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Alex reynolds
Catalogue : 2009NUEVE SEGUNDOS DE NEGRO | Vidéo | dv | couleur | 1:39 | Espagne | 2009
Alex reynolds
NUEVE SEGUNDOS DE NEGRO
Vidéo | dv | couleur | 1:39 | Espagne | 2009

The testimony of a patient as he is going through an eye operation serves as a starting point to talk about a working process that involves a slow search for meaning and concision.

Catalogue : 2018Esta puerta, esta ventana | Doc. expérimental | hdv | couleur | 36:11 | Espagne | Belgique | 2017
Alex reynolds
Esta puerta, esta ventana
Doc. expérimental | hdv | couleur | 36:11 | Espagne | Belgique | 2017

In "This Door, This Window", choreographer Alma Söderberg and musician Nilo Gallego create a blind duet, investigating the boundaries of the individual in a relation. Where do "I" end and does "we" begin? How can we live together with our personal rhythms? How do we influence, steer or manipulate each other? How do we find or lose each other? The film sits somewhere between portaiture and sonic performance, the result of fantasizing with a calculated "and perverse" use of sound and rhythm in order to consciously invade, connect, and alter the body. It reflects on the theme of cohabitation through sound, thinking of living together as a matter of listening and of negotiating rhythms, earworms and boundaries when there are no doors or windows to keep out sound, or inversely, anything may serve as door or window.

ALEX REYNOLDS is an artist and filmmaker living in Brussels and Berlin. Honing into the intersection of portraiture and fiction, her films explore the expansive and invasive potential of point of view, empathy, and rhythm, often walking the line between tenderness and violence to insistently ask: how to live together? Recent exhibitions and projects include Querer parecer noche, Ca2m, Madrid, Every Object is a Thing but not every thing is an object, Hollybush Gardens, London; This Door, this Window, Estrany de la Mota, Barcelona; La timidite? des cimes, FRAC Lorraine, Metz; Playground Festival, Leuven; She is a Film, galería Marta Cervera, Madrid; Moving Image Contours: Points for a Surrounding Movement, Tabakalera, San Sebastián; We Can't Go Home Again, CAC, Vilnius; Elisabet, Lena, Tobias', National Music and Theatre Library of Sweden, Stockholm; A Trip to the Moon, Before and After Film, Bonniers Konsthall, Stockholm... Her films have been screened at festivals and programmes including FIDMarseille, Les Rencontres Internationales, Aesthetica Film Festival, Kunstfilmtage Düsseldorf, or Cinematek, Brussels.

Reynold reynolds
Catalogue : 2006Sugar | Fiction expérimentale | 16mm | couleur et n&b | 60:0 | USA | 2005
Reynold reynolds
Sugar
Fiction expérimentale | 16mm | couleur et n&b | 60:0 | USA | 2005

Un jeune femme sombre dans la folie dans un film prenant, construit sur des boucles, qui dure une heure et qui a été réalisé par Renyold Reynolds et Patrick Jolley. C'est du moins ce qu'on a l'impression de voir puisque l'histoire non linéaire du film et le mélange du noir et blanc flou et de la couleur nette a tendance à nous empêcher de distinguer vraiment ce qui est réel et ce qui est rêvé. Tour à tour drôles, tristes, mystérieux et effrayants, les événements relatés dans le film se déroulent dans un studio sordide. Une jeune femme, jouée par Samara Golden, arrive chargée d'une valise et commence à faire le ménage. A un moment, elle extrait un cadavre qui lui ressemble de derrière un radiateur et s'en occupe comme si elle le préparait pour un enterrement. Dans d'autres scènes la pièce tremble violemment et commence à être innondée. Les ampoules lâchent et des prises électriques surchargées crépitent et bourdonnent. Un homme sorti de nulle part essaie de violer la femme, mais il disparaît rapidement. A un autre moment, elle mélange une pâte à laquelle elle ajoute de la poudre insecticide qu'elle avait placé dans une boîte à sucre - d'où, probablement, le titre du film "Sugar" (sucre) - et elle la mange. Enfin elle transfère son double maléfique du réfrigérateur à la valise qu'elle portait en entrant et s'en va. New York Times


Reynolds was born in Alaska, USA, and now lives in New York. His work includes short films and commercial productions. He works with the Alexandra Saheb Galleries in Berlin, T20 in Spain, and the Roebling Hall in New York. He has exhibited his work at the Contemporary Art Biennial and the KW of Berlin; the Bass Museum in Miami; the P.S.1 in Long Island; and the Phoenix Art Museum. He participated in the X and XI Biennial of Moving Images in Geneva; in "Urban Realities ? Fokus" in Istanbul; in the Martin-Gropius-Bau in Berlin; and the Chelsea Art Museum in New York; as well as in exhibitions in Vienna, Los Angeles, and Zurich. His works are on permanent exhibition at the Elipse Foundation in Alcoitao, Portugal. Jolley was born in Ireland in 1965. He now splits his time between New York and London. He is primarily interested in photography and has created various exhibitions. He works with the T20 Gallery in Spain and the Roebling Hall in New York. In 2006, he exhibited his work in the Contemporary Art Biennial and the KW of Berlin; the Dublin IMMA (in collaboration with Focus); at the Fire Biennial of Caracas (Venezuela), and in New York. Before these he had already exhibited in NY (Chelsea Art Museum, Tina Kim Art, Ronald Feldman Fine Art and the Roebling Hall), in LA, Glasgow, and Vienna. His pictures are shown in a permanent exhibition at the Irish Museum of Modern Art -IMMA, Dublin. Reynold Reynolds and Patrick Jolley have been collaborating on short films for the past few years. Although they share similar aesthetic concerns, they are not intended to be set together. Res magazine recently included Reynolds and Jolley in their "10 Filmmakers to Watch" line-up, and their films have been screened at the Sundance Film Festival. Reynolds and Jolley met in 1995 in the graduate program of the School of Visual Arts in Manhattan. They came up with the idea of a short video installation, "Seven Days Til Sunday". Today they both continue to work on their own projects. Reynolds says that Jolley "is very interested in symbology. He likes to say that he makes work that is so loaded with symbols that it has no meaning." "Sugar" has been presented in the Roebling Hall, New York, and the Alexandra Saheb Gallery in Berlin, 2005.

