Catalogue > List by artist

"The Garden" is a reflection on climate change. It is created from found, recycled film footage and is presented in three parts. "I work almost exclusively with found footage (educational and industrial films, and home movies). Once I have appropriated the footage I practice the art of montage with great pleasure by colliding disparate images, looping clips and manipulating time. Such techniques accentuate the gestures and quotidian rhythms of my subjects distilling the essence of a time, place or idea. Although a narrative is never explicit one may be implied."

Ann Steuernagel is an experimental video and sound artist. Her work has been presented throughout the United States and in Canada, Mexico, and Europe. She is the recipient of the grand prize at the XX VideoArt Festival in Locarno, Switzerland, a Massachusetts Cultural Council Media Fellowship, a LEF grant, and a fellowship from the Radcliffe Institute for Advanced Study. Ann is an Assistant Professor in the Department of Art + Design at Northeastern University.

"Pledge" is a found footage piece created from a collection of obscure Vietnam War era documentaries. The material is sadly timeless and provides the viewer with an abstract medium to ruminate about war and, hopefully, peace.

Ann Steuernagel is an experimental video and sound artist. Her visual work accentuates the gestures and daily rhythms of her subjects. Ann's sound work ? a blend of music, ambient sound, spoken word, and noise ? stems from her on-going collaboration with choreographer Caitlin Corbett. Ann's work has been presented at festivals, galleries, and micro-cinemas throughout the United States, and in Canada, Mexico, and Europe. She is the recipient of the grand prize at the XX VideoArt Festival in Locarno, Switzerland; a Massachusetts Cultural Council Media Fellowship; a LEF grant; and a fellowship from the Radcliffe Institute for Advanced Study. Ann is an Assistant Professor in the Art Department at Northeastern University. Her work is distributed by roARaTorio Distributors, Paris, France.

There is "something else, incessantly and obdurately present, although you cannot or do not hear it yet ? but whoever hears it first has a good chance of inheriting the future." ? R. Murray Schafer

Ann Steuernagel is an experimental video and sound artist. Her work accentuates the gestures and quotidian rhythms of her subjects and stems from her two decade-long collaboration with choreographer Caitlin Corbett. Ann's work has been shown throughout the United States, Canada, Mexico, and Europe. She is the 1999 winner of the grand prize at the XX VideoArt Festival in Locarno, Switzerland and is recipient of a Somerville Arts Lottery grant, a Massachusetts Cultural Council Media Fellowship, a LEF grant, and a fellowship from the Radcliffe Institute for Advanced Study at Harvard University. Ann is an Assistant Professor in the Visual Arts Department at Northeastern University, Boston, Massachusetts.

In this film Imogen Stidworthy interweaves standard and subverted English (backslang) with tropes of class and race, trade and desire in the hidden backwaters and idealised forms of the voice. Backslang developed as a linguistic disguise to protect speakers, especially from the ears of the law. Liverpool slang has absorbed fragments from the language streams of global trade, passing through the docks: Spanish, Dutch, Yiddish, Chinese and African languages. Like all languages Backslang is also a space of identification, spoken proudly. It could be seen as a sign of economic and social conditions and as a form of resistance ? a necessity, or a possibility for different social paradigms. In Barrabackslarrabang, the voice criss-crosses social borders to reflect the mirroring of structures and desires through ostensibly opposing spaces of language, legality and culture. The work continues Stidworthy?s ongoing concern with the social landscape of the voice, its space and borders.

Imogen Stidworthy is a British multimedia artist based in Liverpool. She has exhibited at documenta 12 and most recently her work has been shown at the Thessaloniki Biennale (2007), Shanghai Biennale (2006), ?Be What You Want but Stay Where You Are? at Witte de With, Rotterdam (2005) and ?Governmentality? at Miami Art Central (2004). Recent solo shows include ?Get Here? at Galerie Hohenlohe, Vienna (2006), ?Dummy? at FRAC Bourgogne, Dijon (2005) and ?Audio Cab?, a temporary public art work installed in taxi cabs in Luton (2005). In 2004, Stidworthy was shortlisted for the Beck's Futures prize, for a video work featuring Cilla Black impersonators. In 1996 she won the Dutch Prix de Rome.[citation needed] Stidworthy is a tutor at Piet Zwart Institute, Rotterdam and an Advising Researcher at the Jan van Eyck Akademie, Maastricht. In 2008 she won the Liverpool Art Prize.

