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Browse the entire list of Rencontre Internationales artists since 2004. Use the alphabetical filter to refine your search.  update in progress  
Eren aksu
Catalogue : 2016Cosmorama | Fiction expérimentale | hdv | couleur | 8:7 | Turquie | 2015
Eren aksu
Cosmorama
Fiction expérimentale | hdv | couleur | 8:7 | Turquie | 2015

They go to a day trip to an island next to Istanbul. They find themselves captivated by the never ending cityscape and sink into a contemplation on urban decay. Living in a concrete jungle is their future.

Born in Istanbul in 1987, Eren Aksu is a Berlin based filmmaker. He holds a Bachelor of Arts degree in Film& Television and currently studies Arts& Media at Berlin University of the Arts. His short films include Aydınlık (2013), Cosmorama (2015), İki Yer (2017).

Monira al qadiri
Catalogue : 2015Behind the Sun | Vidéo | hdv | couleur | 10:0 | Koweït | 2013
Monira al qadiri
Behind the Sun
Vidéo | hdv | couleur | 10:0 | Koweït | 2013

After the first Gulf War in 1991, countless oil fields in Kuwait were set ablaze during the retreat of invading forces. Those months following the war were nothing short of the classic image of a biblical apocalypse: the earth belching fire and the black scorched sky felt like a portrait of hell as it should be, an almost romanticized vision of the end of the world. Werner Herzog, lured by the surrealism of this present-day hell, shot his docu-fiction film “Lessons of Darkness” there which placed images of the oil fires alongside Christian biblical texts and a Wagner soundtrack. Inspired by his endeavor, this video re-explores the cataclysmic event and attempts to expand its meaning, especially as the idea of imminent doom is even more omnipresent today. Amateur VHS video footage of the oil fires is juxtaposed with audio monologues from Islamic television programs of the same period. At the time, the tools used to represent religion were geared towards visualizing god through nature. Trees, waterfalls, mountains, and animals were the visual staple of religious media, and the narration was not that of the Koran, but of Arabic poetry recited by a skilled orator with a deep voice.

Monira Al Qadiri is a Kuwaiti visual artist and film maker born in Senegal and educated in Japan. In 2010, she received a Ph.D. in inter-media art from Tokyo University of the Arts, where her research was focused on the aesthetics of sadness in the Middle-East region stemming from poetry, music, art and religious practices. Her work explores the relationship between narcissism and masculinity, as well as other dysfunctional gender roles. She is currently expanding her practice towards social and political subjects. Al Qadiri has taken part in exhibitions and film screenings in Tokyo, Kuwait, Beirut, Dubai, Berlin, New York and Moscow among others. She is also part of the artist collective GCC, who has recently held a solo exhibition at MoMA PS1 in 2014.

Catalogue : 2017The Craft | Film expérimental | mov | couleur | 16:0 | Koweït | 2017
Monira al qadiri
The Craft
Film expérimental | mov | couleur | 16:0 | Koweït | 2017

“The Craft” is a film that revolves around childish fictions laced with serious suspicions towards the real world. Using the lens of family history, the film dissects the artist’s own past to reexamine an uncanny relationship taking place in the shadows of her major life events: “Were my parents conspiring with aliens behind my back?” Reality gradually disintegrates like quicksand around this central question, as paranoia and speculation begin to take hold. Futuristic architecture, popular culture, dream readings, junk food, alien abductions, geopolitics, international diplomacy, war and peace; all of these once solid staples of modern life now become tinted with a general sense of distrust, overshadowing everything. Like a ticking time bomb at the center of the nuclear family unit, the suspicion reaches a crescendo when the protagonist suddenly discovers that the American century has finally ended.

Monira Al Qadiri is a Kuwaiti visual artist born in Senegal and educated in Japan. In 2010, she received a Ph.D. in inter-media art from Tokyo University of the Arts, where her research was focused on the aesthetics of sadness in the Middle-East stemming from poetry, music, art and religious practices. Her work explores unconventional gender identities, petro-cultures and their possible futures, as well as the legacies of corruption. She is also part of the artist collective GCC, who held a solo exhibition at MoMA PS1 in New York (2014). Monira was recently based in Amsterdam, and underwent a two year artist residency at the Rijksakademie until the end of 2017. She has held solo exhibitions at the Sursock Museum, Beirut (2017), Gasworks, London (2017), Stroom Den Haag, the Hague (2017), ACUD Macht Neu, Berlin (2017), ATHR Gallery, Jeddah (2017), the Sultan Gallery, Kuwait (2011 & 2014), and Tokyo Wonder Site, Japan (2009). Her participation in collective international exhibitions includes: "Lets Talk about the Weather: Art & Ecology in a Time of Crisis" Sursock Museum, Beirut (2016), "Invisible Threads: Technology & its Discontents" NYU Abu Dhabi (2016), "DUST" CCA Warsaw, Poland (2015), "Whose Subject Am I?" Kunstverein Dusseldorf, Germany (2015), "Accented" Maraya Arts Center, Sharjah, UAE (2015), "The Return of Ghosts" Hong-Gah Museum, Taiwan (2014), "Never Never Land" Edge of Arabia Projects, London (2014), "Exposure" Beirut Art Center, Lebanon (2013), “X-Apartments” Home Works 6, Beirut, Lebanon (2013), “50/20” Sultan Gallery Kuwait (2011), “Paradiso” Watermill Center, New York (2010), “Tokyo Wonder Wall” Museum of Contemporary Art Tokyo Japan (2008), and “In Transition Russia” Moscow Center of Contemporary Art (2008). Her videos and short films have been screened at: Le Centre Pompidou (2016), Berlinale - Berlin International Film Festival (2014), "Where is My Territory?" Whitechapel Gallery, London (2014), "Parle Pour Toi" Marian Goodman Gallery, Paris (2014), Medrar Cairo Video Festival, Egypt (2014), “Aboveground Animation” New Museum, New York (2012), “Art Screen” Obrero, Sweden (2012), “Arab Shorts” Arsenale, Berlin (2012), and the Gulf Film Festival in Dubai (2008 & 2009) among others.