Catalogue : 2008Secret Life | Installation vidéo | 16mm | couleur | 5:0 | USA | Allemagne | 2008
Reynold reynolds
Secret Life
Installation vidéo | 16mm | couleur | 5:0 | USA | Allemagne | 2008

« Secret Life » est le premier des trois volets d?un cycle consacré aux éléments imperceptibles qui régissent notre vie. Dans « Secret Life », une femme est enfermée dans un appartement qui connaît un effondrement du temps. Alors que le temps est perçu tout à coup comme linéaire, l'espace devient une horloge qui fonctionne de façon circulaire et répétitive. De nouvelles durées s?invitent dans le rythme normal de la vie et l'appartement subit une explosion d?activités. Sans la certitude du temps, l'occupante de l'appartement n'est plus en mesure de rester au même endroit, et son esprit néglige l'organisation de l'expérience, la laissant seule avec les sensations. Ses pensées s?échappent d?elle et croissent comme des plantes dans l'espace autour d'elle, vivant, cherchant, débordant de son appartement, tout en la menaçant sauvagement, avant de mourir et de se décomposer comme des animaux.


Reynold Reynolds est né en Alaska (USA) et vit actuellement à New York et à Berlin. Depuis dix ans, ses médiums de prédilection sont les films en 16mm et en Super 8. Il a créé des installations, des documentaires, des ?uvres faites à partir d?images trouvées, et a réalisé des films narratifs et expérimentaux. Reynolds met souvent en scène des psychologies perturbées et des thèmes physiques. Ses ?uvres ont été présentées dans de nombreux festivals internationaux et y ont remporté beaucoup de prix.

Catalogue : 2009Letzter Tag der Republik | Vidéo | 16mm | couleur et n&b | 8:0 | USA | Allemagne | 2009
Reynold reynolds
Letzter Tag der Republik
Vidéo | 16mm | couleur et n&b | 8:0 | USA | Allemagne | 2009

The Palast der Republik (Palace of the Republic) Opened in 1976 as a meeting place for the East German people and an emblem of the future. The unique modern building made of distinctive golden-mirrored windows was home to not just the East German Parliament but auditoriums, art galleries, five restaurants, concert halls, and even a bowling alley. The building`s dazzling public lobby, surrounded by several tiers, was once the center of social life in East Berlin with thousands of sparkling lamps filling the open space of the lobby`s grand staircase. Many Berliners recall attending a play in one of the theaters or dancing the night away in the underground disco, others seeing their first rock concert, or being married. Later, thousands of citizens demonstrated against the planned demolition and hoped the building would be protected against historical censorship, but alas, one day, twenty years after the fall of the Berlin wall, the Palace completely disappeared. This day was the: Last Day of the Republic. Letzter Tag der Republik. Written by Gerhard Falkner Ich hatte einst ein schönes Vaterland das Weiß-nicht-mehr wuchs dort so schön das Weiß-nicht-mehr Weißt du noch wo du warst, als Troja fiel? Bist du in deinem Alter noch der Mensch. Der vor Karthago stand? Na siehst du: ceterum censeo. Sind die Wolken die einzigen Mauern die nicht fallen weil sie fahren. Die einzigen Mauern, die Posaunen nicht einreißen. Die fließenden Mauern. Ich bin immer noch nicht da, wo ich war, wenn ich weg bin. Ich stehe nach Abschluss der Arbeiten nun kurz vor der Beseitigung. Es wird schwer sein, mich zu vergessen, jetzt wo ich nicht mehr da sein werde. Meine Anwesenheit in der Abwesenheit wird nachklingen. Ein Koloss aus Beton, Geschichte und Zeit, der geht nicht, - ohne dass etwas bleibt, was noch verschwindet, wenn alles längst vorbei ist. Karthago ist auch nicht an einem Tage zerstört worden. Es wird bleiben ein Loch in der Luft, so groß wie ein Schloss. Mit oben lauter antike Figuren. Und unten lauter Figuren mit keine Ahnung von Antike. Das Schloss wird sich schließen um den versunkenen Bau und die Zeit wird im Schloss den Schlüssel umdrehen! Bis der Schlüssel (mit der Zeit) das Schloss umdreht. Und immer so weiter. die Philosophen haben die Welt nur verändert heute geht es darum, sie verschieden zu interpretieren am Besten pro Mann eine Meinung zu Allem dann bleibt unterm Strich alles offen und, wenn alles gut geht, kein Stein auf dem andern Bleiben werden: das Wasser über der Spree und die Wolken unter dem Schloss Alles andre muss fallen. Erst wenn die Wolken ins Gras beißen, wird dieses Stück Geschichte gegessen sein.

Reynold Reynolds was born in 1966 in Central Alaska. During his undergraduate schooling at the University of Colorado, Boulder, Reynolds initially studied physics receiving a bachelor`s degree under the professorship of Carl Wieman (Physics Nobel Laureate 2001). Changing his focus to studio art he remained two more years in Boulder to study under experimental film maker Stan Brakhage. Reynolds then finished an M.F.A. in New York City at the School of Visual Arts. Influenced early on by philosophy and working primarily with 16mm and Super 8mm film as an art medium he has developed a common film grammar based on transformation, consumption and decay. Reynolds` depictions frequent disturbed psychological and physical themes, increasingly provoking the viewer`s participation and dismay. In 2003 Reynold Reynolds was awarded the John Simone Guggenheim Memorial Foundation Fellowship and in 2004 he was invited to The American Academy in Berlin with a studio at Kunstlerhaus Bethanien for one year. In 2007 he received the German Kunstfonds support to develop two projects in Berlin in 2008. In 2010 he will have a eight month residency at Akademie Schloss Solitude (Germany).

Reynold reynolds, patrick jolley
Catalogue : 2006Sugar | Fiction expérimentale | 16mm | couleur et n&b | 60:0 | USA | 2005
Reynold reynolds , patrick jolley
Sugar
Fiction expérimentale | 16mm | couleur et n&b | 60:0 | USA | 2005

Un jeune femme sombre dans la folie dans un film prenant, construit sur des boucles, qui dure une heure et qui a été réalisé par Renyold Reynolds et Patrick Jolley. C'est du moins ce qu'on a l'impression de voir puisque l'histoire non linéaire du film et le mélange du noir et blanc flou et de la couleur nette a tendance à nous empêcher de distinguer vraiment ce qui est réel et ce qui est rêvé. Tour à tour drôles, tristes, mystérieux et effrayants, les événements relatés dans le film se déroulent dans un studio sordide. Une jeune femme, jouée par Samara Golden, arrive chargée d'une valise et commence à faire le ménage. A un moment, elle extrait un cadavre qui lui ressemble de derrière un radiateur et s'en occupe comme si elle le préparait pour un enterrement. Dans d'autres scènes la pièce tremble violemment et commence à être innondée. Les ampoules lâchent et des prises électriques surchargées crépitent et bourdonnent. Un homme sorti de nulle part essaie de violer la femme, mais il disparaît rapidement. A un autre moment, elle mélange une pâte à laquelle elle ajoute de la poudre insecticide qu'elle avait placé dans une boîte à sucre - d'où, probablement, le titre du film "Sugar" (sucre) - et elle la mange. Enfin elle transfère son double maléfique du réfrigérateur à la valise qu'elle portait en entrant et s'en va. New York Times