RED STARS (English) The essay film RED STARS focuses on Alexander Bogdanov’s science fiction novel „„Krasnaja Svesda” (Red Star)” from 1908, which envisions a utopian technologically advanced communist society on the planet Mars. The book was written in the aftermath of the Russian revolution of 1905, at a time when Bogdanov still held a central position in the Bolshevik movement and was a close confidant of Lenin and Gorky. There even exist rumors that draw connections between the title of the novel and the later adoption of the red star as the central symbol of the Russian soviet party. Apart from his literary work, Bogdanov was a natural scientist who, with his conception of tektology, contributed greatly to the epistemological development of soviet science and he devoted his interests to the research of blood transfusion. For the American theorist McKenzie Wark, Bogdanov is an important theoretical predecessor for the conceptualization of the relationships between ecological systems and political organization. He writes, “the Martians of Red Star already possess a global knowledge concord, frictionless data gathering, and computational power that Earthly climate science would finally acquire by the late twentieth century. With that infrastructure in place, the Martians found then what humans have found only now—that collective labor transforms nature at the level of the totality”. Bogdanovs utopian vision has had a strong impact on the soviet universe of science fiction. The film investigates core topics of Bogdanov’s pre-revolutionary socialist Utopia, such as issues related to collectivity, the role of language, gender relations, art, economy as well as education through a series of interviews with the anarchist and great grandson of Bogdanov, Alexander Malinofski, the feminist philosopher Alla Mitrafanova, the poet and linguist Pavel Arseynev, the Cosmism specialists Anastasia Gacheva and Anna Gorskaya, as well as the science fiction theorist Boris Klushnikov. The film also engages with the genre of science fiction as a central platform for the critical discussion of political and social subjects.

Axel Stockburger employs global popular culture, such as computer games, and blockbuster films as a starting point for the production of his videos and text works. His work engages with novel forms of participatory and fan culture that have emerged with the transition from traditional mass media like TV and Film towards the Internet. In his videos he focuses on concepts such as intellectual property, political issues in relation to the notion of the information economy as well as the changing role of audiences.

The video White Transformer engages with the cosplay phenomenon in China and portrays the act of transformation from ?ordinary? human into fictional character. It was shot with the help of the Century Noah cosplay group in Chongqing, China who build and perform characters from a variety of narrative universes such as Gundam, Starcraft and World of Warcraft. The French theorist Gabriel Tarde once stated that in order to understand what the social is, one has to focus on the notion of imitation. The global cosplay culture is a perfect example for this approach, since the fans interact with each other on the basis of global signs that emerge from products of the cultural industry, when they appropriate characters from large video and game franchises. This leads to the issue of intellectual property, which comes into play because all of these characters are registered trademarks owned by large international entertainment companies. What does it mean for the fans and audiences to adapt and transform these symbols. Furthermore, cosplay opens up many questions in conjunction with identification, since cosplayers deliberately choose to identify with and perform as fictional beings from a realm beyond real life limitations such as race, class or gender.

Axel Stockburger is an artist and theorist who lives and works in Vienna. He studied at the University of Applied Arts in Vienna with Peter Weibel and holds a PhD from the Univeristy of the Arts, London. His films and installations are shown internationally. Among other projects he has initiated the independent art television channel TIV in Vienna in 1998 and collaborated on international projects with the London based media art group D-Fuse (2000-2004). At present he works as a senior artist at the Academy of Fine Arts / Department for Visual Arts and Digital Media in Vienna. Between 2010 and 2012 he was part of the artistic research project ?Troubling Research?, which engaged with the problems and possibilities of art in the context of knowledge production. In recent years his works were presented in the following exhibitions (selected): ?Games People Play?, CCANW, Exeter (2012), "Troubling Research: Performing Knowledge in the Arts", xhibit, Academy of Fine Arts, Vienna (2011),"Nothing in the World but Youth", Turner Contemporary, Kent (2011), ?Jingshenfenxi?, organhaus art space, Chongqing (2011),"Videorama", Museum der Moderne, Salzburg (2011) "Talk Talk - Das Interview als künstlerische Praxis", Galerie 5020, Salzburg (2010)"Worldeater", Winiarczyk Gallery, Vienna (2009).

The video "Boys in the Hood" consists of interviews with players of the controversial computer game "Grand Theft Auto". The players deliver their perspective of the narrative space of the game by giving detailed descriptions of locations, movements, and actions in the game. These subjective accounts of a shared space lead to a diffusion of the borders between ?real? and ?virtual?.

Axel Stockburger is an artist and theorist who lives and works in London and Vienna. He studied at the University of Applied Arts in Vienna with Peter Weibel and holds a PhD from the University of the Arts, London. His films and installations are shown internationally. Among other projects he initiated the independent art television channel TIV in Vienna in 1998 and collaborated on international projects with the London based media art group D-Fuse (2000-2004). For the present he works as a scientific staff member at the Academy of Fine Arts, Department for Visual Arts and Digital Media in Vienna.

The Group Crit is a pedagogical and cinematic experiment - a satirical examination of group critique as a teaching form. By means of a LARP (live action role-playing game) created by the Norwegian artist/filmmaker Sille Storihle, students at the Kabelvåg School of Moving Images under The Arctic University Museum of Norway explore political currents in contemporary art. The students are players who develop their own stories within the game based on scripted characters, and everything is filmed by students in character. With its self-established rules of the game, The Group Crit challenges traditional forms of production, through a performative framework using diegetic documentation. A hybrid, heated and humorous experimental work taking the temperature on the art field as the arena for political debate.