Jean-baptiste alazard
Catalogue : 2014La Buissonnière | Documentaire | hdv | couleur | 59:0 | France | 2013
Jean-baptiste alazard
La Buissonnière
Documentaire | hdv | couleur | 59:0 | France | 2013

C`est l`été. Un pilote et un copilote errent sur des routes perdues en quête d`absolu.


Jean-Baptiste Alazard nait en 1985 en Aveyron. En 2006 il intègre La fémis en montage, où il réalise Ma bande magnétique arrière, Mittelwerk Express et Moussem les morts. Tout en continuant son travail de monteur, il crée en 2011, en collaboration avec la photographe Lise Lacombe, le collectif La France Entière, avec qui il part à la recherche de ceux qui pourraient être les figures de la nouvelle ère : ses dissidents, techniciens, empereurs, prêtresses et prophètes. La Buissonnière est le premier film issu de ce projet. Il en prépare un second qui sera tourné en 2014 : L’Empire.

Michiel alberts
Catalogue : 2017Another Gate Before the Law | Vidéo expérimentale | mov | noir et blanc | 17:13 | Pays-Bas | 0 | 2017
Michiel alberts
Another Gate Before the Law
Vidéo expérimentale | mov | noir et blanc | 17:13 | Pays-Bas | 0 | 2017

Another Gate Before The Law (HDVideo, B&W, 17m13, Michiel Alberts, 2017) Michiel Alberts is currently working on a series of K. Films. The films relate to different short texts by F. Kafka. Michiel Alberts performs and films his actions in order to transform the stories into a visual image bringing it to current and existential scenery. The film Another Gate Before The Law refers to the text Before the Law, by F. Kafka. The film is a dark poetic image dealing with the present state of our time and to current human conditions.

MCHIEL ALBERTS / BIOGRAPHY (Born The Netherlands, 1972. Lives and Works in Antwerp, Belgium.) Michiel Alberts is a Visual artist working with the media Performance, Film and Photography. In his film works he focuses upon his performative presence, movements with duration or repetitive actions. Through the usage of single angel point, the audience is invited to experience a frozen state and relate to existential questions and human conditions. His films can be described as a still picture moving, a state of presence unresolved. ‘My physical presence functions as a performative tool to question human conditions, cosmic order, time and landscapes. Through forms of abstraction I bring my content from a specific happening, or a specific social context to a larger existential scenery.’ The Artist participated in several group exhibitions. ‘Part 1&2, The Introduction’, S.M.A.K. Gent and Dendermonde, Belgium (2015, 2013). ‘Magicgruppe Kulturobjekt’ at Ludwig Forum Aachen, Germany ( 2012) and at Extra City Antwerp, Belgium (2012), ‘A Serpentine Gesture and Other Prophecies’, FRAC Fonds Régional d’Art Contemporain de Lorraine, Metz, France, (2011). The artist also participated in the Group exhibition ‘El Manifesto De Santiago’ at Matucana Santiago, Chile (2007, curated by Philippe Van Cauteren) Solo Exhibitions/Projects include ‘Salutations’ at gallery Eva Steynen Deviations, Antwerp, Belgium (2014) the one-year trajectory at DeSingel Antwerp, Belgium (2009-2010), resulting in Photography, and performance. He performed without audience in the new Building at the Art campus deSingel, while under construction. At the opening, the artist presented a selection of his photographic material and gave a six hour-long live-Performance ‘Preparation for Leave-taking’ in order to complete the Project. At the Gemak Art institute in The Hague, the Netherlands and at the Playground Festival at Art Institute Stuk Leuven, Belgium (2008, curator Eva Wittocx) as well as at the Croxhapox in Gent, Belgium (2007). Michiel Alberts has studied Visual Art at the H.I.S.K. institute in Antwerp and Gent (2008). He also completed a Master of Arts at Dasarts in Amsterdam (2005) and completed the Acting School of Maastricht (1997)

Adrian alecu
Catalogue : 2011Gravitation | Fiction expérimentale | hdv | couleur | 3:0 | Roumanie | Pays-Bas | 2011
Adrian alecu
Gravitation
Fiction expérimentale | hdv | couleur | 3:0 | Roumanie | Pays-Bas | 2011