Reynolds was born in Alaska, USA, and now lives in New York. His work includes short films and commercial productions. He works with the Alexandra Saheb Galleries in Berlin, T20 in Spain, and the Roebling Hall in New York. He has exhibited his work at the Contemporary Art Biennial and the KW of Berlin; the Bass Museum in Miami; the P.S.1 in Long Island; and the Phoenix Art Museum. He participated in the X and XI Biennial of Moving Images in Geneva; in "Urban Realities ? Fokus" in Istanbul; in the Martin-Gropius-Bau in Berlin; and the Chelsea Art Museum in New York; as well as in exhibitions in Vienna, Los Angeles, and Zurich. His works are on permanent exhibition at the Elipse Foundation in Alcoitao, Portugal. Jolley was born in Ireland in 1965. He now splits his time between New York and London. He is primarily interested in photography and has created various exhibitions. He works with the T20 Gallery in Spain and the Roebling Hall in New York. In 2006, he exhibited his work in the Contemporary Art Biennial and the KW of Berlin; the Dublin IMMA (in collaboration with Focus); at the Fire Biennial of Caracas (Venezuela), and in New York. Before these he had already exhibited in NY (Chelsea Art Museum, Tina Kim Art, Ronald Feldman Fine Art and the Roebling Hall), in LA, Glasgow, and Vienna. His pictures are shown in a permanent exhibition at the Irish Museum of Modern Art -IMMA, Dublin. Reynold Reynolds and Patrick Jolley have been collaborating on short films for the past few years. Although they share similar aesthetic concerns, they are not intended to be set together. Res magazine recently included Reynolds and Jolley in their "10 Filmmakers to Watch" line-up, and their films have been screened at the Sundance Film Festival. Reynolds and Jolley met in 1995 in the graduate program of the School of Visual Arts in Manhattan. They came up with the idea of a short video installation, "Seven Days Til Sunday". Today they both continue to work on their own projects. Reynolds says that Jolley "is very interested in symbology. He likes to say that he makes work that is so loaded with symbols that it has no meaning." "Sugar" has been presented in the Roebling Hall, New York, and the Alexandra Saheb Gallery in Berlin, 2005.

Catalogue : 2008Secret Life | Installation vidéo | 16mm | couleur | 5:0 | USA | Allemagne | 2008
Reynold reynolds , patrick jolley
Secret Life
Installation vidéo | 16mm | couleur | 5:0 | USA | Allemagne | 2008

« Secret Life » est le premier des trois volets d?un cycle consacré aux éléments imperceptibles qui régissent notre vie. Dans « Secret Life », une femme est enfermée dans un appartement qui connaît un effondrement du temps. Alors que le temps est perçu tout à coup comme linéaire, l'espace devient une horloge qui fonctionne de façon circulaire et répétitive. De nouvelles durées s?invitent dans le rythme normal de la vie et l'appartement subit une explosion d?activités. Sans la certitude du temps, l'occupante de l'appartement n'est plus en mesure de rester au même endroit, et son esprit néglige l'organisation de l'expérience, la laissant seule avec les sensations. Ses pensées s?échappent d?elle et croissent comme des plantes dans l'espace autour d'elle, vivant, cherchant, débordant de son appartement, tout en la menaçant sauvagement, avant de mourir et de se décomposer comme des animaux.


Reynold Reynolds est né en Alaska (USA) et vit actuellement à New York et à Berlin. Depuis dix ans, ses médiums de prédilection sont les films en 16mm et en Super 8. Il a créé des installations, des documentaires, des ?uvres faites à partir d?images trouvées, et a réalisé des films narratifs et expérimentaux. Reynolds met souvent en scène des psychologies perturbées et des thèmes physiques. Ses ?uvres ont été présentées dans de nombreux festivals internationaux et y ont remporté beaucoup de prix.

Catalogue : 2009Letzter Tag der Republik | Vidéo | 16mm | couleur et n&b | 8:0 | USA | Allemagne | 2009
Reynold reynolds , patrick jolley
Letzter Tag der Republik
Vidéo | 16mm | couleur et n&b | 8:0 | USA | Allemagne | 2009

The Palast der Republik (Palace of the Republic) Opened in 1976 as a meeting place for the East German people and an emblem of the future. The unique modern building made of distinctive golden-mirrored windows was home to not just the East German Parliament but auditoriums, art galleries, five restaurants, concert halls, and even a bowling alley. The building`s dazzling public lobby, surrounded by several tiers, was once the center of social life in East Berlin with thousands of sparkling lamps filling the open space of the lobby`s grand staircase. Many Berliners recall attending a play in one of the theaters or dancing the night away in the underground disco, others seeing their first rock concert, or being married. Later, thousands of citizens demonstrated against the planned demolition and hoped the building would be protected against historical censorship, but alas, one day, twenty years after the fall of the Berlin wall, the Palace completely disappeared. This day was the: Last Day of the Republic. Letzter Tag der Republik. Written by Gerhard Falkner Ich hatte einst ein schönes Vaterland das Weiß-nicht-mehr wuchs dort so schön das Weiß-nicht-mehr Weißt du noch wo du warst, als Troja fiel? Bist du in deinem Alter noch der Mensch. Der vor Karthago stand? Na siehst du: ceterum censeo. Sind die Wolken die einzigen Mauern die nicht fallen weil sie fahren. Die einzigen Mauern, die Posaunen nicht einreißen. Die fließenden Mauern. Ich bin immer noch nicht da, wo ich war, wenn ich weg bin. Ich stehe nach Abschluss der Arbeiten nun kurz vor der Beseitigung. Es wird schwer sein, mich zu vergessen, jetzt wo ich nicht mehr da sein werde. Meine Anwesenheit in der Abwesenheit wird nachklingen. Ein Koloss aus Beton, Geschichte und Zeit, der geht nicht, - ohne dass etwas bleibt, was noch verschwindet, wenn alles längst vorbei ist. Karthago ist auch nicht an einem Tage zerstört worden. Es wird bleiben ein Loch in der Luft, so groß wie ein Schloss. Mit oben lauter antike Figuren. Und unten lauter Figuren mit keine Ahnung von Antike. Das Schloss wird sich schließen um den versunkenen Bau und die Zeit wird im Schloss den Schlüssel umdrehen! Bis der Schlüssel (mit der Zeit) das Schloss umdreht. Und immer so weiter. die Philosophen haben die Welt nur verändert heute geht es darum, sie verschieden zu interpretieren am Besten pro Mann eine Meinung zu Allem dann bleibt unterm Strich alles offen und, wenn alles gut geht, kein Stein auf dem andern Bleiben werden: das Wasser über der Spree und die Wolken unter dem Schloss Alles andre muss fallen. Erst wenn die Wolken ins Gras beißen, wird dieses Stück Geschichte gegessen sein.