Sille Storihle is an artist and educator based in Oslo, working primarily with moving images and printed matter. Their artistic practice encompasses a body of work in dialogue with queer archives and pasts, exploring relationships between power and performativity. From 2012 to 2020, Storihle ran the queer-feminist platform FRANK together with Liv Bugge. The platform originated as a salon, which developed into a wide range of projects in different locations with various co-curators. Their current research and work focus on live action role-playing games (LARP) as an artistic methodology in the production of moving images. They have exhibited at the National Museum, Oslo, 2023, 2022, 2014; M HKA – Museum of Contemporary Art Antwerp, 2020; Kunsthall Oslo, 2018, 2017, 2013; GiBCA – Göteborg International Biennial for Contemporary Art, 2017; Performa, New York, 2013; and Sharjah Biennial 11, 2013, among many others. Storihle holds a BFA from Trondheim Academy of Fine Art and an MA in Aesthetics and Politics from the California Institute of the Arts, Los Angeles. Since 2016, they have been Assistant Professor at Kabelvåg School of Moving Images, UiT The Arctic University of Norway, Tromsø.

A young girl returns to a dying small town in northern Bulgaria. Her only plan is to sell the old house she has inherited. Meanwhile, a strong gust of wind starts blowing. Its direction is unknown and it seems that it won`t stop. Everyone is anxious that things could fall apart.

Born in 1991 in Vidin, Bulgaria, she lives and works in Hamburg, Berlin and Sofia. She studied film as well as art and time-based media at the University of Fine Arts of Hamburg. Apart from her own projects, she also works as a camerawoman, performer and videoartist.

"Colour restoration of the Olympic torch lighting ceremony, during the Greek military Junta (1967)" is a video piece based on a found footage of the event described in the title "the Olympic torch lighting ceremony of the 1968 Olympics, filmed in Athens during the Greek dictatorship of 1967/74. The footage, initially black and white, has been painstakingly colourised, by hand-colouring each of its frames one by one. The result is a somewhat crude, awkward and ultimately less realistic documentation of the event. Even more so, when viewed as a restoration of a restoration, since the regime's own nationalistic aesthetic and propaganda iconography were based upon a grotesque revitalisation of the country's ancient past.

Anastasis Stratakis (b. 1985, Greek) lives and works between Thessaloniki and Athens. His work has been included in a number of international group exhibitions, including: "At the Beginning Was the Word", National Art Museum of China (NAMOC), Beijing, in collaboration with National Museum of Contemporary Art (EMST), Athens (2018); "Abracadabra", 6th Moscow International Biennale for Young Art, curated by Lucrezia Calabrò Visconti (2018); "Epilogue", Kunstverein Herdecke, curated by Apostolos Palavrakis (2017); "The Equilibrists", organised by the New Museum, New York and DESTE Foundation, Athens, in collaboration with the Benaki Museum, Athens, curated by Gary Carrion-Murayari and Helga Christoffersen with Massimiliano Gioni (2016); 13th Biennale de Lyon (2015); 4th Thessaloniki Biennale of Contemporary Art (2014); "Afresh: A New Generation of Greek Artists", National Museum of Contemporary Art (EMST), Athens (2013) and has been exhibited at institutions such as Musée d`art contemporain de Lyon (2016), Fondazione Giorgio Cini, Venice (2015) and MMCA : Macedonian Museum of Contemporary Art, Thessaloniki (2014). Works by Anastasis Stratakis are included in prominent private and institutional collections among which are the National Museum of Contemporary Art (EMST) Collection in Athens, the State Museum of Contemporary Art Collection in Thessaloniki, the Borusan Contemporary Collection in Istanbul and the Michael Haas Collection in Berlin.

`Restoration of King George II returning to Greece (1946)`, 2014–15, is based on a small segment of a found footage of King George II ceremonially returning to Athens after his exile during World War II, laying a wreath upon the Tomb of the Unknown Soldier while accompanied by the royal family. This footage was originally incomplete, having `gaps` of multiple missing frames that were afterwards filled in with animation (a series of digital drawings made by hand) — completing the figure`s motion as imagined thus attempting an impersonal, though inevitably subjective, `restoration` of this historical document.

