Catalogue > List by artist

"Postponing the Inevitable" is a film presenting three distinct interpretations on the theme of near-death. Based on true stories, the film?s chapters "Falling", "Faking" and "Freezing" conceptually sit between traditional cinematic storytelling and an ambiguous space of visual representation, asking the viewer to interpret the clues provided: A garbage collector is photographed by a woman for an unknown purpose, a man walks backwards and forwards at the beach, a hospital contains a lone patient.

Born 1975 in Las Cruces, New Mexico, Noam Toran studied fine art and combined artist commissions with set designs for theatre and film before receiving an MA in design at the Royal College of Art in London. His work spans multiple disciplines and mediums, from film to installations to conceptual design, and focuses on the social, psychological and ethical implications of emerging technologies, mass culture, and celluloid media to photography. Toran?s work is exhibited, screened and published internationally, notably at the New York MOMA, the Luxembourg MUDAM, the CNAC Pompidou in Paris, and the Kulturhuset in Stockholm. He currently teaches at the Royal College of Art and lectures worldwide.

?No Place Nowhere? can deal with many topics. It is a personal journey through image and time. It is the portrait of a marginal neighborhood. It is the encounter between reality and fiction. It is the constant search for a truth within in the documentary. It is a music rehearsal and the constant making of a film. It is a documentary more on questions rather than answers. A silent face, an empty highway, a winter scenery, the wind blowing the leaves in a tree, the sea, any given ordinary neighborhood to ?create by means of register? an unique truth for each person in the audience.

José Luis Torres Leiva is a Chilean young filmmaker born in 1975. With the short ?The Dead? he won the regional Fondart Award in 1998. Since then he has made a considering amount of shorts and independent videos. In the year 2003 he got a scholarship granted by Fundación Andes to the creation of the documentary ?No Place Nowhere?. He is currently working on what will be his opera prima in fiction filmmaking: ?The sky, the Earth and the Rain?, for which he got the Fundación Carolina 2003 scholarship for the development of Ibero-American filmmaking projects in Madrid, Spain; The Hubert Bals 2004 subsidy from the Rotterdam?s Film Festival for projects developments and an Honorable Mention for the project?s quality in the II Bal of the 6th Independent Filmmaking Festival, Buenos Aires, 2004. He recently finished the 35mm short ?Women Workers coming out of Factory? with the support of the Fondo de Fomento Audiovisual Nacional (FONDART) selected in several film festivals, like Toulouse, Huesca, Belo Horizonte, Sao Paulo, Drama (Grand Prix Best Short Film) Viña del Mar and Leeds. The documentary ?No Place Nowhere? has been selected in several Film Festivals, including: Barcelona DOCUPOLIS 2004 Documentaries International Festival, in the Opera Prima category, Rotterdam Film Festival, Rencontres de Toulouse, It?s all true documentary festival in Brazil, Vancouver, Canada, Viennale in Austria, etc. He was also awarded as Best Director in the VIII Santiago Documentaries Festival, FIDOCS 2004.

With no visible human presence, we move through the interior of a house. Like all houses, it contains spaces of darkness and corners hidden from view. That house, that interior, hides its flat background of ephemeral construction. We are inside a set built to the limits of the frame that films it. That house was only a fragment of what it appears to be. “The Uninvited” is a short film not about what there is, but about what there could be. Cinema is an apparatus of power over the representations shown therein and the bonds of continuity of a society. “The Uninvited” shows a house haunted by those absences, its blind spots and the violence of its limits and exclusion that its representations have meant.

Fabiola Torres-Alzaga is a Mexican artist working in contemporary art. She studied photography at “The active school of photography” and visual arts at “La Esmeralda” in Mexico City. She has been investigating focus and nearsightedness present in the act of gazing, and its repercussions in our socio-spatial relationships. I have a keen interest in cinema and its articulations of space and time, as well as stage magic and its defiance of logic. Both disciplines comprise the basis of my research. Through them, I seek to expand the scope of the visible, creating illusionary worlds that intrude into real space, counter-spaces that claim inclusive folds within the rigid limits of patriarchy to generate Other possible relations. Her work has been shows at MUAC (Mexico City, 2021), Lille3000 (France, 2019), the Biennal FEMSA (Zacatecas, 2018), the Anthology Film Archives (New York, 2018), the Biennal of Moving Images (Buenos Aires, 2018), the Paul Kasmin Gallery (New York, 2018), Videoex , Maison des Arts de Malakoff (France, 2016), the Polytechnic Museum of Moscow (Russia, 2015), MARCO (Monterrey, 2015), Museum of El Chopo (Mexico City, 2014), Museum of Modern Art (Mexico City, 2014), Laboratorio Arte Alameda (Mexico City, 2011), the Center for Contemporary Art (Tel Aviv, 2006) and Sala de Arte Público Siqueiros (Mexico City, 2004), among others. She has published “Historias de la noche” (Stories of the night, ESPAC, 2019) a book/project in dialogue with cinema curator Mara Fortes, and a solo catalogue “Fabiola Torres-Alzaga: In between acts” (Museo Universitario del Chopo, 2015), she´s currently a member of the Fonca’s Sistema Nacional de Creadores.

Hardly Working sheds a limelight on the very characters that normally remain in the background of video games: NPCs. They are non-player characters that populate the digital world as extras to create the appearance of normality. A laundress, a stable boy, a street sweeper and a carpenter are observed with ethnographic precision. They are Sisyphus machines, whose labour routines, activity patterns as well as bugs and malfunctions paint a vivid analogy for work under capitalism.