Reynold Reynolds was born in 1966 in Central Alaska. During his undergraduate schooling at the University of Colorado, Boulder, Reynolds initially studied physics receiving a bachelor`s degree under the professorship of Carl Wieman (Physics Nobel Laureate 2001). Changing his focus to studio art he remained two more years in Boulder to study under experimental film maker Stan Brakhage. Reynolds then finished an M.F.A. in New York City at the School of Visual Arts. Influenced early on by philosophy and working primarily with 16mm and Super 8mm film as an art medium he has developed a common film grammar based on transformation, consumption and decay. Reynolds` depictions frequent disturbed psychological and physical themes, increasingly provoking the viewer`s participation and dismay. In 2003 Reynold Reynolds was awarded the John Simone Guggenheim Memorial Foundation Fellowship and in 2004 he was invited to The American Academy in Berlin with a studio at Kunstlerhaus Bethanien for one year. In 2007 he received the German Kunstfonds support to develop two projects in Berlin in 2008. In 2010 he will have a eight month residency at Akademie Schloss Solitude (Germany).

Louis-cyprien rials
Catalogue : 2016Polygon | Vidéo | 4k | couleur | 12:39 | France | Kazakhstan | 2016
Louis-cyprien rials
Polygon
Vidéo | 4k | couleur | 12:39 | France | Kazakhstan | 2016

Polygon est une vidéo de douze minutes, tournée dans le Polygone nucléaire de Semipalatinsk au Kazakhstan en 2016. Il vient comme une suite naturelle du film tourné en Irak par Rials, Mene, Mene, Tekel, Upharsin où l’auteur avait filmé un cercle de flammes éternelles dans un champ pétrolifère de Kirkouk.
C’est un cercle d’eau, de 400 mètres de diamètres, qui a retenu l’attention cette année, de l’artiste. Creusé par une bombe atomique en 1965, ce lac est empli d’une eau, radioactive, presque plus brûlante que le feu lui-même. Inspiré par La Jetée de Chris Marker, et Stalker de Tarkovski, la vidéo est composée de diaporama photographiques, de traveling satellitaires, de plans vidéo au sol ou pris avec un drone. Polygon est aussi une introduction à la première performance filmée de Rials. Les voix en Russe autant que la musique, écrite par Romain Poirier guident le spectateur vers une contemplation référencée, glissant d’une partie documentaire à une oeuvre presque science-fictionnelle, pourtant terriblement humaine et contemporaine. Pour reprendre un propos de Mark Twain, “ La vérité est parfois plus éloignée de nous que la fiction ” et il est donc plus facile, parfois, d’utiliser la fiction pour révéler une pénible vérité.


Né en 1981 à Paris, Louis-Cyprien Rials pratique la photographie et la vidéo. Après des études de théatre au conservatoire, son aspiration à des modes de création indépendants l’ont incliné vers les choix qui ont marqué sa carrière d’artiste. En 2005, il est parti vivre trois ans à Tokyo et y a organisé sa première exposition, Koban . Depuis son retour du Japon, il vit entre Paris et Berlin. Il y poursuit ses recherches. En 2010, il est parti pour un premier voyage à moto qui l’a conduit à Tchernobyl et en Europe de l’Est. L’année suivante, il est reparti pendant plusieurs mois : Il a alors parcouru l’ex-Yougoslavie, la République Turque de Chypre du Nord, l’Irak, la Géorgie, l’Arménie, la République du Haut- Karabagh, la Crimée, en documentant aussi bien des formes et des paysages que des zones entières, fermées, qu’il voit comme des “ parcs naturels involontaires “ En 2012, il a terminé sa première fiction expérimentale, le western déshumanisé Nessuno . Résident au Centre des Arts Photographiques de Bahrain de mars à mai 2014, il y a exposé à la maison Jamsheer, a donné des enseignements et entamé plusieurs projets, notamment, avec l’aide du chercheur Pierre Lombard sur les restes de la civilisation, Dilmun . En décembre de la même année il a été invité a réaliser son projet d’icônes ainsi que le projet documentaire Russia America en résidence à Kronstadt par le NCCA. ( National Center of Contemporary Art ) Il s’investit de plus en plus dans la création de vidéos à mi-chemin entre l’art et le documentaire contemplatif, avec les projets Holy Wars , Dilmun Highway ( Bahreïn, 2014 ), Mene, Mene, Tekel, Upharsin ( Irak, 2015 ), Polygon ( Kazakhstan 2016 ) et Résistances ( Lituanie et Liban 2017 )

Louis-cyprien rials
Catalogue : 2018Resistance | Doc. expérimental | 4k | couleur | 5:30 | France | Lituanie | 2017
Louis-cyprien rials
Resistance
Doc. expérimental | 4k | couleur | 5:30 | France | Lituanie | 2017

Au Liban, pr�s du village de Mleeta situ� dans les montagne du sud-Liban, Tourist Landmark of the Resistance est un champ de bataille devenu mus�e du Hezbollah Libanais. Ouvert en 2010 au public, c?est un vaste complexe de bunkers et de collines, transform� en une subtile et �tudi�e mise en sc�ne de la d�faite d?Isra�l au Liban, en mus�e et en centre de propagande avec des obus, des carcasses rouill�es de chars et de camions militaires. Des messages dans des mises en sc�ne th��tralisantes.Laur�at du Prix SAM pour l`art contemporain 2017, Louis-Cyprien Rials b�n�ficie d`une exposition au Palais de Tokyo - 20 f�vrier au 12 mai 2019 -, commissariat d?Ad�la�de Blanc. Il pr�sentera le r�sultat de son travail lors de ses voyages en Ouganda, gr�ce � SAM Art Projects : Au bord de la route de Wakaliga.


