Catalogue > List by artist

Strings (3:39): Basé sur la théorie des cordes, qui dit que les particules élémentaires (comme les protons, les nucléons, les quarks...) sont produits par les vibrations de ce que l'on appelle les cordes. La matière sonore est un enregistrement du choc d'origine (la fréquence est multipliée par 100000).

Courte biographie: Je vis et travaille à Vienne, en partie aussi à Londres. Depuis 2000: Etudes de sciences du théâtre, du cinéma et des médias depuis 2003: Etudes à l'académie d'arts plastiques, masterclass de Peter Kogler (art vidéo infographie) également en 2005: séjour d'un semestre à Londres à la Slade School of fine Art, département: "fine art media". Depuis 2001 en parallèle avec une réflexion théorique sur le cinéma, une approche pratique a suivi. De nombreux travaux ont depuis vu le jour (voir la sélection dans la partie filmographie). En-dehors de mes travaux vidéo, je produis aussi entre autres de plus en plus de photographies, des travaux graphiques (sur ordinateur), des dessins et des images. Ci-joint une liste détaillée des mes participations à des festivals de cinéma ainsi qu'à des expositions. En outre je travaille dans le journalisme spécialisé dans le cinéma pour divers médias. En ce moment je travaille à une installation vidéo ainsi qu'à différents projets photographiques, et à un magazine.

Straddling the line between photography and cinema, Interchange is a near-wordless observational depiction of life alongside a stark and imposing Montreal highway. The film weaves portraits, landscapes, architecture and objects in its reflection on the city’s inhabitants, its traffic jams, the shipping of commercial goods and the nature of time itself. The highway portrayed in Interchange is less the subject of the film than its organizing structure: a large concrete heart, whose arteries intersect with the landscape and its residents in often startling ways, and serve as the framework for an extended meditation on the individual and their surroundings in the post-industrial age.

The films of Brian M. Cassidy and Melanie Shatzky have screened at the Berlin, Sundance, Toronto, Locarno and Rotterdam film festivals, The Museum of Modern Art, The National Gallery of Art, Le Musée de la Civilisation, ICA London, The Museum of the Moving Image and Lincoln Center. In 2012, they were nominated for a Gotham Award for Breakthrough Director and won Best New Director from Québec/Canada at the Montreal International Documentary Festival (RIDM). Their feature debut, Francine, was called “a small gem of bleak neorealist portraiture” by The New York Times and was selected as a New York Times Critics` Pick. Their documentary, The Patron Saints, was called "one of the most powerful Canadian documentaries of recent years" by POV Magazine. Cassidy & Shatzky also maintain an active photography practice and have had their work featured in ZeitMagazin, GUP Magazine, Der Greif, It`s Nice That, Wired, and FlakPhoto, among others. In 2015, The Montreal International Documentary Festival (RIDM) invited the duo to guest curate "A Photographer`s Eye: Photography & The Poetic Documentary", a special program about the intersection of photography and documentary film, which was showcased at La Cinémathèque Québécoise. Both Cassidy & Shatzky hold an MFA from The School of Visual Arts in NYC.

And on a Different Note is a navigation of an attempt to carve out a personal space amid an inescapable sonic shield created primarily by prime time political talk shows with their indistinguishable, absurd and at times undecipherable rhetoric/ noises. Equally repulsive and addictive, these noises travel across geographies gradually constituting an integral part of a self-created map of exile.

Mohammad Shawky Hassan studied philosophy, film directing and cinema studies at The American University in Cairo, The Academy of Cinematic Arts & Sciences and Columbia University. His films include balaghany ayyoha al malek al sa’eed/ it was related to me (2011), On a Day like Today (2012) and Wa Ala Sa’eeden Akhar/ And on a Different Note (2015). He presented film programs at the Oberhausen Short Film Festival, Anthology Film Archives, The New York Public Library and UnionDocs, and was running the Network of Arab Arthouse Screens (NAAS)till 2016.