"GRAVITATION" deals with the idea of European identity and the desire to export it, desire which is deep inside of this identity. A long tradition. It is a tale of mistaken identity and murder, human weakness and individual deficiencies. It is a fatalistic tale of one man?s vain struggle to escape his own limitations, unfortunately an impossibility in the world of noir. The film Gravitation gives me the opportunity to investigate the structuralist film concept, the so-called ?Film Low?. The different actions which in the real life stay under the Nature Low, will have to be in the film under the ?Film Low? : montage, light, perspective, acting, actors and camera choreography and more others film components . Using very reduced but very eloquent / representative objects for the film set will create pictures which have to suggest the acting place. This objects must have a strong relation to the `film place` (typical for the place) so that the viewer, by his visual perception, can be able to trust the authenticity of the picture as a film construction - instead as an illustration. The question for me, is how far I can reduce this elements and on which things, on which elements I have to reduce the decoration of the film `stage` to get the visual suggestion instead of the illustration. That it is one of my research point. The Film will use apparently prosaic structures (narration) but during the editing and the alienation process it has to be percepted as a poetic work. Poetry deals with tempo, with rhythm. In the film, economic tempo and rhythm are matters who belong and are decided more in the editing room. The alienation process is one of the main points in my Film. The Film process have to be transparent, so that film structures and effect modalities will recognize it. I believe that this transparency offers the opportunity to reflect about new modalities of telling a story using the Film. To me, this alienation process helps us to make our `automated` perception - by language and social conventions, more difficult and thereby to get a new vision of the things which can correct our relationship to the environment. Then new forms appear, and this forms and their determinant process become the actual object of artistic perception, in the end the the art subject. Using a linear visual guided treatment will permit to give up a psychological motivation, and to make the non-artistic interpretations harder. The Sound will have a strict autonomous function in Film, and will try so much possible to not be used as a naturalistic synchronic language.

Born at 20 Mai 1972 in Bucharest / Romania EDUCATION 1990 2008 2011 Liceul ?Spiru Haret?, Bucharest / Romania Diplom in Art studies at the University of Fine Arts of Hamburg Jan van Eyck Academie post-Academic Institute for Research and Production Fine Art, Design, Theory, Maastricht / The Netherlands

Greta alfaro
Catalogue : 2010In Ictu Oculi | Art vidéo | dv | couleur | 10:35 | Espagne | 2009
Greta alfaro
In Ictu Oculi
Art vidéo | dv | couleur | 10:35 | Espagne | 2009

There is a table in the middle of the countryside, but the guests are absent. There is a feast of food and wine waiting in the cold weather and the dry landscape. The vultures are to come and eat our food and destroy our setting: the still life, the banquet, the space of enjoyment and civilization. The vultures, the beasts linked to death and dirt, to violence and fear, arrive by surprise, and like in a fable, represent for us some of our own qualities.

Greta Alfaro (Spain, 1977) is currently studying an MA in Photography at the Royal College of Art, London. In recent years she has been the recipient of several grants and scholarships among which are Matadero-City Council of Madrid, Casa de Velázquez, Fundación BilbaoArte, the Government of Mexico or the Genesis Foundation. She is taking part in the exhibition Bloomberg New Contemporaries 2010 at the ICA, London, and her recent solo shows include In Ictu Oculi, in Galería Marta Cervera, Madrid and Carpe Diem, Lisbon, and Elogio de la Bestia, in Centro de Arte Contemporáneo Huarte, Spain.

Pierre alferi, jacques julien
Catalogue : 2005In time | Vidéo expérimentale | dv | couleur | 16:30 | France | 2005
Pierre alferi , jacques julien
In time
Vidéo expérimentale | dv | couleur | 16:30 | France | 2005

Intime, de Pierre Alféri est un travail à la fois littéraire et vidéopoétique, où l`espace du voyage est celui de la langue. C`est une traversée en images, traversée de lieux et de paysages, et en mots, lettres adrésées à des anonymes, qui dépouillés de leur "moi" sont dépeints comme des caractères. L`intime n`est donc pas celui du "moi" de l`être mais naît du déséquilibre crée par les mots, qui tissent alors des liens rendus nécessaires entre les personnages.


Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

Catalogue : 2006Mots croisés | Vidéo expérimentale | dv | couleur | 2:45 | France | 2006
Pierre alferi , jacques julien
Mots croisés
Vidéo expérimentale | dv | couleur | 2:45 | France | 2006

Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

Pierre alferi
Catalogue : 2005In time | Vidéo expérimentale | dv | couleur | 16:30 | France | 2005
Pierre alferi
In time
Vidéo expérimentale | dv | couleur | 16:30 | France | 2005

Intime, de Pierre Alféri est un travail à la fois littéraire et vidéopoétique, où l`espace du voyage est celui de la langue. C`est une traversée en images, traversée de lieux et de paysages, et en mots, lettres adrésées à des anonymes, qui dépouillés de leur "moi" sont dépeints comme des caractères. L`intime n`est donc pas celui du "moi" de l`être mais naît du déséquilibre crée par les mots, qui tissent alors des liens rendus nécessaires entre les personnages.


Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

Catalogue : 2006Mots croisés | Vidéo expérimentale | dv | couleur | 2:45 | France | 2006
Pierre alferi
Mots croisés
Vidéo expérimentale | dv | couleur | 2:45 | France | 2006

Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

Abu ali
Catalogue : 2007Los Sures | Doc. expérimental | dv | couleur | 12:0 | Espagne | USA | 2007
Abu ali
Los Sures
Doc. expérimental | dv | couleur | 12:0 | Espagne | USA | 2007

Los Sures, au premier niveau, est un detournement autour de South Street, Brooklyn New York, avec son front de mer, ses terrains vagues, ses gens; un quartier dur et pauvre d'une megalopole. Mais au final, ce film est un voyage interieur dans un paysage de symboles et de metaphores sortis de la vie de tous les jours, un voyage à travers


Toni Serra * Abu Ali Barcelona 1960. Lives in between Duar Msuar (Morocco) and Barcelona (Spain). videos, mass-media archaeology, video-installation, interactives,.. Most of my works are positioned on a tense line between the inner experience...and the social field dominated by a growing dispositives of control, manipulation of identities and communities. This exploration meets issues as: erasing and constructing identities through the media (The TV Code Series), constructing realities through video games and ?expanded reality? (Babylon Archives ? The War Room),...the ?ritual climax? and the interzone space of the dreams as a doors to ?other realities? as well as realities of the ?other?. I am also a founder member of OVNI Archives - Observatorio de Video No Identificado (www.desorg.org), where I am doing research and programming: - Exodus, The Margins of the Empire - Colonial Dream and Autononous Zones, - Resistances, - Post Sept 11th, - Communities, - Media vs Identity, Other programms curated: - TransArab - City Unrest - (...)

Catalogue : 2010al barzaj | Vidéo | dv | couleur | 14:0 | Espagne | Maroc | 2010
Abu ali
al barzaj
Vidéo | dv | couleur | 14:0 | Espagne | Maroc | 2010

1960 born in Barcelona (Spain) 1981 graduates in History of Art and Philosophy at the University of Barcelona since 1982 freelance writer studies photography, video and film at the School of Visual Arts, New York since 1990 works with video, foto and other media founding member of ?La 12 Visual?, an independent videoartist group created several compilations of video (Wahab, Istishara and others) develops the Babylon Archives lives in Barcelona and Marocco

Dana aljouder
Catalogue : 2013Tiles | Performance | hdcam | couleur | 1:0 | Koweït | Royaume-Uni | 2013
Dana aljouder
Tiles
Performance | hdcam | couleur | 1:0 | Koweït | Royaume-Uni | 2013

Filmed in a neglected expat housing complex in Hawalli, this out of context mirage disorients the familiarity or nostalgia of the space. The multicultural neighborhood vibrates with a multicultural working force who have consciously migrated from their diverse backgrounds to participate in the daily routine designated by a profiting developer. The tiling of the colonnade, as is the tiling of the dress, is reflective of the blurring of these expat cultures to camouflage within the existing- the existing which is not only foreign to them but foreign to the space - creating the out of context "Where am I?" phenomenon. These diverse cultures try to adapt to a "?" culture imposed by another country whilst struggling to identify between pre-imposed ethnic stereotypes and their traditional heritage. The freedom of the body is limited to the disproportion of the imposed cage, irritated within the larger cage of the structure.

Dana Aljouder is a designer, writer, and performance artist who graduated with a Bachelors Architecture from Pratt Institute in 2009. She received the Twinings Scholarship to research allegories of the Medici in Renaissance Art in Florence, and is currently an academic researcher for the Kuwait Pavilion at the Venice Biennale 2014. She has also presented her furniture "The Chair" at Higgins Hall Gallery in Brooklyn in 2009 and "Kursi" at the Design Terminal in Budapest in 2013. She has worked with OOS on the winebox installations of the Albert Reichmuth showroom in Zurich. Aljouder has also collaborated with sound artist Bassem Mansour at the Beirut Art Center show "Exposures" and Altofest Performance Festival in Naples in 2012 and 2013.

Bassam alkhouri
Catalogue : 2006Untitled | Vidéo expérimentale | dv | couleur | 2:35 | Syrie | 2005
Bassam alkhouri
Untitled
Vidéo expérimentale | dv | couleur | 2:35 | Syrie | 2005

Nous communiquons de plus en plus à travers notre propre façon de penser, sans essayer de comprendre la mentalité, le passé, les opinions politiques de 'l'autre'. "Untitled" : il est debout derrière la fenêtre, mettant en oeuvre tous ses sens. Le dialogue entre en scène.