The pseudo-marxist media guerilla Total Refusal explores and practices strategies for artistic intervention in contemporary video games. It works with tools of appropriation and rededication of game resources. Their films and performances were presented among others at Berlinale ‘20, Locarno 22 and at the MoMA in NYC and they have received more than 46 international and national awards and honorary mentions. The current members of Total Refusal are: Susanna Flock, Adrian Jonas Haim, Jona Kleinlein, Robin Klengel, Leonhard Müllner & Michael Stumpf

« Memoirs of a nurse », is the third part of a trilogy of video works featuring marionnettes in a hybrid of theater and film. The action takes place after death, in a « beyond » where psychoanalysis turns out to be obligatory and also an infinite process. Through the eyes of the protagonist : E, the film portrays how she and the different characters from her past life relate to psychoanalysis. She tries to figure out the meaning of love via transference towards the therapist, whom she perceives as a rescuing, reparative object. In order to pay for their daily post mortem sessions, through endless nights the characters have to work in a factory, which « produces » words on a circular conveyor belt. On the blurred line between dream and nightmare, utopia and dystopia, the film is a fond, but critical take on analysis. In the film, the psychoanalyst is portrayed by a marionette that looks like David Lynch, and a marionette resembling Larry David plays the receptionist at the post-mortem hall and the occasional analyst. Their dialog is an extract from the « Clinical diary « of Sándor Ferenczi.

Esther Toth was born in Budapest. She studied in the École Nationale Supérieure des Beaux-Arts in Paris, in the studio of Christian Boltanski. She received the Erasmus grant for the San Francisco Art Institute for the cinema section. She has spent several years studying the Stanislavski method in New York and Paris. But it was mainly her analytical work that motivated her, and upon which she directly drew her trilogy of films featuring marionettes. Did I dream you or did you dream me? (2010) was produced with the help of the Fonds de dotation d’Agnès b. The second part of the trilogy Sisters, a classic case (2012), was completed with the help of the Centre national du cinema et de l’image animée and Tomorrowland. These two films were projected at the Palais de Tokyo in Paris in 2013, followed by a debate with art critic Catherine Francblin. The third part of the trilogy Memoirs of a nurse (2015), was granted the help of the Fondation nationale des arts graphiques et plastiques and the Centre national des arts plastiques and will be projected in the Centre Pompidou in 2017.

“Jalal, last night, I had a dream about our film.” “Which film?” “The one we are working on these days.” “Hong Kong, China, Solaris?” “Yes.” Can one have a dream where one’s deepest, unconscious wishes are fulfilled by Solaris or a Solaris equivalent, the extraterrestrial hyperintelligent sentient ocean of Tarkovsky’s film Solaris that fulfills such wishes? Yes, if one’s meta-wish is to have one’s unconscious wishes fulfilled in the manner Solaris does that rather than in the manner dreams do it (through such mechanisms as condensation and displacement). One should bear in mind though that, since dreams are wish fulfillments, Solaris or a Solaris equivalent would end up making one unable to dream, an insomniac, since it would render dreams superfluous. By dreaming about Solaris or a Solaris equivalent one would be dreaming about a place where one cannot dream, where there are no dreams.

Graziella Rizkallah is a Lebanese filmmaker. Her videos have been shown at Sharjah Biennial 11; San Francisco Museum of Modern Art; MAXXI; First Asia Biennial & 5th Guangzhou Triennial; 7th Bi-City Biennale of Urbanism\Architecture (Shenzhen); Times Art Center Berlin; Darat al Funun (Amman); and Beirut Art Center. Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or Baghdad and died before dying in 1989 in Evanston, Illinois. In addition to writing over ten books, he has made over ten films and videos, which include essay films and conceptual films; short films (7 minutes, 8 minutes, etc.), feature-length films (110 minutes, 138 minutes, etc.), and “inhumanely” long films (72 hours, 50 hours); videos that are standalone works as well as ones that are part of mixed media works; films that he shot and films in which all the images are from works by other filmmakers (Hitchcock, Sokurov, Bergman, etc.). His work has been shown in the 6th, 10th and 11th Sharjah Biennials; the 9th Shanghai Biennale; the 5th Guangzhou Triennial; MoMA PS1; San Francisco Museum of Modern Art; Centre Pompidou; ZKM; Kunsthalle Fridericianum; MAXXI; Witte de With; and Deichtorhallen Hamburg.

La théorie des vagues est un film en trois mouvements, au fil desquels, à partir du motif de la vague, la question du passage de la perception à la représentation tente de se résoudre. Le film s?ouvre sur la description d?une maison tout au bord de l?eau, sur laquelle les vagues viennent éclater les jours de tempête. Ce lieu évoqué par la narratrice est celui où j?ai passé les deux premières années de ma vie. Hormis le récit que l?on m?en a fait, je n?en garde aucun souvenir, aucune image, même si je peux supposer qu?il a affecté mon mode de perception. C?est un autre lieu, le laboratoire de mécaniques des fluides de l?école centrale de Nantes, qui a réactivé la mémoire de cette maison au bord de l?eau, quarante ans après. Là, les vagues viennent s?écraser régulièrement sur les murs de béton d?un bassin à houle.

Muriel Toulemonde est née à Lille en 1970. Durant ses études à l?Ecole Nationale Supérieure des Beaux-arts de Paris et après, (DNSAP en 1997), elle bénéficie de plusieurs résidences à l?étranger : Milan (1991), Los Angeles (1994), Cologne (1999), Budapest (2001), Delphes (2004).

"Sarcocoptes" in greek, it means flesh cutters. This short film-videoart is an experimental animation. The human body transforms depending on the emotions. Persistence on the human head and its anatomy. Anatomy drawings mutate. Emotions and memories have actual flesh and struggle with the real flesh. A simple thought seems like a medical operation. Is organism closer to death or is he ready to rebirth? A lonely creature that diggs his mind to discover himself.