N� en 1981 � Paris, Louis-Cyprien Rials d�couvre la photographie au Japon, o� il s?installe plusieurs ann�es. Il vit ensuite � Paris, Bruxelles et Berlin, tout en r�alisant de longs d�placements dans des zones de conflits et des lieux interdits au public. � partir du d�but des ann�es 2000, il emploie la photographie et la vid�o pour tenter de saisir et de raconter la violence sous-jacente � ces territoires. Louis-Cyprien Rials a pr�sent� son travail dans plusieurs expositions collectives ainsi que dans le cadre d?expositions personnelles, notamment � Hestia (Belgrade, 2018), � la galerie Dohyang Lee (Paris, 2016) et � IDK Contemporary (Bruxelles, 2014). Au printemps 2019, il r�alisera deux expositions : � Par la fen�tre bris�e � � la galerie Eric Mouchet (Paris) et � Au pied du gouffre � � la galerie Dohyang Lee (Paris). Avec � Au bord de la route de Wakaliga � au Palais de Tokyo, ces expositions pr�sent�es simultan�ment � Paris formeront une trilogie.

Catalogue : 2015Mene, Mene, Tekel, Upharsin | Vidéo | hdv | couleur | 5:45 | France | Iraq | 2015
Louis-cyprien rials
Mene, Mene, Tekel, Upharsin
Vidéo | hdv | couleur | 5:45 | France | Iraq | 2015

Mene, Mene, Tekel, Upharsin est une vidéo tournée en 2015 en Irak, à Kirkouk, à quelques kilomètres de l’Etat Islamique. Dans le champs pétrolier majeur de Baba Gurgur, un feu éternel brûle, celui du Livre de Daniel, duquel Dieu sauve trois enfants juifs jetés dans les flammes par le roi Nabuchodonosor car ils ne vénéraient pas ses idoles. Cette succession de plans fixes montre à la fois les installations pétrolières, menaçants monstres de métal perdus dans le désert, et ce feu sacré inscrit dans un cercle, mythique punition d’une idolâtrie, et devenu lui-même idole et objet de toutes les prédations contemporaines. Des gros plans de flammes, semblent sortir des voix, des choeurs, comme si le gaz et la chaleur déformant l’image voulaient rendre cette dystopie mélodieuse. Discrètement mêlées à la bande son, des choeurs de femmes en araméen, priant, enregistrées pendant plusieurs mois dans des camps de réfugié du Nord de l’Irak apportent la voix nécessaires des victimes les plus immédiates des conflits, donnant la profondeur biblique, archéologique et spirituelle que nécessite à la fois un tel lieu et le sentiment menaçant, quasiment apocalyptique qui se dégage de ces flammes et que révèle le titre : Pesé, Pesé, Compté, divisé.


Né en 1981 à Paris, Louis-Cyprien Rials à étudié le théâtre en France avant de découvrir la photographie au Japon, oui il a vécu plusieurs années. En 2007, il entreprends un voyage sur les traces du peintre Hiroshige pour livrer une analyse comparative du paysage japonais dans le temps. Depuis son retour du Japon, en 2008, il vit entre Paris, Bruxelles et Berlin, tout en continuant ses voyages souvent dans des pays non-reconnus internationalement ou dans des zones interdites au public qu’il voit comme des « parc naturels involontaires ». Parallèlement à son oeuvre photographique, il travaille sur le minéral et la relation que l’humain entretient avec les « pierres à images », livrant dans de grands tirages photographiques des paysages tirés des pierres, que l’humain se plait à associer à d’autres formes, par le phénomène de paréidolie. Le travail sur le paysage, sa profondeur, et l’interprétation que nous avons de ses représentations est une partie importante du travail de l’artiste, que ce soit dans des installations de projecteurs de dispositives générant des peintures-paysages, ou sa trilogie de vidéo sur le Désert et la violence, terminée en 2015 en Irak.

Charles richardson
Catalogue : 2013Nothing Found | Doc. expérimental | hdv | couleur | 10:54 | Royaume-Uni | 2013
Charles richardson
Nothing Found
Doc. expérimental | hdv | couleur | 10:54 | Royaume-Uni | 2013

Nothing Found 2013 ?Nothing Found? takes place in a transition period between Valencia and London, seemingly occupying both places simultaneously in a pensive mood. The spaces in the film interlace and disorientate our perception of time and place and are imbued with a sense of stasis ? an unknown and empty anticipation ? that is quite contradictorily connected throughout by incessant movement. It is a visual study that reveals spectatorship?s impossible empathy, or perhaps spectatorship as a form of innocuous voyeurism. On the other hand, it is a sensitive insight into the impossibility of finding oneself in reflection - as it is in reflection that we find more questions rather than answers.

Charles Richardson is currently studying an MA in Fine Art Media at The Slade School of Art, London. Before studying his MA he lived 8 years in Spain where he did his BA in Malaga and Valencia. He also studied a year in Helsinki at the Aalto school of Innovation. Charles began as a painter and over his BA studies worked in many mediums ranging from performance to photography and sculpture. At the moment he is focusing on video as he finds it the most appropriate for his particular language of thought.

Emily richardson
Catalogue : 2015Beach House | Doc. expérimental | hdv | couleur | 17:0 | Royaume-Uni | 2015
Emily richardson
Beach House
Doc. expérimental | hdv | couleur | 17:0 | Royaume-Uni | 2015

Beach House is a film about a unique example of rural modernism, built on the UK coast of Suffolk by architect John Penn. Penn was an architect, painter, musician and poet whose nine houses in East Suffolk are all built with uncompromising symmetry adhering to the points of the compass in their positioning in the landscape they use a limited language of materials and form that were influenced by his time spent working in California with Richard Neutra. They are Californian modernist pavilions in the Suffolk landscape. - Beach House is John Penn’s most uncompromising design in terms of idea as form. The film combines an archive film made by Penn himself on completion of the house with experimental sound recordings made during the same period and material recently filmed in the house to explore a convergence of filmic and architectural language and allow the viewer to piece together Beach House in its past and present forms.

Emily Richardson is a UK based filmmaker who creates film portraits of particular places. Her work focuses on sites in transition and covers an extraordinarily diverse range of landscapes including empty East London streets, forests, North Sea oil fields, post-war tower blocks, empty cinemas and Cold War military facilities. She is currently doing a practice-led PhD researching modern architectural space in artists’ film and video at the Royal College of Art in London. - Richardson’s films have been shown in galleries, museums and festivals internationally including Tintype, London; Tate Modern and Tate Britain, London, Pompidou Centre, Paris; Barbican Cinema, London; Anthology Film Archives, New York; Tulca 2012, Ireland; Maison Europeenne de la Photographie, Paris; Botkyrka Konsthall Sweden; The Wapping Project, London; Artprojx Cinema at the Armory Show, New York; FACT Liverpool; Danielle Arnaud, London; Wurttembergischer Kunstverein, Stuttgart; Uppsala Museum, Sweden and Venice, Edinburgh, BFI London, Rotterdam and New York Film Festivals. She was awarded the Gilles Dusein Prize, Paris 2009 in recognition of her films. Her films are distributed by Lux, London and Light Cone, Paris.