Bassam Alkhouria a éudié à l'académie des beaux-arts de Damas en Syrie, où il a obtenu une licence de commnunication visuelle en 1993. Il a ensuite participé au programme de recherche et de pratique artistique au Dutch Art Institute à Enschede, Pays-Bas, de 2003 à 2005. Ses oeuvres ont été présentées aux occasions suivantes : mai 200- - "Here as the center of the world", Dutch Art Institute, NIASD, Damas, Syrie; mai/juin 2006 - 6ème édition des Journées de la photographie de Damas, Centre culturel français de Damas, Syrie; mars 2006 - Festival International d'Art Vidéo de Casablanca, Maroc; mai 2005 - Open Daizzz, Dutch Art Institute, Enschede, Pays-Bas; A Consumption of Justice, Centre d'art de la galerie d'art de la ville Diyarbakir, Turquie; avril 2005 - Centre d'art de Dyarbakir, Turquie; novembre 2004 - Crossing The Border Opstandingskerk, Enschede, Pays-Bas; avril 2004 - The Big Communication, Nanjing Art Academy, Chine; mars 2003 - Howden Festival, East Yorkshire, Angleterre; avril 2003 - Assyrian New Year Convention City Hall, Hengelo, Pays-Bas; mars 2002 - AL-Tajalliat ('Les visions'), Holy cross halls, Damas, Syrie; sept. 2000 - Darat Al Funun, la Maison der arts, Amman, Jordanie; mai 2000 - Semaine de la passion, Eglise arménienne, Damas, Syrie; mai 1997 - Semaine de la passion, The Round Theatre, Damas, Syrie; janvier 1994 - Many and Almanawia, Goethe-Institut, Damas, Syrie. Depuis son arrivée aux Pays-Bas en 2004, il s'intéresse au travail de la vidéo, dérivé de ses expériences quotidiennes.

Emanuel almborg
Catalogue : 2008Newsreel | Art vidéo | dv | couleur | 8:50 | Suède | 2008
Emanuel almborg
Newsreel
Art vidéo | dv | couleur | 8:50 | Suède | 2008

« Newsreel » peut être considéré comme une tentative de décrire et déconstruire l'esthétique des journaux télévisés en prenant comme point de départ un journal du Channel 4 suédois. Les informations quotidiennes jouent un grand rôle dans notre vie de tous les jours. Nous devenons de plus en plus dépendants et habitués à la qualité informative des nouveaux médias. Ils nous font prendre conscience du monde qui nous entoure et du débat mondial. En même temps, on pourrait soutenir que le journal télévisé repose souvent sur une structure narrative que l?on retrouve dans l'histoire du cinéma. « Newsreel » tente d?examiner si, et comment, le présentateur, le décor du studio, et la structure des informations se réfèrent à des règles narratologiques, et ce qui se passe si on les enfreint. S?il est vrai que l'objectif du journal est de nous informer de manière intelligible sur des questions et des événements importants et urgents, l?auteur voudrait repartir de ce qui rend les choses compréhensibles ainsi que poser la question plus large : qu?est-ce que l'intelligibilité ? En séparant les informations des procédés qui en communiquent le contenu, l?auteur veut créer la possibilité de prendre de la distance et de regarder le journal télévisé d?un ?il différent.


Emanuel almborg www.sakerna.se/emanuel Born in Stockholm, Sweden 1981, lives and works in London and Stockholm. Education: 2005 ? 2007 MFA, Fine art Goldsmiths College, London
 2001 - 2004 BA, Fine art Konstfack, Stockholm 
Selected Group Exhibitions and Solo Shows: 2008 MI2 B.I.G ProjectSpace, K44, Athens 2008 Loop international festival and fair for video art, Barcelona 2008 Videotheque Sala Rekalde, Bilbao 2008 Auction in a suitcase, 1:1 projects, Rome 2007 One must be so careful these days. Alma Enterprises, London 2007 MFA Degree show, Goldsmiths College, London 2007 Michael Poppyfield projects, Cal Arts, Los Angeles 2006 Goldsmiths MFA survey, Gallery white Box, New York 2006 Rag and Bone, Three Colts Gallery, London 2006 The Union, Collaborative project at Gallery Meals & SUVs, London 2005 Sakerna, magazine/installation, Stockholm ArtFair, Stockholm 2004 Been Here Too Long, Video, Gallery SAK, Stockholm 2004 The Second City, Video, Group show at Kulturhuset (Culture House) Stockholm 2003 Första Saken, Collaborative project at Gallery Konstfack, Stockholm 2002 Hyères Festival des arts de la Mode, France Other Projects: 2007 Artist Clothing at Tensta konsthall, photographer for project. Catalogue and poster. 2005 Beckmans Initiator/Tutor for workshop at Beckmans college Stockholm. 2004 Andra Saken Magazine (Distributed around the world) 2003 Första Saken Magazine (Distributed around the world) 2004 www.sakerna.se Website 2003-2006 Founder, Editor, Photographer, filmmaker, Sakerna Magazine and Project (www.sakerna.se)   Selected Bibliography:   2006 Sede, (Magazine) 2006 Influences, Die Gestalten Verlag (collection of art/desig book) 2005 Übersee, Die Gestalten Verlag (collection of art/design Book) 2002 Super, Die Gestalten Verlag (collection of art/design Book) 2001 Desire, Steidl (collection of photography Book) 
 



Catalogue : 2015The Majority Never Has Right On Its Side | Doc. expérimental | hdv | couleur | 40:0 | Suède | Royaume-Uni | 2013
Emanuel almborg
The Majority Never Has Right On Its Side
Doc. expérimental | hdv | couleur | 40:0 | Suède | Royaume-Uni | 2013

The Majority Never Has Right on its Side is a film project about the Summerhill School in England, established in 1921 and still open. The school is known for its anti-authoritarian pedagogy built on the egalitarian principles of A.S. Neill, a socialist schoolmaster from Scotland often described as a “cynical utopian”. The film looks at the school today in relation to its “image” by using the school’s own film and video archive.