Ethel Garden, Lucy Mills and Violet Winstone, women of means in 1930?s New Zealand use 16mm film cameras to document their lives and surroundings. Incidental to this act, a psychic tracery is drawn of simultaneous moments. The intimacy of their home movie making has been edited and re- assembled into a study of a landscape - internal, physical, cultural - and these women`s place within it. The addition of sound looks to support a cinematic treatment of the images by drawing on traditional aspects of film sound design but reducing the usual combination of elements (ambience, music, Foley, sound effects, dialogue) to selected singular layers - the musical sequences drawing on silent movie?s tradition of theatre cinema organ music, the emotive devices of gothic film noir, progressively reduced to sound effect gestures, coloured ambience and back to silence, implying a selective listening/remembering of history.

Rachel Shearer is a sound artist based in Auckland, New Zealand. A history in a range of sound practices and their relationship with moving image informs her work. Active as a performing and recording musician since the late 1980?s, Rachel has released material internationally with well-known music labels, (Xpressway (NZ), Flying Nun (NZ), Ecstatic Peace (US), Corpus Hermeticum (NZ), Family Vineyard (US) among them. Rachel trained in Cologne, Germany in live sound engineering, subsequently working freelance in both live sound and in post-production audio for film and television. She has sound designed and composed for a number of NZ award winning features and short films. Her most recent sound art commissions include permanent site-specific sound installations in New Zealand.

"Ovaryange tji veya / Quand les invités arrivent" is about the relationship between Rina Sherman, filmmaker and ethnographer, and an Omuhimba family with whom she lived for seven years, filming and photographing aspects of their everyday and ritual lives. Halfway through her tenure in the field, Rina Sherman presented a multimedia exhibition, entitled "The Ovahimba Years: Work in Progress" in Windhoek, Namibia. A group of young people from the community of Etanga participated in the exhibition. The film explores the evolution of this relationship that lead to the exhibition; shows the group of young people discovering the presentation of their cultural heritage at the exhibition, with performances as part of the programme presented; and shows the resulting discussions and consequences of the exhibition once everyone is back in Ovahimba country. "Ovaryange Tji Veya" is a film about an anthropologist in situ, and evokes several notions central to fieldwork, such as the nature of the bond between the observer and the observed, the observed observer, participant-anthropology, and emotion as a possible vector or hindrance in fieldwork.

Rina Sherman was born in South-Africa. Exiled from her birth country, she settled in France in 1984 where she has been living and working ever since. She became a French citizen in 1988. A musician by training, she worked as a theatre actress and as a vision mixer in television before turning to filmmaking. In 1990 she successfully completed a doctorate at the Sorbonne supervised by Jean Rouch. Her first novel, "Uitreis", (Leaving) was published in South Africa in 1997 to critical acclaim. Writer, filmmaker and anthropologist, Rina Sherman has initiated several cultural projects. She was the audiovisual director for the manifestation, "South Africa: Music of Freedom", La Villette, 1995. She was awarded the prestigious French prize, Villa Médicis Hors les Murs, which allowed her to undertake research in the film archives of the Southern African region. In 1996, she organised Jean Rouch?s tour of South African universities in collaboration with the French Institute in South Africa and the French Embassy in Namibia. In 1997 Rina Sherman was awarded a Lavoisier Research Bursary by the French Ministry of Foreign Affairs for the project "The Ovahimba Years", a multi disciplinary long-term research programme (drawings, oral tradition, video, film, photography) aimed at creating a living trace of Ovahimba cultural heritage. For a period of seven years, Rina Sherman filmed and photographed aspects of the daily and ritual lives of the Ovahimba. In 2002, she presented a multimedia exhibition, "Work in Progress", at the Franco-Namibian Cultural Centre in Windhoek. In 2003, she extended her research into the south west of Angola, and has hence covered the entire Otjiherero socio-linguistic cultural heritage landscape. She is currently writing and editing films about her seven years spent with the Ovahimba. The project received support from the French Ministry of Foreign Affairs, various EU Embassies, The Ford Foundation, and numerous private sponsors.

"Endless" is a meditation on the inevitable deterioration of certain traditional values that have been established (or destroyed) throughout civilization. This elegiac account uses symbolic representation from natural elements in order to convey the inevitability of remembering the social and cultural erosion, and places a layer of texture in front of the elliptical glimpses of imagery, separating the viewer from the past. The re-occurring image of flames remains untouched by the erosion aspects of reticulation, ultimately alluding to nature's powerful quality.