Anastasis Stratakis (b. 1985, Greek) lives and works between Athens and Thessaloniki, where he studied Painting at the Fine Arts School of the Aristotle University of Thessaloniki. Recent solo exhibitions include: ‘An Endless Present’, AD Gallery, Athens (2013); ‘THE HARD PROBLEM’, Donopoulos IFA, Thessaloniki (2013); ‘Ideas are to objects as constellations are to stars’, Les Yper Yper — physical/conceptual habitat, Thessaloniki (2013), while his next solo show is planned for 2016 at AD Gallery, Athens. Selected group exhibitions include: 13th Biennale de Lyon (2015); ‘Athen 1.0 - Eine Gruppenausstellung’, Galerie Biesenbach, Cologne (2014); 4th Thessaloniki Biennale of Contemporary Art (2014); ‘Afresh – A New Generation of Greek Artists’, National Museum of Contemporary Art (EMST), Athens (2013); ‘ΑΪΝ ΑΟΥΓΚΕΝΜΠΛΙΚ! - Vier junge griechische Künstler’, Beck & Eggeling, Düsseldorf (2012); ‘Drawing Room’, Omikron Gallery, Nicosia (2011). Selected residencies/workshops include: ‘Through the Image, Beyond the Image’, curated by Adrian Paci, Free Home University (FHU), Lecce (2013–14); 4th Thessaloniki Biennale of Contemporary Art: Young Artists’ Workshop, Thessaloniki (2013).

A cross-generational binding of three filmmakers seeking alternative possibilities to power structures they’re inherently part of. The film grew out of abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren’s reflections of failure, encounter and initiation in 1950s Haiti. A vever is a symbolic drawing used in Haitian Voodoo to invoke a Loa, or god.

Artist and filmmaker Deborah Stratman makes films and artworks that investigate power, control and belief, considering how places, ideas, and society are intertwined. Recent projects have addressed listening, freedom, surveillance, sinkholes, comets, raptors, orthoptera, levitation, exodus, sisterhood and faith. She lives in Chicago where teaches at the University of Illinois.

Draw down the sun. Dig up the gold. The urge to relieve a winter valley of permanent shadow and find fortune in alluvial gravel are part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, ore smelters, former city officials and a curious cliff-side luminous disc congregate to form a town portrait. Shot in location in the Yukon Territory. The disc that appears in the film was part of "Augural Pair", a set of public sculptures created by Stratman and artist Steven Badgett by invitation of the Klondike Institute of Arts and Culture "Natural and Manufactured" series. The works responded to ways value and speculation are connected to landscape and acts of removal.

Artist and filmmaker Deborah Stratman makes work that investigates power, control and belief, exploring how places, ideas, and society are intertwined. Her themes range widely, as do the mediums she uses to question them. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets, exodus and faith.  She lives in Chicago where she teaches at the University of Illinois.

An experimental documentary comprised of regional vignettes about faith, force, technology and exodus. Eleven parables relay histories of settlement, removal, technological breakthrough, violence, messianism and resistance, all occurring somewhere in the state of Illinois. The state itself is a convenient structural ruse, allowing its histories to become allegories that explore how we are shaped by conviction and ideology. The Parables consider what might constitute a liturgical form. Not a sermon, but a form that questions what morality catalyzes. Technological and religious abstraction are linked and placed in conversation with governance.

Artist and filmmaker Deborah Stratman makes work that investigates issues of power, control and belief, exploring how places, ideas, and society are intertwined. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets and faith. She has exhibited internationally at venues including MoMA NY, Centre Pompidou, Hammer Museum, Mercer Union, Witte de With, the Whitney Biennial and festivals including Sundance, Viennale, CPH/DOX, Berlinale, Oberhausen, Ann Arbor, Full Frame and Rotterdam. Stratman is the recipient of Fulbright, Guggenheim and USA Collins fellowships, a Creative Capital grant and an Alpert Award. She lives in Chicago where she teaches at the University of Illinois.

Multiple layers of fabrication and imposition are laid bare by this fluidly choreographed, single-shot embodiment of control. While portraying sound artists at work, typically invisible support mechanisms of filmmaking are exposed, as are governmental violations of individual privacy. Filmic quotations ground Hacked Circuit, evoking paranoia, and a sense of conviction alongside a lack of certainty about what is visible. Complications of the seen, the known, the heard and the undetectable provide thematic parallels between the stagecraft of Foley and a pervasive climate of government surveillance.

Chicago-based artist and filmmaker Deborah Stratman makes work that investigates issues of power, control and belief, exploring how places, ideas, and society are intertwined. Non-prescriptive, her works pose a series of problems that allow for complex readings of the questions being asked.

From before the beginning until after the end; evolution and extinction as told from a mineral point of view. The geo-biosphere is introduced as a place of evolutionary possibility, where humans disappear but life endures. Science fiction meets science-fact.

Artist and filmmaker Deborah Stratman makes work around issues of power, control and belief, exploring how places, ideas, and society are intertwined. She regards sound as the ultimate multi-tool and time to be supernatural. She has made over 40 films and lives in Chicago where she teaches at the University of Illinois.

Acclaimed filmmaker Deborah Stratman follows a world-famous troupe of Mongolian tightrope walkers and circus performers in Chinese Turkestan. With a wry, observant eye, Stratman records their life on the road and their jaw-dropping performances, in a film filled with subtle observations about the ever-changing contemporary Chinese society in the post-9/11 world.