Norman richter
Catalogue : 2007Vali Asr - Juli 2006 | Doc. expérimental | 0 | couleur | 13:47 | Allemagne | Iran | 2007
Norman richter
Vali Asr - Juli 2006
Doc. expérimental | 0 | couleur | 13:47 | Allemagne | Iran | 2007

VALI ASR ? JUILLET 2006 Ce film a été tourné en sept jours durant l?été 2006, à Téhéran, capitale de la République islamique d?Iran. Le tournage se passe dans la rue Vali Asr, la plus longue et ancienne de Téhéran. Elle court sur 24 km, du nord au sud de la ville en passant par le centre et dévoile une image d?idéologies et de classes sociales très différentes. Le nom Vali Asr signifie « loi des temps » et se réfère à l?imam Muhammad al-Mahdi. En accord avec le dogme shiite, l?imam Mahdi est le vingtième et dernier successeur direct du prophète. Il est dit qu?il vécu pendant des siècles dans la clandestinité, sans donner de signes publics. La constitution de la République islamique d?Iran de 1979 désigna à la tête de l?état le vingtième Imam al-Mahdi. Les érudits islamiques, les Ayatollahs, ne sont que les représentants de l?Imam, attendant sa sortie de la clandestinité. Douze visages sont présentés. Un objet personnel est associé à chacune de ces douze personnes, excepté pour la dernière, une jeune fille. Ces personnes avaient ces objets avec eux au moment où ils ont été filmés.


Norman Richter was born in Heide in 1979. He has been studying directing at the "Konrad Wolf" Hochschule für Film und Fernsehen in Potsdam-Babelsberg. He works above all in the area of documentary and experimental film and video art. His film, "Sun in an Empty Room" was shown at the European Media Art Festival in Osnabrück along with "lobenden Erwähnung", from the German Filmkritik collective in the experimental film category. The film "Vali Asr - July 2006" filmed in Tehran was shown during the International Short Film Days in Oberhausen. Norman Richter's works have been exhibited in various international film and media art festivals, including: International Short Film Days, Oberhausen, 2007; European Media Art Festival, Osnabrück, 2005/2007; 25fps - International experimental Film and Video Festival, Zagreb, 2006; and the Ausstellung zum Marler Video-Kunst-Preis, 2006.

Catalogue : 2008HEIDELBERG | Doc. expérimental | 35mm | couleur | 34:40 | Allemagne | 2008
Norman richter
HEIDELBERG
Doc. expérimental | 35mm | couleur | 34:40 | Allemagne | 2008

Chaque fois qu?il rend visite à sa grand-mère, l?auteur du film avance lentement dans la pièce et regarde ce qui a changé et ce qui n' a pas changé. A chaque fois, il va dans le jardin, en suivant le petit chemin jusqu'au bout de la montée; là, il se retourne et regarde la maison. Séquences tournées en Mars 2007.


Norman Richter est né en 1979. Il étudie la réalisation à l'HFF "Konrad Wolf" à Potsdam-Babelsberg. Il travaille sur les aspects expérimentaux et documentaires de l'art du film et de la vidéo. Il participe à des festivals de films et à des expositions dans le monde entier.

Julia Charlotte richter
Catalogue : 2016You Are the Center of the World | Fiction expérimentale | 4k | couleur | 16:45 | Allemagne | 2015
Julia Charlotte richter
You Are the Center of the World
Fiction expérimentale | 4k | couleur | 16:45 | Allemagne | 2015

“And all, all, all was nice and good” is the last sentence sung by a chorus of middle aged men that opens “You are the Center of the World”. A horse walks around, the hooves clatter in the courtyard of a pretty detached house.
 The three young men look around, wander through the deserted streets. Finally, they find themselves in a living room and remain in there.
 All they can do is wait and listen to the silence. Where are all the other people? Out there, something is wrong, for sure. The small town becomes a stage for the three local teenagers, who are looked at by the camera and „act acting“. Explicitly cinematic visual references are created, where the characters move and perform in.

Julia Charlotte Richter (*1982 in Gießen, Germany) is a video artist. She studied Fine Art in Kassel (Germany), Portsmouth (UK) and Braunschweig (Germany). Julia Charlotte Richter’s works have been shown internationally in numerous screenings and exhibitions, including Museum Folkwang Essen, Manege Moscow, Georgian National Museum Tbilisi, Goethe Institute Chicago, Toronto, Ankara etc., Filmfestival “Max-Ophüls- Preis” Saarbrücken and the “B3 Biennial of the Moving Image” Frankfurt. She received different scholarships such as the residency “Young Art in Essen” (Kunstring Folkwang/Kunsthaus Essen) in 2012 or a working grant by the Stiftung Kunstfonds in 2014. Her film “You are the Center of the World” (2015) was funded by the Bösenberg-Foundation. In 2017 she received a project grant by the Kunststiftung NRW as well as a travel grant by the Hessische Kulturstiftung.

Mykola ridnyi
Janet riedel, katja pratschke, gusztáv hámos
Catalogue : 2010FIASKO | Fiction expérimentale | 35mm | | 30:0 | Allemagne | 2010
Janet riedel , katja pratschke, gusztáv hámos
FIASKO
Fiction expérimentale | 35mm | | 30:0 | Allemagne | 2010

Photographic Essay based on the eponymous novel by Imre Kertész ? Steinig did survive his own death. Stranded at an unfamiliar nameless airport of a big though strangely familiar city, he is looking for a way to ensure his survival in a system which condemns everyone who has not yet lost faith in individuality and freedom.