Emanuel Almborg’s work is often research-based and includes film, photography, installation and lectures and deals with themes around community and communication, utopian imagination, history and education. His work has recently been shown at Moderna Museet, Malmö and Elizabeth Foundation, New York. He finished the Whitney Independent Study program in New York, 2015 and is currently a PhD candidate at The Royal Institute of Art, Stockholm, Sweden.

Bon alog
Catalogue : 2017Summa summarum | Film expérimental | mp4 | couleur | 5:46 | Lituanie | 2017
Bon alog
Summa summarum
Film expérimental | mp4 | couleur | 5:46 | Lituanie | 2017

The characteristics of our subconsciousness has its own model of reality. Human-being is trying to distinguish where simulation starts and ends. But the self-reflection of consciousness is full of absurdity itself... What is REAL? And what is REALLY happening?

2015 - present BA in Photography and Media art, Vilnius Academy of Arts (Lithuania) 2017.10 - 2018.02 Photography and Time-based arts, Bucharest national university of Arts (Romania) 2009 - 2013 BA in Creative industries, Vilnius Gediminas technical university (Lithuania) 2012 Spring semester - Multimedia, Tomas Bata university (Czech Republic)

Basma alsharif
Catalogue : 2009we began by measuring distance | Vidéo expérimentale | dv | couleur | 19:0 | Palestine | Egypte | 2009
Basma alsharif
we began by measuring distance
Vidéo expérimentale | dv | couleur | 19:0 | Palestine | Egypte | 2009

Long still frames, text, language, and sound are weaved together to unfold the narrative of an anonymous group who fill their time by measuring distance. Innocent measurements transition into political ones, drawing to an examination of how image and sound communicate history, tragedy, and the complication of Palestinian nationalism. The work explores an ultimate disenchantment with facts when the visual fails to communicate the tragic.

Born 27 august 1983 in Kuwait. Spent early childhood in Brittany France. Educated in the US, earning BFA & MFA from the University of Illinois at Chicago School of Art & Design and was a guest student at the Malmö Art Academy, Lund University Sweden in 2004. Taught as an adjunct instructor at The University of Illinois at Chicago, The School of the Art Institute of Chicago, and the American University in Cairo. Currently based in Beirut Lebanon as a recipient of the Fundación Marcelino Botín Visual Arts Grant 2009-2010 developing a series of new projects in photography, film, and text.

Fabian altenried
Catalogue : 20171000 Smiles Per Hour | Fiction expérimentale | 4k | noir et blanc | 15:0 | Allemagne | 2016
Fabian altenried
1000 Smiles Per Hour
Fiction expérimentale | 4k | noir et blanc | 15:0 | Allemagne | 2016

1000 smiles per hour suive Esth, un saltimbanque androgyne, pendant un jour et une nuit a travers une ville côtier abandonée.


Fabian Altenried (*1987) is a director, writer and producer. He studied visual art at the Art Academy in Düsseldorf and philosophy in Berlin. Since 2013 he is part of the Berlin based independent production company Schuldenberg Films. His conceptual approach stems from his engagement with post-structuralism, identity and gender theories, performativity, theories of animality, and post-ideological leftism. Fabian has been an artist in residence of Gargonza Arts in 2013, a participant of Feature Expanded 2016 and Berlinale Talents 2017. His works have been supported by the FFA, werkleitz e.V., the Arts Foundation of North Rhine Westphalia, the Stiftung Kunstfonds, the Mondriaan Fonds et al. and have been shown at the Berlinale, the Sarajevo Film Festival, in Edinburgh, Rotterdam, and many other festivals and shows globally.

alterazioni video
Catalogue : 2015Ambaradan | Fiction expérimentale | hdv | couleur | 33:10 | Italie | Ethiopie | 2014
alterazioni video
Ambaradan
Fiction expérimentale | hdv | couleur | 33:10 | Italie | Ethiopie | 2014

Omo Valley, Ethiopia: a region where tribes villages are reduced to human zoos to entertain the honeymooners tourism industry. International corporation have land-grabbed most of the indigenous territory for massive cotton field plantations. The Omo river is been recently closed by the biggest dam of Africa, leaving two hundred thousand tribe people facing food shortages and forced resettlement. With no land where to hunt, no river where to fish , tribes lives depends on the show they are able to perform daily in front of tourists. The fate of the region is written. The one of the tribes depends on their performative skills We went there and after meeting with one tribe we asked them to imagine their future in a cinematic epic way. This was basically the script. We weren’t that surprised when they came up with a futuristic techno pop idea of themselves. We formed a tribal girl band and began filming. We recorded with the tribe the music under the shadow of one of the few trees left standing by the plantation workers. We built a bar together and threw a party, remixing our own notion of partying with their celebratory rituals. It’s been a participative creative process that generated an unique original experience.