Wenhua Shi, originally trained as a doctor in China, departed from the medical field and began working in radio and TV in his hometown of Wuhan. At the end of 2000, he came to Colorado, studying with the experimental Film giant Stan Brakhage and Phil Solomon. He started making and exploring film as a medium at the University of Colorado at Boulder (BA & BFA) and the University of California, at Berkeley. His films have been screened at Pacific Film Archive, Smithsonian Freer Gallery of Art and Arthur M. Sackler Gallery, the National Museum of Film, Photography and Television (UK) , Denver Contemporary Museum of Art, Beijing Film Academy, The Jack Kerouac School of Naropa University, and dozens of international film festivals, including Rotterdam, Hamburg, Bradford, and Mexico City, where his works have been recognized with top honours. He works on the poetic approach to filmmaking and crossing the boundary of narrative and experimental style. He is very engaged with sound projects (Chinese New Ear/ director: Dajuin Yao) and is also the curator of Flickercafe, a monthly experimental film screening in Boulder, CO, in the post-Stan Brakhage age.

The script is written according to a conflagration which happened years ago in Treasure Hill. Through photo documents and interviews with residents, one can relate various images of fire to the past lifestyles of residents, whether it be fire accidents, bonfires, or fires for the purpose of producing light and warmth. These flickers of light can be seen as historical signifiers, linking together all the different people and memories belonging to this land. At present, Treasure Hill has been transformed and regenerated as an Artist Village. How to recollect the historic local memories and let them permeate into the present or even the future through the practice of contemporary art is a major issue that challenges us today. To this date, the flames of Treasure Hill have not yet ceased and are continuing to spread. Through various forms of fire (light) and images, it allows us to "see / illuminate" the different textures of Treasure Hill.

I regard the special textures present in our daily life, seeing them as in Walter Benjamin?s discourse, fragments and reflection of a complete structure, a whole world. My works are organic documents attempting to inquire and contemplate ever-changing warped messages. They do not only focus on one direction. Painting, photography, performance, audio/ video, installation, happenings can all be part of a creation thrown to public arenas awakening its refraction and feedback. Through the process of creating and interacting with spectators and communities, the fragmented, fissured, and forgotten history can be restored or even fictionalized. It is about seeking one?s identity, residence, hometown, and city; those long forgotten, unseen ghosts.

journal intime «Mon travail se base sur des interventions parasitaires dans l`espace public, à travers l?observation, l?expérience et le souvenir des comportements humains. Les actions que je realise en transforment le sens, interrogeant l?usage et les relations des gens à leur environnement. Ce que je réalise est un constat teinté d?humour. Je travaille comme un voyageur, sans atelier fixe. Mon activité artistique dépend de l?endroit où je me trouve et permet d?identifier cet endroit. Je suis autonome, mon atelier est mobile. Il est primordial pour moi d?envisager les villes du monde entier, comme des lieux de création, de jeu et de me confronter aux différents modes de vie et différents codes sociaux.»

Shingo Yoshida est né le 18 avril 1974 à Tokyo. Il entre en 1999 à la Villa Arson à nice où il se consacre au son ainsi qu`a la vidéo.Il en sort en 2004 avec les félicitations du jury. Puis il emménage à lyon où il fait un post-diplome en Art , suite à quoi il intègre le programme La Seine des beaux arts de Paris (2005). Depuis Shingo Yoshida voyage à travers le monde dont il a fait son atelier, adaptant sa pratique à l endroit où il se trouve, il est pour lui primordial d` envisager les villes du monde entier comme des lieux de création, de jeux et de se confronter à différents modes de vie et différents code sociaux ce dont son travail se nourrit

One lone hand clenched in a fist in the air (Real natural) is part of a series of video and sculptural work exploring how human relationships to nature are actualised through cultural means, in an age of digital, ecology and networks. It is an exploration of the discourse involved in questioning the distinctions between a symbolic relationship and a ?traditionally? meaningful (often read as ?material?) one, or what engagements are truly possible. Simultaneously, it is in dialogue with taste, and the distinctions between ?valid? and poor tastes. It consists of shards of information, processed and reprocessed, hashed and spun together; some heightened, some pushed towards abstraction. Intentionally amateurish, it is part karaoke atmosphere video, part QVC sales pitch, part manifesto, part pop-philosophy.

Takeshi Shiomitsu is an artist living in London, working in video and sculpture.