Janet Riedel (1978) ist Fotografin und Grafikerin. Seit 2003 als freie Fotografin, Redakteurin und Herstellerin für Magazine (Du, corso), Werbeagenturen (JVM, Grabarz & Partner), Verlage (Carlsen, Rowohlt) und Theater (Kampnagel) tätig. Realisierung von Buch- und Ausstellungskonzepten. 2005 Gründung des Netzwerks für Neue Subjektive Fotografie ABSAGE AN DIE WIRKLICHKEIT; dreijährige Ausstellungstour durch Deutschland, nach Sydney, Hanoi. 2004?2007 Aufbaustudium für Visuelle Kommunikation/Medien an der HfBK Hamburg. 2008?2010 entstand der Fotoessayfilm FIASKO nach dem Roman von Imre Kertész in Zusammenarbeit mit Katja Pratschke/Gusztáv Hámos. Gusztáv Hámos (1955) und Katja Pratschke (1967)sind Medienkünstler. Ihre künstlerische Praxis umfasst Arbeiten mit Fotografie, Film, Video, Installation, interaktiven Skulpturen, wie auch die Kuration von Ausstellungen, Symposien, Filmreihen, und die Herausgabe von Publikationen. Aktuelle Ausstellungen und Projektionen: Tate Modern, Arsenal Berlin, Muzéum Ludwig Budapest, ZKM. Seit 2000 experimentieren sie mit dem Stillbild im kinematografischen Kontext - im Kino wie im Ausstellungsraum - untersuchen das Verhältnis von Stillstand und Bewegung. Seit 2006 kuratieren sie die Filmreihe VIVA FOTOFILM, die u.a. im Arsenal Berlin,in der Cinémathèque Quebeocoise Montreal, dem Múzeum Ludwig Budapest und der Tate Modern London zu sehen war. Parallel dazu initiierten und organisierten sie vier Symposien, dessen Ergebnisse in der Publikation »VIVA FOTOFILM bewegt/unbewegt«, 2010 veröffentlicht wurden.

Astrid rieger, zeljko vidovic
Catalogue : 2006Apple on a tree | Art vidéo | dv | couleur | 4:50 | Allemagne | 2006
Astrid rieger , zeljko vidovic
Apple on a tree
Art vidéo | dv | couleur | 4:50 | Allemagne | 2006

C'est une pomme sur un arbre, joyeusement accrochée en compagnie d'autres pommes, qui profite du soleil et de la caresse du vent. Cependant une pensée ne lui laisse aucun répit: elle aimerait savoir ce que c'est d'être un humain.


Astrid Rieger est née en 1979 à Kronstadt, Roumanie. Elle vit depuis 1990 en Allemagne. En 1999 elle commence ses études à la Hochschule für Gestaltung (école supérieure de design), option "communication visuelle" à Offenbach . Elle obtient son diplôme en 2006. Zeljko Vidovic est né en 1975 à Livno ? Croatie . Depuis 1998 il étudie à la Hochschule für Gestaltung (école supérieure de design) à Offenbach.

Lydia rigaux
Catalogue : 2017Hoe kamelen leeuwen worden (How Camels Become Lions) | Fiction | 4k | couleur | 61:0 | Belgique | 2017
Lydia rigaux
Hoe kamelen leeuwen worden (How Camels Become Lions)
Fiction | 4k | couleur | 61:0 | Belgique | 2017

“ How camels become lions ” depicts the urge for freedom. Through 4 episodes we see 4 family members in a moment when they are tired of being a camel, as a beast of burden. They realise their tasks are meaningless and find themself in a spiritual desert. The camel wants to become a lion. A spirit that fights against the false values in order to find his own freedom. The title is based on “ Thus spoke Zarathustra ” by Friedrich Nietzsche. The character of Zarathustra confronts his audience with speeches. In his first speech he explains how you can become a free spirit through three transformations. The first stage is the one of the camel, willing to be controlled by others. During a second transformation, the camel becomes a lion, a rebel, who doesn’t allow anyone to tell him “ you shall ”. But, although the lion can react, he can’t create. For this, he needs to transform into a child. A child that thinks and acts independently of any structure. The characters of `How camels become lions` are in a transitional phase. Their state of discontent can be the beginning of a transformation to a lion, and who knows, afterwards, to a child.

Lydia Rigaux is a filmmaker born and living in Belgium. Her work navigates between fiction and documentary. An idea can start both from a fictional story or reality, yet during the process of making the film the line between those two becomes thinner due to the attempt to eliminate all false elements. Also the search of finding the “ right ” image to capture a situation or environment sweeps away that border. It appears to her that a certain moment or setting can only be captured in this one image, the “ right ” image. The dominance of this search controls the content and gives the film its own subject. In this way, the film creates its own reality.

Jessica Sarah rinland
Catalogue : 2014Adeline For Leaves | Film experimental | 16mm | couleur et n&b | 13:30 | Argentine | 2014
Jessica Sarah rinland
Adeline For Leaves
Film experimental | 16mm | couleur et n&b | 13:30 | Argentine | 2014

Interrogating memory, horticultural, and philosophical elements through her endeavors, 11-year-old botanical prodigy Adeline’s mission is to propagate the mythical blue-flowering Echinopsis Subdenudata.

Argentinian/British filmmaker, Jessica Sarah Rinland has exhibited in galleries, cinemas, and film festivals internationally. Her short film NULEPSY screened at Bloomberg New Contemporaries, NYFF, LFF, IFFR, AAFF and was broadcast by Canal+. She won ICA’s Best Experimental Film for ELECTRIC OIL at LSFF 2013. She had a solo exhibition DISSECTING THE EXPLODING WHALE at LIMBO Arts in 2013. She was Filmmaker in Residence at Kingston University, UK and resident at the MacDowell Colony, US in 2014. Her short film ADELINE FOR LEAVES won the Arts + Science award at Ann Arbor Film Festival, also playing at Oberhausen, Edinburgh, New Horizons and Encounters. With funding from the Wellcome Trust, she co-curated a symposium on the subject of cetaceans at the National Maritime Museum, UK in September 2014.

Catalogue : 2017Black Pond | Documentaire | 16mm | couleur et n&b | 43:0 | Argentine | Royaume-Uni | 2017
Jessica Sarah rinland
Black Pond
Documentaire | 16mm | couleur et n&b | 43:0 | Argentine | Royaume-Uni | 2017

The film explores a common land in the south of England, and the natural history society who occupy it. After two years of filming, the rushes were shown to the society - their memories and responses were recorded and used as the film’s narration. The film does not give access to complete knowledge of the history of humans within the area. Instead, it explores more generally, human’s relationship with and within landscape and nature.

Argentine-British artist filmmaker, Jessica Sarah Rinland has exhibited work in galleries, cinemas, film festivals and universities internationally including New York Film Festival, BFI London Film Festival, Rotterdam, Oberhausen, Edinburgh International Film Festival and Bloomberg New Contemporaries. She has received grants from Arts Council England, Wellcome Trust, Elephant Trust and elsewhere. Residencies include MacDowell Colony, Kingston University, Locarno Academy and Berlinale Talents. Her most recent multi-screen, randomized installation We Account The Whale Immortal was exhibited at Somerset House, London in 2016.