Giorgos TOURLAS was born in Athens in 1979. He is a graduate of the Athens? School of Fine Arts , where he studied in the laboratory of Rena Papaspyrou, from the year 1999-2000 up to 2003-2004. In the same faculty he studied mosaic and computers. Now, he is in Athens? School of Fine Arts, for postgraduate studies in Digital Art. In the University of Fine Arts of Valencia, in Spain, in 2002, he studied copper engraving (calcografico) and animation.

Au risque et limite de l?enfermement, une perception du monde dans un espace confiné. Petit à petit des images flottantes, des atmosphères de travail, des lieux de vie? Un mètre carré d?existence. Habiter un lieu, inventer des perspectives, vivre dans un temps autre que celui vécu par le commun des mortels et pourtant demeurer si semblable. Un paradoxe troublant

With evocative sound and visual elements, ETHER aims to create an immersive environment of data decay. Images crackle and distort, merging in and out of video noise. The hiss and hum of sound thousands of miles away fills the room, snatches of music and voices decompose into static. In a darkened room, the video diptych is projected on a flat white wall as the only illumination. Four speakers in the upper corners of the room put forth a wash of sound that envelops but doesn`t intimidate.

Bruce Tovsky is a visual/sound artist and resides in Brooklyn, New York. He earned his MFA degree in Multimedia (Film, Video, Sound, Performance and Installation Art) from Rutgers University in 1979. He began showing video across the USA, Europe and Japan in the early 1980`s. He has video in the collections of The Kitchen and The New York Library Donnell Library Center, both in NYC. He embarked on a diverse career as an audio producer (Liquid Liquid, Lydia Lunch, Karen Finley, Foetus) and video editor/designer for commercials and music videos. For the past several years he has been creating live video and sound improvisations, often in collaboration with sound artist John Hudak, in a variety of spaces around New York City, including Diapason, Experimental Intermedia, Issue Project Room, and his own installation space 106BLDG30 at the Brooklyn Navy Yard. In the summer of 2003 he performed "for the time being" with Hudak at Roulette`s "Festival of Mixology" at The Performing Garage. This performance was released in October 2004 on Jason Kahn`s CUT label, and was reviewed in the February 2005 issue of The Wire. In October 2003 Tovsky assembled a group of improvisors - Beo Morales, David Linton, Michael Schumacher and Brooks Williams - to perform a piece for the Réseaunances festival at Ircam in Paris. His most recent video/sound piece ETHER premiered at 106BLDG30 in the Navy Yard in June 2005, and has been playing in international festivals from São Paulo to Seoul. The audio from ETHER was recently featured in a BBC radio documentary on shortwave numbers stations.

All the Good Times is a sound based video installation and performance examining transatlantic aspirations in land lock as a metaphor for generational divides and the fetishization of histiographies. Performative gestures that seek to reclaim dislocated fatherhood and recalibrated pride blend with archival footage shot by the artists’ respective grandfathers. Fleeting memories are punctuated with the rhythm and repose of staged theatricality. Immersed in a soundscape that transforms the traditional tune All the Good Times are Past and Gone into an aggressively celebratory jazz infused piece the gallery is peppered with tv stacks littered with repetitive inconclusive processions. The installation examines the role of nostalgia coupled with the legacies of creole cuisine and the Black Atlantic questioning the distancing of technology and spirituality. The piece premiered at the 2019 Art of Brooklyn Film Festival.

Bradly Dever Treadaway is a Brooklyn based artist, educator and curator utilizing lens-based image making, moving images, sound, sculpture, installation and performance to comment on the breakdown of intergenerational communication and broken familial links due to natural disaster, technological evolution, mental health challenges, societal shifts and the continuance of interpersonal detachment occurring within American communities. His work is visualized through archival interventions, recontextualizing the archive to serve as form, medium, subject matter and concept, elevating domestic ephemera and rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to illustrate ancestral collisions with contemporary responses. His work has been exhibited at the Whitney Museum of Art, the Center for Photography at Woodstock, The International Center of Photography,The Ogden Museum of Southern Art in New Orleans, Agora Gallery in Chelsea, NY, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, The Rencontres Internationale Paris/Berlin, Anthology Film Archives, the Art of Brooklyn Film Festival, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council’s Scene: Brooklyn. Treadaway’s work has been curated by Vince Aletti, Kevin Jerome Everson, Jon Feinstein and Julian Cox and is part of the permanent collections at The Center for Photography at Woodstock, The Ogden Museum of Southern Art, The Masur Museum of Art, the Ewing Gallery at the University of Tennessee, the Brooklyn Public Library and the Mobile Museum of Art. Treadaway has recently held residencies at Trestle Art Space and BRIC Media Arts in Brooklyn, Kutztown University in Pennsylvania and the Contemporary Arts Center at Woodside in NY. In 2021, he received City Artist Corps Grant to curate and produce Archival Interventions, a film screening at FiveMyles gallery in Crown Heights and he is the recipient of a 2024 Foundation for Contemporary Arts Grant. Treadaway is a Fulbright Scholar to Italy and a Faculty member at The International Center of Photography in New York City where he has taught a range of courses including topics related to analog and digital photography, video, sound, installation and archival interventions as the as the founding media. From 2008-2020, Treadaway also held the position of Digital Media Coordinator at ICP. Additionally, he has taught a range of courses at Bard College, SUNY Purchase, The Fashion Institute of Technology (FIT), Barnard College and Louisiana State University. He is available for private and small group mentorship on all lens-based topics – critique and project development, technical skillsets and workflows and more. Justin Randolph Thompson is an artist, cultural facilitator and educator born in Peekskill, NY in ’79. Based between Italy and the US since 1999, Thompson is Co-Founder and Director of Black History Month Florence, a multi-faceted exploration of Black histories and cultures in the context of Italy founded in 2016. Having realized, coordinated, curated, facilitated and promoted over 300 events and with 8 ongoing research platforms, the initiative has been reframed as a Black cultural center called The Recovery Plan. Thompson is a recipient of a 2022 Creative Capital Award, a 2020 Italian Council Research Fellowship, a Louis Comfort Tiffany Award, a Franklin Furnace Fund Award, a Visual Artist Grant from the Fundacion Marcelino Botin and an Emerging Artist Fellowship from Socrates Sculpture Park amongst others. His work and performances have been exhibited widely in institutions including The Whitney Museum of American Art, the Centro de Arte Reina Sofia and The American Academy in Rome and are part of numerous collections including The Studio Museum in Harlem, and the Museo MADRE. His life and work seek to deepen the discussions around socio-cultural stratification and the arrogance of permanence by employing fleeting temporary communities as monuments and fostering projects that connect academic discourse, social activism and DIY networking strategies in annual and biennial gathering, sharing and gestures of collectivity.