Deborah Stratman is an award-winning filmmaker and artist based in Chicago. She received her M.F.A. from the California Institute of Arts and her B.F.A. from the School of the Art Institute of Chicago. Since 1990 she has completed more than a dozen film projects, both on sixteen-millimeter film and on video. These works have been shown at international film festivals?including the Sundance Film Festival in Utah, the Rotterdam International Film Festival in the Netherlands, and the Vienna International Film Festival in Austria?and at art institutions such as the Wexner Center for the Arts, Columbus, Ohio, and the San Francisco Art Institute.

Le défi que se/nous propose Jean-Marie Straub est bien d'ordre cinématographique. Tous ses films ont toujours été constitués de blocs. Et ces blocs qui s'entrechoquent, blocs denses de textes, de paysages, de visages, ont toujours eu pour nécessité de donner à voir à travers ces chocs l'invisible des sentiments et du politique. Mélangeant les blocs de temps (40 ans séparent les différents extraits), les blocs de textes (Malraux, Fortini, Vittorini, Holderlin) et les blocs de langues (français, italien, allemand), pour que de ce fracas émerge l'histoire du monde, oui l'Histoire, et du même mouvement l'espoir politique de son dépassement. La première chose que nous dit Kommunisten, c’est que Straub pense ici son cinéma comme un fonds d’archives personnel dans lequel puiser, si bien que ce film devient une leçon où les fragments des films passés – plus un « nouveau », en ouverture, inspiré de Malraux, avec la voix de Straub lui-même (hors champ) qui interroge des communistes en prison – peuvent être utilisés comme objets d’étude. Kommunisten, c’est Straub et c’est Danièle Huillet, mais c’est surtout leur cinéma – qui a traversé le XXe siècle, ses conflits et ses utopies impossibles, en cherchant dans le pli des mots et des images qui les tissent ce qui est resté suspendu, caché, enfoui avec les oublis imposés par ceux qui écrivent et déterminent l’Histoire. Chaque « bout » de film nous emmène en terrain découvert, dans un passé qui paraît actuel, parce que ces questions sont restées sans réponse – si ce n’est avec une image, qui continue à les poser sans relâche, avec détermination. (Cristina Piccino, Il Manifesto, 19 août 2014)

‘So Settler, Are You a Pioneer?’ captures the structures of a rapidly changing peripheral neighbourhood: material remains of an obsolete infrastructure, luxury apartments, and piles of bricks that once used to house people. The work re-assembles and digitally preserves sites that are often overlooked in tales of linear progress. The piece is a journey through distorted urban landscapes, an assemblage of partial perspectives. By adapting the cartographic technique of photogrammetry, Wouter aims to question the authorities who decide what is and what is not in focus.

Through unravelling tales of linear progression I seek to map out the blurriness of our world. By adapting and appropriating modern contemporary cartographic techniques, such as photogrammetry, and the use of aerial and satellite imagery. I aim to question the authority that decides what is and what is not in focus to re-orient and ignite curiosity. Currently I am active as an artist and graphic designer. Besides my individual practice I collobarate in communal projects, one being OUTLINE; a collective and publishing platform consisting of one other graphic designer and two photographers. Another one being Radio Voorwaarts which is a platfom for underground culture in Amsterdam. More recently: Verdedig Noord, an activist group fighting against gentrification in Amsterdam Noord.

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"Cultural Quarter presents the relationships of observation in the city to its citizens, whilst begging ethical questions about surveillance, the gaze and human behaviour. It exposes some of the gaps between developers? dreams and citizens` perceptions of what cultural space means and how to use it." Cultural Quarter has won several awards: - Sphinx Award for the best single-channel work, Videomedeja, 9th International Video Festival, Serbia and Montenegro, 2005 - No Budget Award, Hamburg International Short Film festival, 2004 - Second Prize, International Competition, Videoex 2004 festival, Zurich - Tom Finkelpearl and Barbara London Prizes, Echigo-Tsumari Art Triennial, Japan, 2003 http://www.forma.org.uk/