In memory of ancient humans, God issued commandments to Moses on Mount Sinai and said, "can not kill." However Nietzsche tells us that God has been dead already. Human beings created God, but also exterminated God. We childbirth themselves, but also slay ourselves.

Ding Shiwei was born in Heilongjiang Province and graduated from China Academy Of Art with BFA in 2012. He currently lives and works in Hangzhou, China. Main in Experimental Animation, Experimental Video. His works were presented in Montreal Museum of Fine Arts, Quebec, Canada; Li Xianting Film Fund, Beijing, China; OCAT Contemporary Art Center, Shenzhen, China; A4 Contemporary Art Center, Chengdu, China. His works had been selected out in the international competition section and media art section of Tampere Film Festival; Up and coming Int. Montreal International Film Festival of Films on Art; Image Forum Film Festival in Japan. His works were collected by Li Xianting Film Fund, Beijing, China.

?In Cabinet, Tim Shore pursues a disturbing message through the spaces of the American landscape. An associative framework of found footage, digital reconstruction and text form a meditation on identity, technology and the land. Shore?s fragments of found imagery and sound evoke America?s myths of itself, from its war record to its prairies and birdsong. Yet, this is shadowed by the dark spaces of the Unabomber in his forest cabin, and the repetitive sound of the typewriter, a reference not only to the latter?s destructive manifesto but also to the fragmenting advance of technology.? Lucy Reynolds

Tim Shore graduated in animation from the Royal College of Art in 2002. His graduation film, Rosabelle Believe was screened at festivals around the world, including Rotterdam, European Media Art Festival Osnabruck, and Los Angeles. Keepsake (2004), about the drowning of the Elan Valley, was commissioned by Channel 4 Wales. His most recent film, Cabinet (2006), continues an interest in, and exploration, of the history of technological progress and its often ambivalent impact on society and the individual. It was awarded Second Prize Prize at transmediale.07, Berlin, and other screenings include Rotterdam, Impakt Festival, Centraal Museum, Utrecht; New York Video Festival, Lincoln Center; Courtisane, Ghent; Media City, Windsor, Ontario; Alternative Festival, Belgrade. Tim Shore?s films are developed from a period of careful research often of social/historical themes and subjects. Through this extended process Shore aims to extract subtle, detailed and engaging ?narratives? from historical record. He often uses archive material, including photographs, film and sound, in his work. Tim is Head of Animation at the London College of Communication, University of Arts, London.

A dreamer who doesn't sleep at night and builds aquariums at day creates himself a microcosmos at home, so he would never have to go out again.

Daria Shoshani (b. 1998) is a multimedia artist born in Jerusalem and based in Rome. Her practice includes sculpture, video, painting, and printmaking. Her works are a confessional research of how immaterial aspects of existence such as ephemerality, heritage, politics and location interact with the material figure. As the semiotic interaction is retelling narratives by intertwining the mundane with the oneiric. Daria has graduated from the Hebrew University of Jerusalem in the department of general and comparative literature, and has an MFA in sculpture and installation done in Rome University of Fine Arts. She has participated in various exhibitions in recent years (e.g MAXXI museum, Fondazione Pastificio Cerere, Export Gallery), and was published in numerous magazines (e.g Granata, Portfolio magazine, Dito Publishing, Ha’aretz, Institute for Israeli Art).

A land of disaster and death, a land of Mourn, the political domination, social, cultural confliction are extreme , when the tragic events happen one after another and sufferings of people knows no bound , all these issues are never questioned. What are the connection do the people hold with nation?

Rafiqul Shuvo was born in 1982 in Dhaka, Bangladesh. He was from a national cricket academy and initially started his career as a cricketer but later on he moved in the field of visual arts and studied sculpture (B.F.A and M.F.A) in Dhaka University Faculty of Fine Arts .Back in 2012 he curated a major show named “Only God Can Judge Me” an art event in a abandoned factory which ran parallel to the Dhaka Art Summit. In the following year 2013 he curated another collective multimedia and avant-garde show called Mourn. He is the founder of ‘OGCJMart’ a non-organizational collective. He has, over the last ten years, participated in numerous exhibitions at home and abroad. He is a conceptual artist works in various media his practice mainly focusing on paintings, sculptures, videos and photography. Recently he is making several videos and finished working on of his first film.