"Beatings Of The Devil" is based on the concept and weather event called sunshowers, or, as my grandmother would often say when it rained while the sun was shining, “The devil is beating his wife”. This wildly inappropriate, and outdated colloquial phrase, which resonated deeply within me as a child, provides a point of departure and interpretation for this work. Created through a series of shoots spanning over four years, the piece has evolved into a memorial to my mother, and a reckoning for my father, who recently lost his wife of 51 years. The piece premiered at the 2022 Art of Brooklyn Film Festival, and won the Vanguard Award for Best Experimental Short.

Bradly Dever Treadaway is a Brooklyn based artist, educator and curator utilizing lens-based image making, moving images, sound, sculpture, installation and performance to comment on the breakdown of intergenerational communication and broken familial links due to natural disaster, technological evolution, mental health challenges, societal shifts and the continuance of interpersonal detachment occurring within American communities. His work is visualized through archival interventions, recontextualizing the archive to serve as form, medium, subject matter and concept, elevating domestic ephemera and rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to illustrate ancestral collisions with contemporary responses. His work has been exhibited at the Whitney Museum of Art, the Center for Photography at Woodstock, The International Center of Photography,The Ogden Museum of Southern Art in New Orleans, Agora Gallery in Chelsea, NY, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, Anthology Film Archives, the Art of Brooklyn Film Festival, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council’s Scene: Brooklyn. Treadaway’s work has been curated by Vince Aletti, Kevin Jerome Everson, Jon Feinstein and Julian Cox and is part of the permanent collections at The Center for Photography at Woodstock, The Ogden Museum of Southern Art, The Masur Museum of Art, the Ewing Gallery at the University of Tennessee, the Brooklyn Public Library and the Mobile Museum of Art. Treadaway has recently held residencies at Trestle Art Space and BRIC Media Arts in Brooklyn, Kutztown University in Pennsylvania and the Contemporary Arts Center at Woodside in NY.

Booked For Safekeeping addresses faltering outlets for the containment and expression of violent impulses, the reactionary bluster of discourse in contemporary society and the isolation and paranoia developing within American communities. Juxtaposed against the grace, rhythm and force inherent within the motions of a boxer engaged in battle with himself are archival images from a 1960 film produced by the Louisiana Association for Mental Health addressing the apprehension and incarceration of "disturbed" people. While investigating the propensity and commonality of violence, the piece alludes to the distressing shift in tone and approach regarding the policing of communities, wherein patience, compassion, and de-escalation are too often replaced with militaristic distance and aggressive control.

Bradly Dever Treadaway is a Brooklyn and New Orleans based artist and teacher utilizing lens-based image making, sculpture, installation and performance to comment on the breakdown of intergenerational communication. His work revolves around fleeting family histories visualized through archival interventions and elevated domestic rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to fading family histories using with personal and public archives, recontextualizing the archive to serve as form, medium, subject matter and concept. Treadaway is a Fulbright Scholar to Italy and works as both a Faculty member and the Digital Media Coordinator at The International Center of Photography in New York City. His work has been exhibited at the Whitney Museum of Art, Center for Photography at Woodstock, The International Center of Photography, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, Anthology Film Archives, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council?s Scene: Brooklyn.

All the Good Times is a sound based video installation and performance examining transatlantic aspirations in land lock as a metaphor for generational divides and the fetishization of histiographies. Performative gestures that seek to reclaim dislocated fatherhood and recalibrated pride blend with archival footage shot by the artists’ respective grandfathers. Fleeting memories are punctuated with the rhythm and repose of staged theatricality. Immersed in a soundscape that transforms the traditional tune All the Good Times are Past and Gone into an aggressively celebratory jazz infused piece the gallery is peppered with tv stacks littered with repetitive inconclusive processions. The installation examines the role of nostalgia coupled with the legacies of creole cuisine and the Black Atlantic questioning the distancing of technology and spirituality. The piece premiered at the 2019 Art of Brooklyn Film Festival.