"Mike Stubbs practice includes film and media art production, arts management, and consultancy. Trained at Cardiff and the Royal College of Art, Mike is currently Honorary Lecturer, The School of TVI and Honorary Lecturer at the University of Dundee. His work at Hull Time Based Arts won him recognition as a primary promoter of New Media. During his Directorship, he set up Time Base and developed the Centre for Time Based Art, AVIDLAB (a digital media lab) and EMARE (European Media Arts Residency Exchange). He co-founded Metamedia, a Soho-based production company specializing in art and music. Highlights as a producer include commissioning the award-winning media performance, POL by Granular Synthesis featured at the 01 Venice Biennale, the curation of new media programs for the Kiev International Media Art Festival in the Ukraine and the Microwave Festival in Hong Kong. He is an advisor to the ACE and NESTA and as a consultant has worked with Federation Sq Project Melbourne, the Royal Academy of Arts, London and Site Gallery, Sheffield. Newly commissioned films "Donut" and "Resistor" were recently transmitted on BBC 2 and Channel 4 Television. He has won major international awards including first prizes at Oberhausen & Graz ("Homing" C4/BFI 1995), Osnabruk ("Gift", BBC2/Arts Council 1996) and a Golden Artronic at Locarno ("Sweatlodge", 1992). In 1999 he presented a video retrospective at the Tate Gallery, London. Current projects include an investigation into city branding made in residence at the Newcastle and Gateshead Initiative for exhibition at the Baltic. Last he completed "Zero", a short film made in zero gravity on board a Russian military aircraft at the Yuri Gagarin Training Centre." http://www.spacearts.info/

It’s a one-shoot film about violence and blood in a turbulent world, with the name after the film’s duration. But 8'28'' is hardly to Interpret as the mirror of the pandemic era, since the film's sound creation and final edit all before the catastrophe came.As usual I done all parts of the film myself.

Zhong Su is an artist, living in Hangzhou, focus on the production of personal images from 2011.

Scientists observing the Critical Zone place some tools outdoors in the Taroko Gorge site. They have notably installed near-real-time monitoring networks to investigate how landslides are driven by the weather, and also how landslides affect the climate. Cameras, seismometers, and weather stations replace the body of the observer to see beyond the scale of the human perception system. With video installation work Frame of Reference artist Su Yu-Hsin addresses the question of formatting scalar relations between the field, laboratory and database. What role do images play in the field work of the Critical Zone? The Artist followed the two groups of scientists from the; GFZ German Research Centre for Geosciences to the outdoor landslide laboratory in Taroko National Park and laboratory in Potsdam, and the NCTU Disaster Prevention and Water Environment Research Center in Wuhe and Wulu. The network of stations in the catchment of the Liwu river are used to monitor rivers and landslides. How to see? Where to see from? In this infrastructure to see “within,” where is the body of the observer?

Su Yu Hsin(b.1989) is a Taiwanese artist and filmmaker currently based in Berlin. Su approaches ecology in its close relationship with technology. Her artistic research reflects on technology, ecology and the critical infrastructure where the human and non-human converged. Su specially focuses on map-making, operational photography and the technical production of geographical knowledge. Su Yu Hsin participated in group exhibitions in Taipei Biennial (2020), ZKM Karlsruhe (2020), Kyoto Art Center (2020), UCCA Center for Contemporary Art (2020), Haus der Kulturen der Welt (2019), and Junín Contemporary Art Museum (2018). She is the finalist artist in the 8th Huayu Youth Award (2020) and LOOP Barcelona Discover (2018).

The documentary Man Made Place shows through impressive images how two certain cities ? and the relation of inhabitants to these cities ? are developing in China in times of urban growth. Yumen ? a derelict ghost town ? and Kangbashi ? a mythic city of the future, both are deserted. They exist because of completely different reasons.

Born 1979 in Taiwan. Artist and director, living in Essen (Germany). 1998?2002 studies at the National Taiwan University (BA). 2006 ?2012 studies at the Academy of Media Arts Cologne,Art (diploma). his first documeNtry film were promoted by Film- und Medienstiftung NRW (Germany) in the year 2011.

"Le Musée Précaire Albinet? is a project by the artist T. Hirschhorn produced from the 19th of April to the 14th of to June 2004, on the request of the "Laboratoires d'Aubervilliers". The project was to exhibit original key-works of the 20th century Art History in the city of Albinet in the Landy quarter of Aubervilliers. For eight weeks, the works by eight artists whose utopia was to change the world were presented: Marcel Deschamp, Kasimir Malevitch, Piet Mondrian, Salvador Dali, Joseph Beuys, Le Corbusier, Andy Warhol, Fernand Léger. ?JOURS TRANQUILLES AU MUSEE PRECAIRE ALBINET? is a film that lays on this extraordinary artistic experience, the exhibition of master pieces, lent by the "Centre Georges Pompidou", in a council tower block of Seine Saint Denis. It rises as obvious the relations that are established between the inhabitants of this area, caused by the presence of these priceless works. This artistic event is the trigger for fiction, an utopia getting real, an alternation of the daily that the film recounts? This is a sight out of clichés and caricatures that doesn?t stigmatize the population and the youth from a difficult quarter of the 93?

