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A scenery - an attempt promontory for his stabiles. A 360° of two camera that take a relay of images from one to the other, forming a 16/9 centring. Capturing the spectator's attention in an initial vision of a smooth and attractive image. Then, this image dilates in its centre : a junction of pixels. Shocks are created, disturbing the harmony of the plan-sequence. The bodies divide in two or disappear, tallying the faults of a apparatus that has established itself on a screen form, shot, a circumference of images: the trompe l'oeil of a decor in a film pre-narration.

At 26 years old, Marion Delabelle lives and works in Paris, where she was born. She studied at the Beaux Arts in Valence and received a D.N.S.E.P. Art diploma in June 2005. She is specialized in videographic installations which are based on specific film processes (morphing, double camera, chrono-photography,...).

Well (2020) is a plea for domestic connection. Lonely and intimate at the same time, it is comprised of short shots of ordinary moments of life at home. It’s a quick inhale, quick exhale. It’s a fingers crossed and let’s hope for the best.

Irish artist Anita Delaney lives and works in London. Recent screenings and exhibitions include Very Thirsty at Borzoi Tower, Chicago, February 2020, 6 x 6 Project at Set, London, September 2019 and Sick Monday at the Horse Hospital, London, July 2019.

The cusp of your credenza is a wandering speculation through various material encounters. A woman presents a number of scenarios that involve the ingestion or ejection of substances. From toenails to statuary, muffins to monuments, The Cusp of Your Credenza is looking for how we place ourselves bodily in a material world.

Working mainly in moving image, Anita Delaney graduated with BA Fine Art from IADT, Ireland in 2006 and MA Fine Art from Chelsea College, London in 2011. She has recently shown work at CCA, Glasgow, Whitechapel Gallery, London and the Royal Hibernian Academy, Dublin. In 2015 she was a recipient of an Arts Council Visual Arts Bursary Award which helps enable the production of new work.

This project ventures into the intricate landscape of masculinity, embarking on an in-depth investigation that challenges and deconstructs conventional definitions framed by societal and cultural norms. By examining masculinity through the lens of vulnerabilities, repression, and gender role construction, the initiative encourages a profound reevaluation of the male identity, advocating for a reconnection to the more primal, emotional, and sensitive sides of men's nature.

Daniela is an internationally renowned choreographer and movement director known for her boundary-pushing approach to dance. Driven by a profound curiosity about movement’s power, her work interweaves memory and the body’s capacity for storytelling. She debuted at the 2017 Biennale Danza with We Are Raw Material, setting the stage for a journey of artistic exploration across continents. Her collaborations include projects with the Pinuccio Sciola Museum, Accademia Nazionale di Roma, ?finMalta, and Tanz Company Gervasi. In 2021, Daniela earned an MFA in Choreography from Trinity Laban, where her innovative vision continued to flourish. Her celebrated piece Before Night Falls recently premiered at Contemporary Cairo Night and is currently touring Italy. Her latest work, Truncare Su Cadenas, explores the profound links between Armenian and Sardinian dance traditions.

8 Un film d?animation de Mathias Delfau (2010 ? 17mn) Après avoir travaillé avec Noëlle Renaude à la mise en page d?Une belle journée et de Topographie, où la recherche portait sur une mise en espace du déroulement du texte sur la page, j?ai cherché à mettre en scène une partie de sa pièce 8 dans l?espace 3D et le temps d?un film d?animation. Ce travail est la rencontre entre une recherche picturale abstraite et une situation incarnée par les 5 personnages de la pièce. 8 est avant tout un procédé, celui de ne pas donner à voir, ni à entendre la pièce telle qu?elle pourrait être jouée sur scène, mais à montrer les traces qu?elle pourrait produire. Ne pas chercher le sens mais le laisser apparaître dans les traces laissées par ces phrases qui sont dites sans trop réfléchir à leurs portées, au gré de l?action, mais qui restent et influent sur le déroulement, dans les méandres des traces laissées par les déplacements de ces cinq personnages qui s?attirent et se repoussent au sein de ce qu?on pourrait appeler un groupe. Juste garder la subjectivité de l?axe de la caméra, comme celle des didascalies dans la pièce, le mouvement de la caméra crée un second plan détaché de l?action. 8 est une sorte d?observatoire où l?action se déroule en même temps qu?elle est observée, dans ce qu?elle est et dans ce qu?elle produit.

Je travaille avec des créateurs dans des domaines différents et c`est de ce va-et-vient entre l`art plastique, l`art numérique, le spectacle vivant et la littérature, qu`est né le film 8.