‘Timelessness’ is the key of this video. The quality is not referring to ignore time rather; it’s capacity to ignore the influence of Time-a vital ruler of our life. Every era carries thousands of master pieces. With the passage of time, number of pieces of a particular era reduces for less occupancy to the people of the following era. It’s because the time changes reality. What can travel more must less influenced by time. From the first human to now, what is still constant? –Human body and Nature. The video is about relationship of body with nature. Figure used in the video represents only body; actions are natural. The actions of figures are in playing mode, the purpose is absent but the pleasure is inevitable. The purposeless is meaningless- The truth that we are here and will not be. The audio exactly carries the screaming of the truth of that we are passing. The video with creates insecurity as it demolishes meaning of security. A very melancholic feeling of death but hints how to face? And finally how it brings color to life? The ending commentary- ‘Body is for usage…..’-depicts how the video is “Optimistic about nothing”.

Rafiqul Shuvo was born in 1982 in Dhaka, Bangladesh. He was from a national cricket academy and initially started his career as a cricketer but later on he moved in the field of visual arts and studied sculpture (B.F.A and M.F.A) in Dhaka University Faculty of Fine Arts. Back in 2012 he curated a major show named “Only God Can Judge Me” an art event in a abandoned factory which ran parallel to the Dhaka Art Summit. In the following year 2013 he curated another collective multimedia and avant-garde show called Mourn. He is the founder of ‘OGCJMart’ a non-organizational collective along with his 12 artist friends. He works with his OGCJMart friends and he helps to develop and promote their works. He has, over the last ten years, participated in numerous exhibitions at home and abroad. He is a conceptual artist works in various media his practice mainly focusing on paintings, sculptures, videos and photography. Recently he is making several videos and finished working on his first film.

Sur quels fondements les sociétés se construisent-elles? Pourquoi créons-nous des règles et pourquoi les suivons-nous? Quels risques lorsque les systèmes s’effondrent? Ce sont les questions que posent les deux protagonistes du film Hérésies; un juge ecclésiastique luttant contre le protestantisme en 1689 et un scientifique du 20ème siècle reconnu pour sa contribution aux recherches sur le chaos. Le prêtre et le scientifique progressent dans le récit comme nous circulons dans un rêve. Ils nous ouvrent leurs mondes, nous proposent leurs visions faites de mouvements célestes et de mécaniques naturelles, de paysages hostiles et fascinants, d’animaux mystérieux et inquiétants. Un récit à la fois historique, scientifique, et métaphorique se tisse dans un réseau d’images et de voix pour créer ce qui pourrait s’appeler une fable documentaire .

Née le 28 juin 1983 à Reims, Ludivine Sibelle a étudié la photographie et la vidéo entre 2004 et 2009 à l’Ecole Nationale Supérieure des Arts Visuels de La Cambre, à Bruxelles. En 2012, elle entre au Fresnoy, Studio national des arts contemporains, où elle réalise son premier film, un court-métrage entre documentaire et fiction qui s’intitule « Le sacrifice des géants ». Ce film peut se voir comme le premier chapitre d’une vaste réflexion entreprise par l’artiste sur la question des croyances et des fondements mythologiques de nos sociétés contemporaines. Cette recherche se prolonge à travers la réalisation d’un second court-métrage, Hérésies. Le film s`appuie sur deux récits, l`un scientifique, l`autre religieux et historique, créant une dialectique comme prétexte à s`interroger sur la complexité des systèmes, ceux de la nature, des planètes, mais aussi et surtout, ceux des hommes.

A slight crackling accompanied by a silent voice, take us through a series of cold and desolate landscapes, in which gather silhouettes carrying torches. They perform rituals that we fail to understand. When daylight comes, it only remains fragments. Until the sacrifice of giants is a documentary fable about the disappearance of myths in contemporary society, through the observation of popular rites.

After three years of study at the Ecole Nationale Supérieure des Arts Appliqués Duperré in Paris, Ludivine Sibelle studied photography and video at the National School of Visual Arts of La Cambre in Brussels from 2004 through 2009. Her artistic work ranges from drawing to video, through photography, and more recently installation. In 2012, she joined the Fresnoy where she made her first film, a short film between documentary and fiction entitled Until the sacrifice of giants.