Alterazioni Video is a group of four artists founded in Milan in 2004 and now based in New York and Berlin.The members of the group are Paololuca Barbieri Marchi, Alberto Caffarelli, Andrea Masu and Giacomo Porfiri. Their work is been exhibited internationally in museum and art institutions like: the Disobedience Künstlerhaus Bethanien, Berlin 2005, 52nd International Art Exhibition Venice Biennale 2007, Manifesta 7 Rovereto 2008, Shenzhen & Hong Kong Bi-city Biennale of UrbanismArchitecture 2009, 21x21, Fondazione Sandretto Re Rebaudengo Turin 2010, Maxxi Museum, Rome 2010, Performa 09 and 11 New York, MoMA PS1 Performance Dome New York 2012, Freak Out, Greene Naftali Gallery, New York 2013, PAC Milan 2014, Hamburger Bahnhof Museum Berlin 2015 and among others. In the last five years the collective has been producing a series of 10 docu-feature films called TurboFilm, TurboFilm is a filmic system or methodology, that relate to the ongoing, generationally marked reconfiguration of experience in daily life and social relations, in labor, the economy, and politics. It aims to raise questions on problematic topics through a transversal multi-format production that can circulate through different media platforms.

Ricardo alves jr, ricardo alves jr
Catalogue : 2015TREMOR | Fiction | 35mm | couleur | 14:0 | Brésil | 2013
Ricardo alves jr , ricardo alves jr
TREMOR
Fiction | 35mm | couleur | 14:0 | Brésil | 2013

One day in a man’s life. He is looking for his wife, he is looking for some answers, he is looking for life.

Ricardo Alves Jr (1982) was born in Belo Horizonte. With his films "Material Bruto" (2006), "Convite para Jantar com o Camarada Stalin" (2007), "Permanências" (2010) e “Tremor" (2013), participated in several national and international festivals such as: Semaine de la Critique du Festival de Cannes, Festival del film Locarno, Oberhausen, Rotterdam, Havana, Bafici-Buenos Aires, Festival de Brasília do Cinema Brasileiro, Janela Internacional de Cinema do Recife, São Paulo International Short Film Festival, The Rio de Janeiro International Short Film Festival, FestCurtasBH, Vídeo Zone - International Video Art Biennial in Israel, VideoBrasil - Festival de Arte Eletrônica. Being exhibited at the Museu Centre Pompidou, in Paris, and the Museo Reina Sofia, in Madrid by the Encontres Internationales Paris/Berlin/Madrid. In 2013 had a retrospective of his films at the Cinémathèque Française in Paris (Cinéma de poche : La Collection brésilienne) and at the Cine Esquema Novo- Expandido in Porto Alegre. He won the award for Best Director of short film at the editions 40º and 46º of the Festival de Brasília do Cinema Brasileiro. As editor, edit the long “Pinta”, by Jorge Alencar, and “Avanti Popolo”, by Michael Wahrmann, debut in the Festival Internazionale del Film di Roma, where received the Award of Best Film of the Premio CinemaXXI. In the theater directed “Discurso do Coração Infartado” a solo of Silvana Stein; contemplated with the Award Miryan Muniz da Funarte, seasons performing in the cities of Belo Horizonte, São Paulo e Brasília. In 2014 co-directed with Grace Passô, “Sarabanda" performed by Mostra Bergman- Instante de Eternidade of the Fundação Clovis Salgado. Currently working on the post-production of “Elon Rabin não Acredita na Morte” contemplated by Hubert Bals Fund Award of script development; besides participating the laboratories Buenos Aires Lab (BAL), FIDlab-Plateforme Internationale de Soutien à la Coproduction and New Cinema Network – Rome Film Festival’s International Project Workshop.

Ricardo alves jr
Catalogue : 2011PERMANÊNCIAS | Doc. expérimental | hdcam | couleur | 34:0 | Brésil | 2010
Ricardo alves jr
PERMANÊNCIAS
Doc. expérimental | hdcam | couleur | 34:0 | Brésil | 2010

A l?intérieur, l?air est plus dense.


Ricardo Alves Jr est né à Belo Horizonte, Brésil. Il est diplômé en tant que réalisateur de l?Universidad del Cine de Buenos Aires, Argentine. Son premier travail, le court métrage « Matériel Brute » reçoit plus de 10 récompenses dans plusieurs festivals internationaux. Il a aussi été sélectionné pour faire partie de « la zone visuelle » à la Biennale Visuelle Internationale d`art d?Israël et pour le festival VidéoBrésil. Son deuxième travail "Convite para jantar com camarada Stalin? (Invitation à dîner avec le camarade Stalin, 2007) a gagné le prix du meilleur court-métrage expérimental au Festival du Court-métrage International du Rio de Janeiro; le meilleur court-métrage, le meilleur directeur et le prix de la photographie du 40ème Festival de film de Brasilia, plus la mention spéciale « film de demain » au Festival International des Courts-métrages, à Belo Horizonte. Il a participé à plus de 30 festivals internationaux tels Oberhausen, Rotterdam, Karlovy Vary, Paris Cinéma, Munich et le Festival de film de Turin. En 2011 Ricardo réalise ses « Permanences » qui font partie de la sélection officielle à la Semaine de la Critique de Cannes.