Coraly Sturat is born on the 1st of April, 1967 in Paris. She studied drawing in 1986 at the ENSAB, then turns towards video. She?s graduated from the "Ecole d?Etudes Cinematographiques" (ESEC) in 1990. She?ll obtain then a master in History of Art in 1992. Between 1992 and 1994 Coraly Stuart,writes scripts for TV, short length movies and documentaries. From 1994 to 1999, she realizes institutional films, clips, pack-shots, dance-videos,and videos integrated to videos installations. Coraly Suard created then the Association ?POINT2VU? at the "Hôpital Ephémère" and produces video installations and ?interactive? videos with Serges RDO. She?ll produce also the fist integrated video of the sculptor Thomas Hirschhorn. In 1999, she decides, with Vénroique Bacchetta, head of the Geneva Center for Contemporary Carving, to create the association ARTFILMS, which vocation is production and realisation of movies treating the subject of contemporary creation. ArtFILMS is located on the crossing between art and audio-visual with the mission to reunite the audience with creation of its time through its mediatisation. Coraly Suard shall then produce and realize many documentary films with numerous artists and institutions all around the world. In 1999, she produces ?Entretien avec Thomas Hirschhorn/ Jean-Charles Masséra? with the support of the gallery Chantal Croussel, then : ?KunstKiosk?, a 52 min documentary, a four years work in progress by Thomas Hirschhorn 1999-2002. Public Request from Switzerland, with the support of the Switzerland Culture Center. In 2000, she produces a 52 min documentary: ?Rencontres avec l?art contemporain n°1: Thomas Hirschhorn? diffused on the fifth French Channel, then a 15 min: ?A propos de n°1, Alin Séchas?, artist's lyrics. Then comes the 24 min one on Jean Charles Masséra: ?Passages? which shall be diffused for the exhibition ?La Beauté2000? integrated to the Deleuze Monument of Avignon (France). On the same year, Coraly Suard produces ?Un Temps est trouble?, a 13 minutes documentary on Mannuel Joseph, and also ?Deleuze Monument?, a 26 minutes documentary on Thomas Hirschhorn's work with the DRAC PACA support, the French Ministry of Culture and which was also diffused for the exhibition ?La Beauté? of Avignon (France). In the year 2001, Coraly Suard shall produce and carry out a 52 min documentary ?Rencontres avec l?art contemporain n°2: Sylvie Fleury? with the Pro-Helvetia, Swiss Foundation for Culture and she shall also produce ?Série à propos n°2/3/4?, three documentaries of 13 minutes each respectively on Fabrice Gygi, Beat Streuli and Gianni Motty. Then starts a very interesting collaboration with the "Palais de Tokyo" (Paris, France) ? a site for contemporary creation. At the same time of exhibitions, ARTSFILM will still produce in 2001, ?Punct?um?,a 13 min documentary on the relation between art and TV, for the ?Tokyo TV?. The ?Série All About?, unseen artist's portraits of 3x6 minutes (Mélik Ohanian, Tatiana Trouvé, Beat Streuli), documentaries shot around a work that was presented at the "Palais de Tokyo" will also be produced. In 2002-2004, starts the production of the series ?FOCUS?, 22 x 6 minutes documentaries, about contemporary artists works. The objective of this series was to establish a photography of the nowadays artistic world, on European scale, to reinforce the cultural identity and favour the work's diffusion. In 2004-2005, she co-produces with the Pompidou Center a 52 min documentary that she produces ?Jours Tranquilles au Musée Précaire Albinet? in the piece of the artist Thomas Hirchhorn in Aubervillers, where he exhibits the main original works of eight artists from the 20th century. At the same time, she pursues the developing of the serie ?FOCUS".

Summer has arrived at Ubuyama-mura. The cuckoo’s cry can be heard reverberating across the landscape of this mountain village. Masae travels from house to house gathering summer songs. She seems to be looking for something. Summer songs: a collection of ancient and contemporary poems compiled over 1,100 years ago, single verses from a heartbreaking ballad, an intimate confession, a looping prayer as a path to enlightenment… Each one has its own structure. In the commitment to communication, each (re)writing entails a specific translation effort and its own setting-in-space/time/word/image/sound… Summer songs, sweetly, in intimacy, unleash iron ties, floating on the heavy inheritance of the despotic unwritten laws of the mountain village. They are outside of space and time, and by grasping them, by bringing them to the present and placing them, they exert their liberating power.

León, Spain, 1992. Madrid-based visual artist and filmmaker. His work is part of Light Cone catalogue since May 2023. He has presented his first solo exhibition, “Marcel !”, at WIELS Contemporary Art Center - Project Room, Brussels, in July 2023. In June 2024 his film “Natsu no uta [Summer songs]” was awarded the prize ‘Fugas’ at the International Documentary Film Festival Documenta Madrid. In 2021 his work “Pintura de roca” received the 'XXXII Prize of Plastic Arts Circuits 2021' (Community of Madrid). Jorge Suárez-Quiñones Rivas experiments around the formal and conceptual implications of in-camera-editing regarding the experience of present as a space-time category potentially condensable in filmic matter, and therefore capable of being shared through projection devices specifically determined for each work. Resident artist at WIELS Contemporary Art Center (Brussels) and Artists in Aso (Kumamoto). Selected screenings/exhibitions: IFFR Rotterdam, FICUNAM, First Look, Anthology Film Archives, Dilalica Contemporary Art Gallery, WIELS Contemporary Art Center – The Project Room, MoMI, Fracto Experimental Film Encounter, Takechi Gallery, SixtyEight Art Institute, Nomadica LABA, Punto de Vista, Venice Architecture Biennale – Spanish Pavilion, Documenta Madrid, S8, Tokyo Image Forum, CA2M Contemporary Art Museum, CCCB-Xcèntric, VideoEx, Frontera Sur.

