de Tarkovski, la vidéo est composée de diaporama photographiques, de traveling satellitaires, de plans vidéo au sol ou pris avec un drone. Polygon est aussi une introduction à la première performance filmée de Rials. Les voix en Russe autant que la musique, écrite par Romain Poirier guident le spectateur vers une contemplation référencée, glissant d’une partie documentaire à une oeuvre presque science-fictionnelle, pourtant terriblement humaine et contemporaine. Pour reprendre un propos de Mark Twain, “ La vérité est parfois plus éloignée de nous que la fiction ” et il est donc plus facile, parfois, d’utiliser la fiction pour révéler une pénible vérité.

Né en 1981 à Paris, Louis-Cyprien Rials pratique la photographie et la vidéo. Après des études de théatre au conservatoire, son aspiration à des modes de création indépendants l’ont incliné vers les choix qui ont marqué sa carrière d’artiste. En 2005, il est parti vivre trois ans à Tokyo et y a organisé sa première exposition, Koban . Depuis son retour du Japon, il vit entre Paris et Berlin. Il y poursuit ses recherches. En 2010, il est parti pour un premier voyage à moto qui l’a conduit à Tchernobyl et en Europe de l’Est. L’année suivante, il est reparti pendant plusieurs mois : Il a alors parcouru l’ex-Yougoslavie, la République Turque de Chypre du Nord, l’Irak, la Géorgie, l’Arménie, la République du Haut- Karabagh, la Crimée, en documentant aussi bien des formes et des paysages que des zones entières, fermées, qu’il voit comme des “ parcs naturels involontaires “ En 2012, il a terminé sa première fiction expérimentale, le western déshumanisé Nessuno . Résident au Centre des Arts Photographiques de Bahrain de mars à mai 2014, il y a exposé à la maison Jamsheer, a donné des enseignements et entamé plusieurs projets, notamment, avec l’aide du chercheur Pierre Lombard sur les restes de la civilisation, Dilmun . En décembre de la même année il a été invité a réaliser son projet d’icônes ainsi que le projet documentaire Russia America en résidence à Kronstadt par le NCCA. ( National Center of Contemporary Art ) Il s’investit de plus en plus dans la création de vidéos à mi-chemin entre l’art et le documentaire contemplatif, avec les projets Holy Wars , Dilmun Highway ( Bahreïn, 2014 ), Mene, Mene, Tekel, Upharsin ( Irak, 2015 ), Polygon ( Kazakhstan 2016 ) et Résistances ( Lituanie et Liban 2017 )

THE FLESH OF LANGUAGE draws connections between zoological research related to the extinct ‘Irish Elk’, parapsychologist Konstantin Raudive’s EVP tape recordings and tactics of media preservation as explained by an archivist. Analogies are drawn between extinct deer and dying media formats which come head to head in a choreographed, exuberant species-resurrection scene.

Amanda Rice is as artist and filmmaker based between London and Belfast. Her films have been presented at the BFI London Film Festival (UK) Eva International Biennial (Ireland), Flux Factory (New York), Eastlink Gallery (Shanghai) CCA Glasgow, Arebyte Gallery (London) M8 Space Aalto University (Helsinki), Irish Film Institute (Dublin), the Wrong Biennale and aemi's 2024 international touring film programme 'Spirit Messages'. Awards include Edward Allington Memorial Prize, awarded by UCL Slade and Next Generation Bursary, awarded by the Arts Council of Ireland. She is an MA graduate of the Slade School of Art. Her film 'The Flesh of Language' is in the permanent collection of the Arts Council of Ireland.