Bradly Dever Treadaway is a Brooklyn based artist, educator and curator utilizing lens-based image making, moving images, sound, sculpture, installation and performance to comment on the breakdown of intergenerational communication and broken familial links due to natural disaster, technological evolution, mental health challenges, societal shifts and the continuance of interpersonal detachment occurring within American communities. His work is visualized through archival interventions, recontextualizing the archive to serve as form, medium, subject matter and concept, elevating domestic ephemera and rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to illustrate ancestral collisions with contemporary responses. His work has been exhibited at the Whitney Museum of Art, the Center for Photography at Woodstock, The International Center of Photography,The Ogden Museum of Southern Art in New Orleans, Agora Gallery in Chelsea, NY, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, The Rencontres Internationale Paris/Berlin, Anthology Film Archives, the Art of Brooklyn Film Festival, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council’s Scene: Brooklyn. Treadaway’s work has been curated by Vince Aletti, Kevin Jerome Everson, Jon Feinstein and Julian Cox and is part of the permanent collections at The Center for Photography at Woodstock, The Ogden Museum of Southern Art, The Masur Museum of Art, the Ewing Gallery at the University of Tennessee, the Brooklyn Public Library and the Mobile Museum of Art. Treadaway has recently held residencies at Trestle Art Space and BRIC Media Arts in Brooklyn, Kutztown University in Pennsylvania and the Contemporary Arts Center at Woodside in NY. In 2021, he received City Artist Corps Grant to curate and produce Archival Interventions, a film screening at FiveMyles gallery in Crown Heights and he is the recipient of a 2024 Foundation for Contemporary Arts Grant. Treadaway is a Fulbright Scholar to Italy and a Faculty member at The International Center of Photography in New York City where he has taught a range of courses including topics related to analog and digital photography, video, sound, installation and archival interventions as the as the founding media. From 2008-2020, Treadaway also held the position of Digital Media Coordinator at ICP. Additionally, he has taught a range of courses at Bard College, SUNY Purchase, The Fashion Institute of Technology (FIT), Barnard College and Louisiana State University. He is available for private and small group mentorship on all lens-based topics – critique and project development, technical skillsets and workflows and more. Justin Randolph Thompson is an artist, cultural facilitator and educator born in Peekskill, NY in ’79. Based between Italy and the US since 1999, Thompson is Co-Founder and Director of Black History Month Florence, a multi-faceted exploration of Black histories and cultures in the context of Italy founded in 2016. Having realized, coordinated, curated, facilitated and promoted over 300 events and with 8 ongoing research platforms, the initiative has been reframed as a Black cultural center called The Recovery Plan. Thompson is a recipient of a 2022 Creative Capital Award, a 2020 Italian Council Research Fellowship, a Louis Comfort Tiffany Award, a Franklin Furnace Fund Award, a Visual Artist Grant from the Fundacion Marcelino Botin and an Emerging Artist Fellowship from Socrates Sculpture Park amongst others. His work and performances have been exhibited widely in institutions including The Whitney Museum of American Art, the Centro de Arte Reina Sofia and The American Academy in Rome and are part of numerous collections including The Studio Museum in Harlem, and the Museo MADRE. His life and work seek to deepen the discussions around socio-cultural stratification and the arrogance of permanence by employing fleeting temporary communities as monuments and fostering projects that connect academic discourse, social activism and DIY networking strategies in annual and biennial gathering, sharing and gestures of collectivity.

"Beatings Of The Devil" is based on the concept and weather event called sunshowers, or, as my grandmother would often say when it rained while the sun was shining, “The devil is beating his wife”. This wildly inappropriate, and outdated colloquial phrase, which resonated deeply within me as a child, provides a point of departure and interpretation for this work. Created through a series of shoots spanning over four years, the piece has evolved into a memorial to my mother, and a reckoning for my father, who recently lost his wife of 51 years. The piece premiered at the 2022 Art of Brooklyn Film Festival, and won the Vanguard Award for Best Experimental Short.

Bradly Dever Treadaway is a Brooklyn based artist, educator and curator utilizing lens-based image making, moving images, sound, sculpture, installation and performance to comment on the breakdown of intergenerational communication and broken familial links due to natural disaster, technological evolution, mental health challenges, societal shifts and the continuance of interpersonal detachment occurring within American communities. His work is visualized through archival interventions, recontextualizing the archive to serve as form, medium, subject matter and concept, elevating domestic ephemera and rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to illustrate ancestral collisions with contemporary responses. His work has been exhibited at the Whitney Museum of Art, the Center for Photography at Woodstock, The International Center of Photography,The Ogden Museum of Southern Art in New Orleans, Agora Gallery in Chelsea, NY, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, Anthology Film Archives, the Art of Brooklyn Film Festival, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council’s Scene: Brooklyn. Treadaway’s work has been curated by Vince Aletti, Kevin Jerome Everson, Jon Feinstein and Julian Cox and is part of the permanent collections at The Center for Photography at Woodstock, The Ogden Museum of Southern Art, The Masur Museum of Art, the Ewing Gallery at the University of Tennessee, the Brooklyn Public Library and the Mobile Museum of Art. Treadaway has recently held residencies at Trestle Art Space and BRIC Media Arts in Brooklyn, Kutztown University in Pennsylvania and the Contemporary Arts Center at Woodside in NY.

Booked For Safekeeping addresses faltering outlets for the containment and expression of violent impulses, the reactionary bluster of discourse in contemporary society and the isolation and paranoia developing within American communities. Juxtaposed against the grace, rhythm and force inherent within the motions of a boxer engaged in battle with himself are archival images from a 1960 film produced by the Louisiana Association for Mental Health addressing the apprehension and incarceration of "disturbed" people. While investigating the propensity and commonality of violence, the piece alludes to the distressing shift in tone and approach regarding the policing of communities, wherein patience, compassion, and de-escalation are too often replaced with militaristic distance and aggressive control.