Ricardo alves junior
Catalogue : 2010Convite para jantar com o camarada Stalin | Fiction | 16mm | couleur | 10:0 | Brésil | 2007
Ricardo alves junior
Convite para jantar com o camarada Stalin
Fiction | 16mm | couleur | 10:0 | Brésil | 2007

Deux soeurs d`un certain âge attendent un mystérieux invité. Humour absurde et situations décalées au rendez-vous d`un dîner bien particulier.


Ricardo Alves Júnior was borned in Belo Horizonte, Brazil. Graduated in Film Direction, at Universidad del Cine in Buenos Aires, Argentina. His first work, the short movie "Material Bruto" (Raw material), received over 10 awards at festivals in Bolivia, Brazil and Portugal, besides being selected to the "Video Zone" at International Video Art Biennial of Israel and VideoBrasil. "Convite para jantar com camarada Stalin" (2007), Ricardo's second work, won the award for Best Experimental Short Film (International Short Film Festival of Rio de Janeiro); best short film in 16mm, best direction and photography in the 40th Film Festival of Brasilia, and won the special mention "Film of Tomorrow" in the International Festival of Short Films, in Belo Horizonte. Participated in 20 international film festivals such as Oberhausen Film Festival, Rotterdam Film Festival, Karloy Vary Film Festival, Paris Cinema, Munich International School of Film and Torino Film Festival.

Michele amaglio
Catalogue : 2014Treviso Centrale | Doc. expérimental | hdv | couleur | 13:8 | Italie | 2014
Michele amaglio
Treviso Centrale
Doc. expérimental | hdv | couleur | 13:8 | Italie | 2014

The project Treviso Centrale stems from a desire to represent and interpret the territory of Treviso in the north-east of Italy. A territory that deals with the consequences of a heavy exploitation of the land for the sake of industrialization and economic wealth but also that deals with the relationship between the human presence and the man-altered landscape. In Treviso Centrale the subjects try to engage with this wounded landscape, non-places, with the attempt to re-appropriate them. This engagement becomes forced, unnatural, because of the impossibility to relate with places that have lost their social and inner function. Treviso Centrale becomes then a journey into these contrasts, into this everyday struggle between economic and social space.

Michele Amaglio (b.1993) is an Italian photographer based in Brighton (UK) currently studying at the University of Brighton, BA (Hons) Photography at his third year. From the early workshops with the Italian photographer Marco Zanta, Michele Amaglio grew an interest on architectural photography and urban landscape starting questioning the contrasts between past and presence within the landscape. His work is focused on the relationship between human being and space, between landscape and existentialism. Across different projects his attempt to represent the social space questions the alienation from the every-day life. Among the main influences of his work, Henri Lefebvre, Albert Camus and Jean Beaudrillard.

Ulf aminde
Catalogue : 2006Welcome Home | Installation vidéo | dv | couleur | 12:0 | Allemagne | Belgique | 2006
Ulf aminde
Welcome Home
Installation vidéo | dv | couleur | 12:0 | Allemagne | Belgique | 2006

Imaginez une seconde: vous faites des courses dans un magasin IKEA et tout à coup on vous propose de participer à un film. C'est ce qui est arrivé à plus d'une centaine de clients dans le magasin IKEA de Wilrijk en Belgique, où Ulf était en tournage pendant deux semaines pour réaliser Welcome Home. Dans des décors tout faits - la chambre d'étudiant, le salon rustique, l'intérieur design - les clients avaient la possibilité d'improviser comme ils le voulaient à partir de situations données. Ces acteurs en devenir ont tous fait preuve d'une grande volonté. On y voit des personnes qui dorment, qui cuisinent, qui sont assis... Welcome Home est une compilation de scènes humoristiques basées sur la confrontation entre ce qui est artificiel et authentique, et entre l'Homme et le commerce. IKEA sert de décor clairement reconnaissable pour ces scènes et fait apparaître toutes sortes d'associations et de réflexions. Cependant on ne trouve aucune prise de position explicite sur la consommation et la mondialisation de la part d'Ulf. Pour lui, ce qui est important c'est de laisser les gens jouer et de nous permettre les observer.


Ulf Aminde (né en 1969 en Allemagne) vit à Berlin et travaille comme artiste vidéo. Son travail a été présenté au Centre Culturel de Suisse (Paris), à Friedericianum (Kassel) et à Kagami (Paris), pour n'en citer que quelques uns. En 2004, une exposition intitulée Survival of the fittest lui a été consacrée à Wolfsburg, et en 2006, ses oeuvres ont été présentées à la Biennale de Berlin. Ulf s'intéresse principalement aux mécanismes socio-émotionnels de la société capitaliste. Il ne s'agit pas simplement d'images enregistrées. Au contraire il cherche à faire participer des gens victimes des stigmates sociaux, des personnes qui ne peuvent pas ou qui ne pourront jamais prendre part à l'Etat-providence. Ulf ne condamne personne et ne formule aucune plainte mais son travail montre ces personnes d'une telle manière que la perception que l'on a habituellement d'eux est brisée, ou du moins devient plus nuancée.