Blah Blah is a film behind closed doors where each protagonist is reduced to one action. This is also a redundant merry go a round of Muppet that go up and down. As jack in the box, but there is no sound in Blah blah. The only thing that unfolds et that is told are words, not in their meaning but in the shifting. Blah Blah is a society parody where life is born from interaction, a word flipper which flood as more importance than sound.

Mathias Delfau is born in 1968. He is working as a graphic artist, a plastic artist and video artist in the same time. From 87 to 92, he studied plastic of environment of architecture at the Arts Appliqués of Paris and paintings at the Beaux-Arts of Paris. Then, for two years, he staged three shows of images manipulation. Unitl 2005, he continued his work of painter through digital video and makes numerous films of animation. From 97 to 03, he kept also a part time job in a graphic agency. Starting 2000 for five years, the artist decided to collaborate with a group, Accès Local, which goal was to switch the artistic research into a social context. He also worked for three years (2000-2003) independently for printed works (posters, booklets, editing, illustration), animated movies (websites, clothing, video) and spacing (signs, welcome sites, events). This last year, he took part into Madame T installation which space faces installation, still image and motion image in the same place.

The animation "HA" seems to be an outcome of the films produced since 1991. Video images meet their digital manipulation, a game of hidden/shown, that led to the disappearance and the recovery of extra-work by the 3-D image ("C'est Clair", 2003), only the drawing and the line remained. "HA" is also the balancing point between narration and pattern; as animation does not really have a beginning and an end, it can be glanced at or watched throughout its duration. It is also meant to have the viewer, thanks to a fun activity (following the line like Russian mountains), spend some time before this line that is being drawn according to the look that we give it, continuously changing from a physical impression of space to the drawing that comes to life on the screen.

Mathias Delfau, born 1968. He works as a graphist, plastician, and video artist. 1985-1994 Through painting he sees that the image as a finite surface can embody the most infinite of spaces. The image as vocabulary for a non-demonstrative speech. 1987-1992 He pursues plastician studies in the field of architectural environment at the Applied Arts School of Paris (BTS), and painting at the Fine Arts School of Paris, to think about the paradoxical notion of applied art. 1992-1995 Works part-time as exhibition assistant at the Galerie Nationale du Jeu de Paume, Paris. 1993-1994 Conception and production of exhibitions for the French film library. 1992-1995 Directs three shows involving manipulation of images. 1994-2006 Pursues painting through digital video and produces several animation films. 1997-2003 Works part-time as a creator in a graphist agency specialized in cultural communication. 2000-2006 Collaborates and exhibits with the artists' group "Accès Local", the goal of which is to put artistic research back into a social context. 2003-2006 Works independently with print works (posters, tablets, editing, artwork), animated works (internet sites, casing, videos), and directing (signage, seat of reception, factual). 2003-2006 Fixed images using large colour prints, and apparently simple sculptural forms reconstructed from hundreds of macro-photographs. 2004-2005 With the installation "Madame T", video is placed into space and at the heart of another identical installation confronts different medias, each one taking charge of one facet of history. 2006 Foundation of the OA association, a legal structure giving artists complementary know-how by working together to conceive, produce, and distribute original communication forms that are light and mobile and that can be easily integrated into varying public spaces.

Mur, c?est la rencontre violente de deux points de vue. De l?extérieur, c?est un motif, sorte de treille végétale plus ou moins régulière. Dans la violence des percussions, la caméra semble hésiter face au mur, puis elle est projetée contre le motif. De l?intérieur, silence, le motif se découvre en volume, construit à partir de formes anthropomorphes, postures figées et épinglées de façon régulière sur le tracé du motif. La caméra découvre la particularité de chacun de ces corps, le motif est oublié, il est vu dans l?accumulation d?individualité dont il est formé. C?est de la répétition de ce passage entre le bruit et le silence, la forme et son sens que va naître MUR.