Bradly Dever Treadaway is a Brooklyn and New Orleans based artist and teacher utilizing lens-based image making, sculpture, installation and performance to comment on the breakdown of intergenerational communication. His work revolves around fleeting family histories visualized through archival interventions and elevated domestic rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to fading family histories using with personal and public archives, recontextualizing the archive to serve as form, medium, subject matter and concept. Treadaway is a Fulbright Scholar to Italy and works as both a Faculty member and the Digital Media Coordinator at The International Center of Photography in New York City. His work has been exhibited at the Whitney Museum of Art, Center for Photography at Woodstock, The International Center of Photography, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, Anthology Film Archives, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council?s Scene: Brooklyn.

Comma Boat is one of four movies to date completed in 2013 by Trecartin, first shown as a work in progress at the Arsenale of the the Venice Biennale. Since settling in Los Angeles in 2010, Fitch and Trecartin have designed and built a modular maze of sets on a soundstage with the help of Hollywood technicians who have rigged the space with lights and hydraulics enabling it to move and change for different projects.

Termed "the most consequential artist to have emerged since the 1980s" by The New Yorker, Ryan Trecartin is one of the most innovative artists working with video today. Trecartin`s video narratives unfold like futuristic fever dreams. Collaborating with an ensemble cast of family and friends, he merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. While the astonishing A Family Finds Entertainment (2005) has drawn comparisons to Jack Smith, early John Waters, and Pee-Wee`s Playhouse, Trecartin crafts startling visions that are thoroughly unique. Kevin McGarry writes, "Ryan Trecartin has established a singular video practice that in form and in function advances understandings of post-millennial technology, narrative and identity, and also propels these matters as expressive mediums. His work depicts worlds where consumer culture is amplified to absurd or nihilistic proportions and characters circuitously strive to find agency and meaning in their lives. The combination of assaultive, nearly impenetrable avant-garde logics and equally outlandish, virtuoso uses of color, form, drama and montage produces a sublime, stream-of-consciousness effect that feels bewilderingly true to life." Ryan Trecartin was born in 1981 in Webster, Texas. He received a BFA from the Rhode Island School of Design in Providence, Rhode Island in 2004. Solo exhibitions include Any Ever, which traveled from the Power Plant, Toronto in 2009 to the Museum of Contemporary Art, Los Angeles in 2010, then to the Museum of Contemporary Art, North Miami, FL in 2011; MoMA P.S.1, Long Island City, New York; Musée d`Art Moderne de la Ville de Paris, France (both in 2011); Kunsthalle Wien, Austria; Wexner Center for the Arts, Columbus, OH; Hammer Museum, Los Angeles, and Elizabeth Dee Gallery, New York. His works have been seen in group exhibitions at the San Francisco Museum of Modern Art; ZKM - Center for Art and Media, Karlsruhe, Germany; Garage Center for Contemporary Culture, Moscow, Russia; The Eighth Gwangju Biennale, Gwangju, South Korea; MIT/List Visual Arts Center, Cambridge, MA; New Museum of Contemporary Art, New York; Guggenheim Museum Bilbao, Spain; the 2006 Biennial Exhibition of the Whitney Museum of American Art, New York; USA Today: Works from the Saatchi Collection, Royal Academy of Arts, London; Moore Space, Miami, Florida; The Getty Center, Los Angeles; New York Underground Film Festival, New York; Chicago Underground Film Festival, Chicago; and Smack Mellon, Brooklyn, among others. In 2009 Trecartin was the recipient of the first Jack Wolgin Fine Art Prize, presented by the Tyler School of Art at Temple University, Philadelphia, which recognizes the highest level of artistic excellence on an international level. In 2009 he received the Calvin Klein Collection New Artist of the Year Award at The First Annual Art Awards, Solomon R. Guggenheim Museum, New York. He also received a Pew Fellowship in the Arts in 2009. Trecartin lives and works in Los Angeles.

A bed-bound woman's year passes as a day: her time is no longer measured by the increments of a clock but by the quality of weather outside her window. Objects emerge and merge in the gloom; the woman dissolves and reforms. Her muteness, her glaucomas and her inactivity render things indeterminate. By naming objects, animal and phenomena we reduce and delineate them, and so separate ourselves from the world around us - she cannot do this.

Peter Treherne is a moving image artist working in the South East of England. His films explore the affects of the environment, particularly weather, on agricultural and creative labour. His work is distributed by the Canadian Filmmakers Distribution Centre and Kinoscope, has been funded by Arts Council England, and has screened internationally at festivals and galleries including Festival ECRA, Whitechapel Gallery and London Institute of Contemporary Arts. Peter is also director of the Slow Film Festival, an organisation that shares moving image art with the British public in rural areas. The festival has collaborated on programmes with institutions including Close-Up Film Centre, MUBI and the British Council, and has screened work from artists including Ben Rivers, Kevin Jerome Everson, Babette Mangolte and James Benning. Peter also holds a master’s degree in Film Aesthetics from the University of Oxford.

As cows are milked on a British dairy farm a cataclysmic storm builds on the horizon. A mysterious meteorologist investigates the bizarre weather event and follows his equipment to the farm. But in the face of such contingency (the driving rain and restive animal life) can his research yield any results?

Peter Treherne is an experimental filmmaker and moving image artist working in the South East of England. He uses an arsenal of affordable cameras and ND filters, along with the contingencies of rain, snow, fog and other lugubrious atmospheric states, to pixelate and reconfigure landscapes and narratives. Peter was educated at the University of Oxford where he received a masters in Film Aesthetics. He is also director of the Slow Film Festival. The festival exhibits durational and landscape moving image art.

1221 Amor is a video combining live action with 3D animation. It explores issues of narrative in a work of fiction that has no protagonists and relies on matter and its processes of transformation. The story centers on the relationships between different mineral states, such as rock, bone, and fossil. In the three sequences that make up 1221 Amor, different temporalities merge to create a compressed, indefinite timeframe that runs counter to our traditional linear representation of time. The sounds and images have been produced from pseudo-scientific experiments and use the narrative codes of catastrophe films.