There is a red folding table with soldiers dressed in black all around. The red table is the main character of the movie, and soldiers are the accessories. There is no guns but black tubes. No corpses but black-zipped bags. The movie spreads out all around the table, and the m., somewhere, must be something.

Raphaël Siboni was born in 1981 and graduated from the Fine Arts School of Paris. He lives and works somewhere between Paris and Roubaix, entered residency at the Fresnoy, National Studio of Contempory Arts, and currently works on several projects, such as the Kant Tuning Club.

On September 10th, 1992, their Majesties King Juan Carlos and Queen Sofía opened the Permanent Collection of the Museo Nacional Centro de Arte Reina Sofía. What had before only been host to temporary exhibitions was now a true museum, with the task of looking after, increasing, and exhibiting its artistic collections. The building that is the home of the MNCARS, however, dates back many years. In 1566, during the reign of Felipe II, the idea arose of bringing all the many different centres and hospices scattered around the city of Madrid together under one roof and thirty years later, during the reign of Felipe III, the first shelter was opened on Calle Santa Isabel. Other installations were then added to this shelter, including Hospital de Santa Catalina and Hospital de la Pasión, and the complex formed as a result was named Hospital General. From that time, the Hospital has undergone various modifications and additions, managing to survive demands for its demolition by way of a Royal Decree in 1977 that declared it a national historical and artistic monument. In 1980, Antonio Fernández Alba began work to restore the building and at the end of 1988, José Luis Iñíguez de Onzoño and Antonio Vázquez de Castro put the final touches to the modifications, among which the three glass and steel lift towers, designed in collaboration with British architect Ian Ritchie, are of particular interest. Soon after, in 1988, a Royal Decree turned the Centre into a National Museum to replace the former Museo Español de Arte Contemporáneo (MEAC). The institution's first director, who held the position from June 1988 to December 1990, was Tomás Llorens. In late December 1990, María del Corral took over as director. In September 1994, a new director was appointed, José Guirao Cabrera, who directed the centre until May 2000 when he was replaced, until June 2004, by Juan Manuel Bonet. Since June 7th, 2004, Ana Martínez de Aguilar has held the position as director of the museum.

Installation Synopsis: Great Bear Money Rock traces how the land and the life of local Indigenous communities overlap. The Lake Is a Cup (16mm film, 2021) considers the material memories retained by the lake: What stories may be told by these waters if we become attuned to this more-than-human body? Made collaboratively, views of the ghost mine, Dél?n?, and the lake, are splintered by projection through a water bottle balanced on a long, narrow prism. Like water, but also like bodies, the film accumulates radioactivity. The installation is permeated by the mechanical sounds made by the projector in an almost-organic cadence that constantly brings us back to our own bodies. Retracing the narratives conserved in the waters of the lake and in the rocks strewn around the landscape, Great Bear Money Rock exposes the imperceptible—that which evades our senses but whose effects are nonetheless profoundly physical. Other installation elements of Great Bear Money Rock include a garden of crystals from the site of the mine, enclosed in glass bubbles to contain the weak radioactivity they emit. Even though the glass is fragile, it plays a doubly protective role: it keeps us from contact with the ore, and it preserves the territory in its translucent showcase—territory threatened by human activity. Large-format prints placed on structures show the heaps of stones that cover the abandoned mine. Assembled field recordings, in sync with the projection, inundate these rubbly landscapes.

Erin Siddall (lives in Vancouver, Canada) is a visual artist whose work encourages the viewer into thinking about the embodied experience of looking, beyond the subject at which they are looking. Erin’s practice also considers the photographic representation of the unrepresentable through invisible environmental hazards, hidden histories and traumatic events. She holds an MFA from the University of British Columbia and a BMA from Emily Carr University, both Vancouver, and has shown at venues including the Toronto Biennial of Art; Momenta Biennale, Montreal, the Vancouver Art Gallery; Gallery 44, Toronto; the Burrard Art Foundation Studio, Vancouver; and Nuit Blanche Saskatoon. Ts??m? Igharas (Tahltan First Nation, born in Smithers, Canada) is an interdisciplinary artist. She uses a potlatch methodology to create conceptual artworks and teachings influenced by her mentorship in Northwest Coast formline design at K’saan, her studies in visual culture and her time in the mountains. Ts??m? attended Emily Carr University of Art and Design (ECUAD), Vancouver, and received an MFA from OCAD U, Toronto. She won the 2018 Emily Award for outstanding ECUAD alumni and is one of the twenty-five 2020 Sobey Award winners. She has shown and performed in various places in Canada and internationally in Sweden, Mexico, USA and Chile.