“ They arrive at Amijima. This will be their place of death ”. (Monzaemon Chikamatsu, Love Suicides at Amijima) Jorge Suárez-Quiñones sets out on an unusual adaptation of the famous bunraku play The Love Suicides at Amijima, written by Chikamatsu Monzaemon in 1720. This updated version holds on to the passionate, heartbreaking and bleak spirit of the original, adding to it an understanding of the lack of communication and the emptiness, so characteristic of the contemporary world. A hardly distinguishable figure walks through the fog. His is an odyssey of deeply romantic and tragic undertones across a mythical territory where he will encounter both sublimation and existentialist surrender. Besides intelligently threading references to classics such as Viaggio in Italia (Rossellini, 1954) or Double Suicide (Masahiro Shinoda, 1969), Jorge Suárez-Quiñones borrows elements from new prodigies of experimentalism, such as Encounters in Landscape (3x) (Salomé Lamas, 2012). Emotionally overwhelming, sublime in its use of landscape and white and black cinematography, Amijima is an absolute revelation. (Introduction by JAVIER H. ESTRADA)

Jorge Suárez-Quiñones Rivas (1992, León) is a Spanish filmmaker, videoartist and graduate in Architecture with a master in Audiovisual Contemporary Creation in VideoLAB (currently MasterLAV). His last film, “ Amijima ”, had its international premiered in International Film Festival Rotterdam 2017 after having its world premiere in the Official Competition of FILMADRID International Film Festival 2016, where it was awarded with the special mention of the youth jury. His films have been projected as well at MUSAC Contemporary Art Museum, CGAC Contemporary Art Museum, CGAI Image Art Center & Cinematheque, Curtocircuíto International Film Festival, ALCINE International Film Festival, Moscow Media Art Center “ Now and After ” or SixtyEight Art Institute Copenhagen, being part of the archive of Rencontres Internationales Paris-Berlin 2016, MUBI`s notebook (with his video-essay on Ozu`s cinema “The Eternal Virgin ”, included among the best video-essays of 2017 in Sigh&Sound Magazine), Filmscalpel and the online cinema platform Márgenes. His crossed background, education and practice in both film and architecture has taken place in Madrid (Superior Technical School of Architecture of Madrid and MasterLAV • Master Course in Contemporary Audiovisual Creation, where he is currently teaching about audio-video-essayist practice), Tokyo (University of Tokyo) and Shanghai (Tongji University).

The origin of this work lies on Xosé María Díaz Castro’s poem "Coma brasas (Like embers"). It is part of "#ProxectoNIMBOS", a project promoted by Martin Pawley where (young) filmmakers are asked to create audiovisual pieces after Díaz Castro’s poems included in his only published book, "Nimbos". Díaz Castro as a poet, me as a filmmaker: “(...) Here they are, like embers in the night, the old things, full of destinies. (...) I will give to those things the whole drama that destiny denies them: I will give them faces, so that they may meet each other; I will give them words, so that they may understand each other…”. According to the filmmaker Carlos Rivero, director assistant in this project: “Those three shots could be taken as three different stories, but, for some magical reason (there it is, the cinema), they are connected and linked around their mystery. It is only by means of cinema that things can recover the dignity denied by destiny. And of course by means of time.”

Jorge Suárez-Quiñones Rivas was born in León, Spain, in 1992. Being passionate by cinema since he was a teenager, he started to film and edit short videos in 2008, when he was 16 years old. Ever since, he has never stopped filming and editing on his own. In 2010, he entered the Superior Technical School of Architecture of Madrid (ETSAM, which belongs the the Polytechnic University of Madrid, UPM), where he continues studying at present. From October 2013 to October 2014, he lived in Tokyo as an Exchange student in the University of Tokyo (Tokyo Daigaku). This experience changed his life. Back to Spain, he decided to study a Master Course in Contemporary Audiovisual Creation in LENS School of Visual Arts, which he combined with his studies in Architecture. His first feature film, “陽平・YOHEI”, which was written, filmed, edited and directed on his own, not only is the result of his vital experience in Tokyo, but also some kind of summary of 23 years of life as a passionate cinema lover. He is currently finishing the postproduction of his second feature film, “Amijima”, and shooting between Spain and Korea his third feature, “Gimcheoul”.