Nourished by the cinema, visual arts, literature, and philosophy, Julie Tremble uses video to explore the materiality of emotions and the narrative potential of natural elements. She has a Master’s degree in Cinema Studies from the Université de Montréal (Montréal, 2005) and a Bachelor’s degree combining cinema and philosophy (Montréal, 2000). Her work has been shown in artist-run centres, galleries, and various festivals across Canada. In 2013, she received the Prix du Conseil des arts et des lettres du Québec (CALQ) for the best work of art and experimentation at the 31st Rendez-vous du cinéma québécois. Her videos are distributed by Groupe Intervention Vidéo (GIV). She currently lives and works in Montréal. Julie Tremble is represented by Joyce Yahouda Gallery.

APOCALYPSE BABY is a teleshopping show that uses the fear of the climate crisis as a reason to instrumentalize the audience to consume more. A satire on consumption and the climate crisis, on global warming and individuality, on hedonism and bad conscience, on the contradictions within and all around us. A reflection about the way we look away and an exposure of the cynicism of a capitalistic system. “A great many of us engage in this kind of climate change denial. We look for a split second and then we look away. Or we look but then turn it into a joke (“more signs of the Apocalypse!”). Which is another way of looking away.” Naomi Klein (This Changes Everything: Capitalism vs. the Climate, 2014).

In an exercise of compensation, I invert the condition of the representations of prominent figures of class society. Between the social pages and the elitist advertising, I incrust them in the context of the settlers, the called ?D sector?. By means of digital abrupt manipulation turning to a stereotype, an exchange in a coarse way the roles of the social actors, I execute a pleasant revenge in photomontage key. For the speech, I used an early ?opened work?, as Umberto Eco concept, the prologue of a Peruvian basic book: Seven Essays Interpretation of the Peruvian Reality, by Jose Carlos Mariátegui, whose reflection about a racist society is still remaining up to the present. Declared in Quechua and without subtitles the voice force the spectator to enjoy a despised and unloved language.

Visual Artist and teacher Produced artwork with diverse media: video, installations, assembly, graphic arts, silkscreen, stage scene. In the decade of the 80`s, he participated in the underground scene of music and alternative art in Lima, Peru. Took part in artwork collective production: Macho Cabrio, Bestiarios, MUTA. Collaborates in initial and formative events of electronic art in Peru, organized by DACP, ATA, Medios Nómades. Founder member and director of DACP projects (Peruvian Cultural Artistic Development), Lima 2000-2008. Group of artists who promoted and produced Peruvian video-art works internationally. His video work was exhibited in diverse festivals placed in Japan, Los Ángeles, Barcelona, Madrid, Paris, Berlín, London. At the moment he is a teacher of Visual Arts at Corriente Alterna Fine Art School

Starting off of a visualization of satellite type, that used to spy to us, I discover the map of Peru, like a humanized silhouette. The satellite images can be destined like an illusion source: from very far the territory of the country is beautiful, and shows a vital green topography. Nevertheless closely together, the human drama that experiments most of inhabitants of those colorful zone, indicates the opposite... close by, everything seems so far. For that reason I display the form of our country in irreverent character. The orientation is reversed; the south is on the north, and the east on the west. Then, which will be the most resistant perspective?

He produced artwork with diverse media: video, installations, assembly, graphic arts, silkscreen, stagescene. In the decade of the 80`s, he participated in the underground scene of music and alternative art in Lima, Peru. Took part in collective artwork production: Macho Cabrio, Bestiarios, MUTA. Collaborates in initial and formative events of the electronic art in Peru, organized by DACP, ATA, Medios Nómades. Founder member and director of DACP projects (Peruvian Cultural Artistic Development), Lima 2000-2007. Group of artists who internationally produced and promoted Peruvian video-art works. Troncoso´s videoart was exhibited in diverse festivals in Japan, Los Ángeles, Barcelona, London. At the moment he is a teacher of Visual Arts at Corriente Alterna Fine Art School

"In Minh Quý Truong’s striking second feature, a man living on Mars in the year 2045 examines footage brought back from his encounters with an indigenous community in the jungles of Vietnam. As he experiments, his thoughts drift from matters of identity, aesthetics, and the politics of imagemaking, to ritual burial practices, to the seen and unseen forces that shape cultures. Combining elements of science fiction and ethnography, The Tree House is a powerful exploration of how time and environment relate to our understanding of home.", (57th New York Film Festival).

Truong Minh Quý was born in 1990 in Buôn Ma Thuot, a small city in the Central Highlands of Vietnam. Quý lives and works here and there in the vibrancy of memories and present moments, his narratives and images, lying between documentary and fiction, personal and impersonal, draw on the landscape of his homeland, childhood memories, and the historical context of Vietnam. In his films, he has experimented with combining abstract concepts-images with realistic improvisations during shooting. He is the alumnus of 2012 Asian Film Academy (Busan International Film Festival) and 2016 Berlinale Talents (Berlin International Film Festival). His films have been selected for international film festivals and exhibitions such as Locarno, New York, Clermont-Ferrand, Oberhausen, Rotterdam, Busan, Les Rencontres Internationales Paris/Berlin. He won the main Art Prize at the 20th VideoBrasil (Sao Paulo) in 2017. His second feature film, The Tree House, premiered in 72nd Locarno Film Festival (Filmmakers of The Present Competition, Swiss Critics Boccalino Award), where it was called as “Three of the festival's best premieres” by Mubi and “a singular entrancing ode to memory and filmmaking” by The Film Stage. The film continued to screen in 57th New York Film Festival (Projections), Viennale, Festival Des 3 Continents (Competition), Rotterdam International Film Festival (Bright Future Main Program), CPH:Dox (Artist & Auteur), Goteborg International Film Festival, among others. Currently Quý is taking his research on analog and new media at Le Fresnoy - National Studio of Arts in France.