Mathias Delfau (1968) : je travaille comme designer graphique, plasticien et artiste numérique. Mon travail sur l?image s?est développé au moyen de différents médias. D?abord la peinture (1988/1999). Puis avec la scénographie et le spectacle, l?image est pensée dans l?espace (de 1995 à 1999 j?ai monté trois spectacles confrontant l?acteur à l?image). Enfin la vidéo en 1997 avec l?arrivée du numérique, parce qu?elle est le support parfait pour une recherche sur le montage, sur le passage progressif d?une image fixe à 25 images seconde. Pendant 7 ans, j?ai travaillé la vidéo sur ordinateur comme la peinture, couche après couche par superposition. Au service de la composition plus que de l?histoire. J?ai mâché cette matière numérique en produisant beaucoup de petites choses qui n?avaient d?autres buts que le temps passé à les faire. Depuis 2000, je travaille aussi avec le groupe d?artiste Accès local dont le but est de replacer la recherche artistique dans un contexte social et professionnel. Aujourd?hui, je n?utilise plus la vidéo mais l?animation 3D qui me permet de continuer ma recherche sur le dessin dans l?espace.

Veracruz without ship by Teresa Delgado & Jakob Kirchheim A documentary melodrama with privatizations and without lovers. A poetic walk through Veracruz, port of European exiles and Mexican oil, of melodrama and of the rhythm danzón. Since 1938 Lázaro Cárdenas government offered political asylum to thousands of Spanish republicans who were fleeing war and persecution. They arrived to the port of Veracruz, unreachable paradise for the defeated who couldn´t leave Spain. We revisit this myth of the grandparents and confront it with the present in 2014. In this year the PRI government is opening the doors to private investment of multinationals in a natural resource which Mexicans consider their own: oil. Oil plays an important role in the Gulf of Mexico and Mexican oil was nationalized by Cárdenas government in 1938.

Born in Madrid 1965 and living in Berlin since 1987. Graduated from the Free University of Berlin with a M. A. in German and Spanish Literature. She is teaching Latin American cinema, history and culture at the Humboldt University and use to collaborate with the artist Jakob Kirchheim since their first film “Die Prinzessin der zweiten Hand”/”La princesa de la segunda mano” which was shown at the Berlin Film Festival and in Imagfic Madrid (1992). She has been working in poetry and short documentary films. The best known is “Terrorsounds” in collaboration also with Jakob Kirchheim (2010) shown at the Zebra Poetryfilm Festival in Berlin, VideoBardo Buenos Aires, Bristol, Vancouver and in 2013 at the “Zentrum für Kunst und Medien “ in Karlsruhe in the exhibition “Typemotion. Type as image in motion”.

There are mass suicides and there are mass naps. They seem pretty close but they actually have different ontological dimensions. This film is about a mass nap and some mysterious acts of violence that are not taken very seriously. There is not much more to say. However, I would like to add the fact that I believe this film is very serious due to the fact that doesn?t take itself seriously.

Daniela Delgado was born in Ecuador in 1987. She studied film at Universidad del Cine in Buenos Aires. She wrote and directed short films screened at Rotterdam Film Festival, Split Film Festival, Bienal of Moving Image in Buenos Aires, Museum of Modern Art in Buenos Aires and Semana del Cine Experimental in Madrid. She participated at the Berlinale Talent Campus #10 (2012). She is currently a scholarhip holder at the Centre of Investigation of the Arts in Buenos Aires.

Through an encounter with three communities emblematic of the virtual universe that is "Second Life" - Furries, Goreans, and evangelical Christians - the film questions the porosity of real life and virtual life. For these players, the border between the real and the virtual weakens until it no longer has any meaning and the two become intextricably mixed together.

A parachutist is standing in the town centre of Frankfurt/Main as if he had just landed. His tracks are leading him by way of wild jump cuts through offices in skyscrapers, streets, parks and even into earth works and building sites of major projects of the financial district: Everywhere plants are threatening, reptiles and glistening apparitions are lurking. A metaphorical city portrait.

Dans cette vidéo inspirée du cinéma muet, dans une forêt, des ouvriers aidés de leurs machines creusent un trou en pleine forêt. Pour déplanter un arbre? Le trou s`allonge. Mais que creusent-ils ? Une tombe, une fosse septique, les fondations d?une maison ?

Vit et travaille à Paris. Diplômée de l?Ecole supérieure des Beaux-Arts en 1987, sa pratique artistique réunit le dessin, la photgraphie, la vidéo, l'installation in situ. Son travail a été exposé notamment au FRAC Auvergne, au Musée d?Art Moderne de la Ville de Paris, à la Biennale d?Art Contemporain du Littoral à Anglet, au Salon du dessin contemporain de Paris, à la Galerie Yvon Lambert à Paris. Son travail fait partie de collections notamment du FNAC Fonds National d?Art Contemporain, du FRAC Auvergne, du Landes Museum de Linz en Autriche, du Albertina Museum à Vienne en Autriche, de la Collection Weil, Gotshal and Manges à New York.