`Her Name is Herman` is a film about longing, masculinity and desire. It follows the true story of a farmer who, in 1976, through a definitive premonition discovered a huge unexploded WWII ‘Herman’ bomb buried deep beneath the ground on the Gower Peninsular in Wales. Weighing one ton and with a length of 2.5 meters this buried and alienated relic of history is seen as an archetype of trauma and the pursuit to reach and defuse it a masculine principle of conquest.

Abigail Sidebotham (b. 1985, Wales) is a multi media artist living in Brighton, UK. Her practice includes works with drawing, text, performance, photography and artist film. She earned her Bachelor of Arts in Photography at Brighton University in 2008 and Fine Art Masters from the Royal College of Art in 2013. Her work has been exhibited internationally in exhibitions such as; HotShoe Gallery, London, Altitude 1000+ Festival, Switzerland, DOX Centre for Contemporary Art, Prague and MART Galleria Civica, Trento, Italy. She has been awarded a number of prizes and residencies, including the Red Mansion residency programme in Beijing, China (2013) and received an honorary mention for her work exhibited at the DOX centre for Contemporary Art with the prize of a residency in Prague, Czech Republic (2014).

Souvenir explores the deserted inside of contemporary 36-hour- minicruise ferry ships between the Netherlands, Germany, Norway and the UK. As a low-budget replica of luxurious Caribbean cruises, the ship is in a constant state of transit, never arriving at a final destination. On board settings and décor bear reference to a European history of seafaring and trade while the actual ocean remains distant – in surveillance monitors, the on-board cinema and panoramic window fronts. A female voiceover is composed out of different interviews with seamen’s widows somewhere in between dialogue and inner monologue, circling around topics of distant love, fake luxury, colonial artifacts and a departure from society’s expectations. Starting from a documentary observation of the inside space, the limits of outer and inner reality become blurred over the course of the film. Single souvenirs as fetishized objects turn into a unified ornament as the point of view shifts from the individual to the collective. The film as a souvenir itself opens up memories of a colonial past, drawing a connection between the ship as the largest arsenal of imagination and the nautic space of the cinema.

As a directors duo they have produced several short films on 16-mm film, in which urban and private architecture, hyper-staged environment, subcultural individuals and the notion of desire are examined – combining documentary imagery with fiction and found footage.Their works are characterised by the depth of research and contact with communities and individuals, as well as by the clear lines in their approach to architecture and the worlds which shape desire, fear, anxiety, and alienation. There films have been awarded with numerous grants and scholarships and are shown internationally on film festivals and in art institutions, among them International Film Festival Rotterdam, Edinburgh International Film Festival, International Short Film Festival Oberhausen, Anthology Film Archives New York City, Hamburger Bahnhof – Museum für Gegenwart Berlin, MoMa Antwerp, Julia Stoschek Collection)

PHANTOM (Luke Sieczek, 6:20 min., Digital Video, Color/Sound, 2007) PHANTOM recomposes two scenes from Jacques Tourneur`s film Cat People, reanimating the words and images of its heroine, played by the actress Simone Simon. Her voice reverberates a feeling of intense restlessness, while luminous specters emanate from all sides, surrounding her in a pulsing, phosphorescent glow. PHANTOM re-imagines a half-remembered midnight movie: the dying rays of a television screen are re-absorbed into a spectral, volatile afterimage.

Originally from Poland, Luke Sieczek is an independent film and video artist, whose films have been exhibited at numerous international film festivals and venues. His films and videos have shown at Museum of Modern Art, the New York Film Festival`s "Views from the Avant-Garde," the European Media Art Festival, and the Rotterdam International Film Festival, among others. While varying in genre and technique, his films and videos continue to explore concerns that include the investigation of place, memory, the status of the - immigrant - outsider, and the shifting and unstable relations of audio-visual time and space. Luke Sieczek studied at Bard College and received an MFA from the University of Wisconsin. He currently lives in Seattle, WA.