The persons are looking for each other. Sometimes they feel they are going to see the other, but it is just an illusion of mind. The gazes that point out of the frames to somewhere invisible. The repetition of images recalls the feelings of a loosen memory.

Truong Minh-Quy was born in 1990 in Buon Ma Thuot, a small city in the central highlands of Vietnam. In 2008 he entered film directing class at the Cinema and Theatre University in Ho Chi Minh City. After one year, he decided to quit the school to pursuit his independent filmmaking path. In 2012, he was a fellow of AFA (Asian Film Academy, Busan International Film Festival). In Feb 2016, he attends Berlinale Talent Campus, Berlin International Film Festival. Gradually he has realized the dilemma that he feels between urban and rural life. His favorite place is his family farm where he can be alone with his dog, listening to the wind moving through the hills. Recently, he is working at ZeroStation, an alternative art space in Ho Chi Minh city.

An ancient tree tells us about a murder story that has happened deep in the jungle The author tells about the relationship between his father and him 1000 years have passed

Truong Minh Quy was born in 1990 in Buon Ma Thuot, a small city in the central highlands of Vietnam. From 2008-2010, he was a film directing student at the Cinema and Theatre University in Ho Chi Minh City. He decided to quit school at his second year to pursuit his independent filmmaking path. He gradually realizes the dilemma that he feels between urban and rural life. His favorite place is his family farm where he can be alone with his dog, listening to the wind moving through the hills. In 2012, he participated in AFA (Asian Film Academy, Busan International Film Festival). Recently, he is working at ZeroStation, an alternative art space in Ho Chi Minh city.

Interprétation libre du mythe dans laquelle Tsai Ming Liang propulse une femme délaissée par son amant dans la cohue de la gare des bus de Kuala Lumpur.

In 'Terms of Play' 60 different training sentences were taken of the voice-cloning software 'Lyrebird IA' and recombined in a screenplay to form a dialogue. This dialogue was then interpreted by two actors. Each part was interpreted in a different emotion: some factual, some dramatic, some singing… The 2-channel video work deals with the processes of machine learning technologies which are playing an increasing role in film production. By appropriating and reinterpreting the training sentences (which the software itself has taken from publicly available texts, novels and essays), the work inverts these processes and reflects them critically.

Florian Tscharf (*1987 in Germany) is a video and media artist. He studied Media Design in Ravensburg, Directing at the Film Academy Baden-Württemberg and Screen Based Arts at the Bezalel Academy in Jerusalem. He lives and works in Berlin.

The centerpiece of ROBERT MAPPLETHORPE is a never-before-seen interview conducted in his studio on Bond Street in 1983. On the verge of mainstream art success, following a well-received exhibition at the Leo Castelli Gallery, the interview captures the charismatic artist in the full bloom of his youth and vitality. As it explores Mapplethorpe the artist, and Mapplethorpe the man, this intimate film resonates with interviews with those who knew him best. Among those featured are: his father, Harry, brother, Edward, childhood priest, Father Stack, partner, Jack Walls, first art dealer, Holly Solomon, fellow artists, Gilles Larrain, Brice Marden and Louise Bourgeois, curator, Richard Marshall, attorney, Michael Ward Stout, and biographer, Patricia Morrisroe. Mapplethorpe?s remarkable talent as a photographer shines in this documentary featuring a full assortment of his arresting images, courtesy of the Robert Mapplethorpe Foundation. His portraits of famous people, pictures of flowers, and images of the New York Gay S&M underworld, are all icons of contemporary photography. His erotic work created considerable controversy when his posthumous retrospective ?The Perfect Moment? was cancelled at the Corcoran Gallery in Washington DC and later shut down by police in Cincinnati, Ohio. Robert?s ground - breaking photographs made him an internationally known and mythic figure in art and photography. His talent, vision and phenomenal success were cut short when he died of AIDS in 1989.

Paul Tschinkel is a painter with an MFA from the Yale School of Art and Architecture. In the early 1970s he turned to video as an art form and thus became one of the first video artists in this new medium. After showing video pieces in New York galleries, he turned to the fledgling New York cable system (Manhattan Cable downtown and Warner Cable uptown), producing a half hour weekly arts program ? a gallery on television. From 1974 to 1979 Paul ?Tschinkel?s Inner-Tube? was devoted to conceptual and narrative video art pieces. In 1979, Tschinkel turned from taping in his studio in Soho to recording and producing live Punk/New Wave music from New York clubs. This program, which ran from 1979 to 1984, presaged MTV and was the seminal Rock show that featured music from CBGB?s, The Mudd Club, Max?s Kansas City and many other venues in New York. It presented many young bands like the Ramones, Mink de Ville, The Cramps, The Heartbreakers, The Dead Kennedy?s among many others. In 1979 Tschinkel also created and produced a documentary series called ART/new york, that today consists of over 61 programs on contemporary art and artists. This ongoing series features artists such as Louise Bourgeois, Chuck Close, Jeff Koons, Jean-Michel Basquiat, Kiki Smith, Nan Goldin and many more. The series has been screened in major museums, such as The Whitney and MOMA, and on television in the US and Abroad. They have become an important historic document of the New York Art culture. In 2006 Paul Tschinkel completed and released his first feature length documentary on the noted photographer Robert Mapplethorpe. The centerpiece of Robert Mapplethorpe is a never-before-seen interview conducted in his studio on Bond Street in 1983.