Synopsis It is very early in the morning. Four people are driving through the desert. Three men embark on an expedition to unload a set. They form, paint and put up polystyrene shapes in a location worthy of the classic Westerns. And all the time, a strawberry blonde is lounging around doing her crosswords. At the centre of the three handsome young workers, she rotates her deckchair like the hands of a watch linked to the path of the sun, until dusk, when the installation is unveiled.

Stories and legends about numbers are very popular in human history. What does mean following the numbers and what kind of associations could be spelled by some of them? Personage of subjective camera is chasing magic combination becoming the part of strange and fragile world of dreams and loosing the control over the reality.

Alexandra Dementieva?s main interest is application of social psychology and perception in multimedia interactive installations. Her video work integrates different elements, including behavioral psychology and developing narrative through a point of view of subjective camera. Her interactive installation projects attempt to widen mind`s perception possibilities by different production means: computers, video projections, use of sound bands, slides, photography, etc. By making certain historical, cultural and political allusions her exhibition sites create the frame within which the idea develops. The projects explore spectator?s depths of perceptional experience and interaction of an individual spectator with the exhibition proper, as well as with other visitors. The object on an installation or its production means become less important to her than the mind of a user. Thus the latter becomes the center of the project or the main actor of the performance. Her installations resemble questionnairs that may or may not be answered only with spectator?s participation.

"Mad Professor" was made during a one week residence at Netwerk Art Center in Aalst, Belgium. It is a part of a Paul Deschanel Movement Research Group project. The theme was 'Humour & Gender'. The film can be viewed as a collaboration of all the participants. Tinkering with the borders between art and life, between an institutionalised art world and pop culture, between high and low, performance invokes strategies of humour and plays with gender issues. Humour serves as the jester?s vehicle to puncture decorum and create idiosyncratic forms and hierarchies. Gender pervades our taste and manners as well, often unnoticed or unspoken, as a persistent cultural residue that haunts the so-called formal aspects of life. Can humour and gender reinforce one another on this point, as a critical artistic strategy? Or do they have different interests? Since it concerns ourselves, whether we like it or not, doesn?t gender prompt us beyond irony? Humour on the other hand might be a comfortable practice of distancing, but isn?t it also an essential exercise in lightness?

Alexandra Dementieva studied journalism and fine arts. Her main interests are focused on social psychology and perception and their application in multimedia interactive installations. Her video work integrates different elements including behavioural psychology, developing narrative through the point of view of a subjective camera. Her video and multimedia works have been exhibited internationally. Paul Deschanel Movement Research Group The Paul Deschanel Movement Research Group tinkers with a process-oriented approach of movement research, claiming fundamental research as a prerequisite for artistic sustainability. Particular attention is devoted to collaboration and exchange, environmental awareness and a consciousness of physical and cultural borders.

Brussels was built on a swamp. Today, only one tiny part of Brussels is still officially a swamp. Although continually threatened by development the area stayed intact, largely due to being ensnared between two railroad tracks. Further enclosed by high-rise social housing and industrial areas just behind these railroads, the swamp is a mix of damp prairies and patches of bushes and trees. It’s home to a lot of small wildlife such as birds, rodents, bats, amphibians and even ringed snakes. A small green oasis, in the middle of a concrete landscape. Murmur is a collaboration between film maker Jan Locus and sound artist Stijn Demeulenaere. Just before first light, Jan and Stijn recorded the dawn chorus at the swamp. The city drone permeates the sound of the swamp, and a strange mix enfolds between the sound of an awakening nature and a human presence. Urban drone and bird song merge into an (un)familiar murmur presence in the twilight hour of the morning.

JAN LOCUS The long-term projects of photographer and filmmaker Jan Locus study the complexity of worldwide, socio-political issues. He had exhibitions at FOMU Antwerp, Noorderlicht Photo Festival Groningen, Iklectik Art Lab London, De Brakke Grond Amsterdam, and Les Rencontres d’Arles. His photography books include “Mongolia”, “De Bewegende Stad”, and “Devoted.” Jans films have been shown at film festivals including IFFR Rotterdam, DokFest Kassel and International Short Film Festival Oberhausen. He lives and works in Brussels. STIJN DEMEULENAERE Stijn Demeulenaere is sound artist and field recordist. He creates installations, soundscapes, performances, and does sound design for dance and theatre. Stijn researches the relationship between identity, sound and listening. His work was shown at, among others, Concertgebouw Bruges, NIMk (NL), Den Frie (DK), STUK (BE), Kaaitheater (BE), New adventures in Sound Art (CA), and IFFR Rotterdam. His work was nominated for the LOOP Discovery Award, the European Sound Art Award, and it won prizes at the Engine Room International Sound Art Award and the Musica Soundscape Award. He lives and works in Brussels.

“Yildiz Movie Theater” was opened in the beginning of the 1950’s. The location and the environment of the cinema have changed because of the fact that urban renewal within years. Video work approaches this transformation from social and architectural perspective. “Basmane” is that the region of the movie theater was the city center of Izmir. However, in the beginning of the 2000’s, many immigrants came to Izmir and “Basmane” has started to become male-dominated area. Then, “Basmane” has become a marginalized region. The cinema “Yildiz” had affected by that change and the place has been changed as enclosed soccer field and billiards saloon. It is easy to notice the traces of these constrained and rushed changes in the place. The goalpost in front of the silver screen clarifies the morphological contrast and social history of the cinema. This work addresses an issue with architecture as a witness of the social memory, the process of transformation of soccer field from a cinema and the social impacts of cinema and football.

Ozgur Demirci was born in Konya in 1982. After graduating from the Department of Interdisciplinary Art in the Faculty of Art and Design at Yildiz Technical University in Istanbul in 2008, he completed his Master’s degree in C:Art:Media at Valand School of Fine Arts in Gothenburg in 2010. He is currently a PhD candidate at Dokuz Eylül University Art and Design department. Demirci has held many solo exhibitions and participated in various group exhibitions and public projects in Turkey, Sweden, Japan, Italy, Germany, Poland, Slovakia, Czech Republic, Bulgaria, Albania and USA.

Conzerrrt in Streifen 3`23``, DVD, stereo, couleur, 2005 Musique: Brigitta Muntendorf Vidéo: Stefan Demming Un touriste prend la pose dans une station thermale, jusqu'à ce qu'il se passe une chose dans laquelle sont impliqués une noyée et un sauveur masqué - jusqu'à une douteuse happy end. L'image est continuellement découpée en de nouvelles bandes et combinée avec elle-même.

Stefan Demming (* 1973) Licence d'art et d'histoire (1999), travail sur des bandes vidéo et des installations à l'Atelier für Zeitmedien à Brême (A;1999 -2005), chez V2_Organisation, Rotterdam (PB: 2002/3), séjour d'études à Marseille (F: 2005) http://stemming.free.fr

In Ne vous laissez pas consoler Democracia collaborates with the Ultramarines, hooligans of the football team Girondins from Bourdeaux, intervening with the introduction of political sentences (via banners and merchandising paraphernalia) into a completely unusual context: a football stadium in full activity, questioning the logical structure of the spectacle. The protagonist of the film are the spectators, from entering the stadium until they leave, the game is never filmed.

After having founded the group El Perro (1989-2006), Pablo España and Iván López (1970, Madrid, Spain) formed Democracia (2006), a name synonymous with an artistic approach committed to exchanging ideas and practices along strong ethical and social lines. Their projects bear witness to an interest in scenes from social and everyday life, marked by the growing importance of images and the notion of â??simulacraâ?�, from the political, technological and cultural perspectives. Democracia had been participated at Evento 2009, Burdeos, France; X Bienal de la Habana (2009), Cuba; Taipei Biennial 2008, Taiwan; 10 Estambul Biennial, Turkey; 3rd Goteborg Biennial, Sweden . The Democracia collective is also the brains behind the magazine Nolens Volens and is the organizing body for numerous curatorial projects (Madrid Abierto 2008, No Futuro, ONG, Caracas, 2007).

In my videos I have been using appropriation as a sort of blue print or ?toolbox? from which to mine. In the same way the DJ samples and remixes music, I am interested in methods of reproducing and recontextualising images. Rather than seemly creating something from scratch, I am interested in editing and shaping what already exists in the world. Through exploring the use of found footage the role of the director is replaced with that of the editor. I actively manipulate the medium through looping, erasing and compressing moving images. I am interested in manipulating moving images in a way that `work for us` rather than passively `working on us`. I use this methodology in my video Showertime. This film explores homosexual eroticism/pornography where feelings of ecstasy extend outwards beyond the screen to the viewer. The work also hints at the notion of the sublime ? the kind of pleasure that can only be experienced indirectly, that which defies logic and rationality.

Born 1967, England Living and working in London BA (Hons) Fine Art Chelsea College of Art and Design, London