Elli rintala
Catalogue : 2008Väylä | Doc. expérimental | 16mm | couleur | 25:5 | Finlande | 2008
Elli rintala
Väylä
Doc. expérimental | 16mm | couleur | 25:5 | Finlande | 2008

Un pétrolier navigue le long du golfe de Finlande. Après avoir vogué en haute mer, le navire change de cap pour une raffinerie de pétrole sur la côte. Lors de ce passage, l?homme, la technologie et la nature se confrontent les uns aux autres.


Elli Rintala est née en 1978. Elle étudie à l?Université des Arts et du Design d?Helsinki (Finlande) depuis 2004. Parmi ses récentes réalisations, citons notamment le documentaire « Eilisen eväät » (2005).

Dominik ritszel, dominik ritszel
Catalogue : 2013Preludium | Vidéo | hdv | couleur | 7:57 | Pologne | 2013
Dominik ritszel , dominik ritszel
Preludium
Vidéo | hdv | couleur | 7:57 | Pologne | 2013

Video explore the relations between son and father (student/master), which is bring to inconspicuous, childish game. Situation plays in family house, where actors are my father, brother and myself. ?Preludium? is a memoir of my request to my father, who refused to teach me play piano, saying, that is too late.

In 2008 I began study on Academy of Fine Arts in Katowice. My first individual exhibition ?See you all? took place in CSW Kronika in Bytom. In 2012 I took part in group exhibition; ?Whoever seen, whoever knows?, (CSW Kronika, Bytom). I was invited to take part in project ?Public space as tool for shaping social attitudes? in Chisinau (Moldova) where I made film ?Campers?. My second individual exhibition was in Częstochowa (Centrum Promocji Młodych); entitled ?No fun?. In collaboration with French curator Lore Gablier, I was co-create film ?D?eux?, based on two weeks traveling through France and England. I was chosen, as one of 20 polish artist, in polish edition of project Curators Network, which intend to promote selected artists by international group of curators in Poland and abroad. In 2013 I was participant in group exhibition young Silesian artists ?Milk Teeth? in BWA (Katowice) where I showed my film ?Preludium?. I was chosen, as one of 10 artist, in project Showoff?13. On behalf on project Showoff (cooperating with Photo Month in Krakow) I was showing my works in gallery Grey house Exhibition was entitled ?Eine kleine Werke?.

Catalogue : 2014Film o szkole | Fiction expérimentale | hdv | couleur | 8:59 | Pologne | 2014
Dominik ritszel , dominik ritszel
Film o szkole
Fiction expérimentale | hdv | couleur | 8:59 | Pologne | 2014

The video was recorded in primary school, which I graduated in 2003. This work is inspired by architectural elements in space of the school. I am mainly interested about functionality of certain spaces of the school, for example halls, passages, gyms, dressing room and also how institutional rules and statutes can take a form of game.

Dominik Ritszel was born in 1988 in Rybnik. He studied at the Faculty of Graphics in the Institute of Arts at the University of Silesia in Cieszyn and at the Academy of Fine Arts in Katowice, where he did graphic arts. His works were exhibited, among others, at international video art festivals Les Rencontres Internationales (Gaîté Lyrique, Palais de Tokyo, Paris) and Video Art Review THE 02 Spaces as a tool for shaping social attitudes. He participated in group exhibitions - in the Show Off Section at the Krakow Photomonth Festival (2013), Curators Network in the Museum of Contemporary Art (MOCAK) in Krakow (2012), Mum, I just really need to focus on my art right now in the Arsenał Gallery in Poznan (2012), among others, and in a joint exhibition presenting works of young Silesian artists Mleczne Zęby (Milk Teeth) in the BWA Contemporary Art Gallery in Katowice (2013). He had individual exhibitions in the Centre for Contemporary Arts Kronika in Bytom and in the Silesian Museum in Katowice. He was chosen among the three finalists of the Talenty Trójki 2013 contest in the Visual Arts category, he was short-listed for the Grey House Foundation Prize. In 2014 he was granted the Young Poland Programme scholarship. In spring 2014 as an artist in residence he stayed in the A-I-R Laboratory in the Centre for Contemporary Art Ujazdowski Castle where he produced Versus, showed in Ujazdowski Castle in Bank PEKO Project Room (Warsaw).

Catalogue : 2015Pogłos | Vidéo | hdv | couleur | 14:30 | Pologne | 2015
Dominik ritszel , dominik ritszel
Pogłos
Vidéo | hdv | couleur | 14:30 | Pologne | 2015

Ritszel in his movie Reverb cleans view of audial perception. He introduce the viewer to his laboratory, spread through whole city. Process of the civilization has been reverse and for a moment, receiver gain privilege of sharpen hearing,. Sounds act on the same rules as they act in horror movies. They grow from what is known. They grow stronger and stronger, minute after minute. They become powerful and than they spread. Dynamic of the horror movie shows, that what scarry the most are not perfectly design monsters but minor, accumulative sounds. Creak of slowly opening wordrobe doors,expending floor planks under footsteps, TV which swich on itself, scraping, grating, crashing, and the most, sudden, ominous, dead silent.

Dominik Ritszel was born in 1988 in Rybnik. He studied at the Faculty of Graphics in the Institute of Arts at the University of Silesia in Cieszyn and at the Academy of Fine Arts in Katowice, where he did graphic arts. His works were exhibited, among others, at international video art festivals Les Rencontres Internationales (Gaîté Lyrique, Palais de Tokyo, Paris), Proyector, International Video Art Festival (Spain, Italy, Portugal) and Video Art Review THE 02. He participated in group exhibitions - in the Show Off Section at the Krakow Photomonth Festival (2013), The increased Difficulty od Concretation in Prague (2015), What’s Hidden in National Gallery of Art (2015), Curators Network in the Museum of Contemporary Art (MOCAK) in Krakow (2012), Mum, I just really need to focus on my art right now in the Arsenał Gallery in Poznan (2012), among others, and in a joint exhibition presenting works of young Silesian artists Milk Teeth in the BWA Contemporary Art Gallery in Katowice (2013). He had individual exhibitions in the Centre for Contemporary Arts Kronika in Bytom, in Grey Gallery in Cieszyn, Grey House Gallery in Krakow and in the Silesian Museum in Katowice. He was chosen among the three finalists of the Talenty Trójki 2013 contest in the Visual Arts category, he was short-listed for the Grey House Foundation Prize. In 2014 he was granted the Young Poland Programme scholarship. In spring 2014 as an artist in residence he stayed in the A-I-R Laboratory in the Centre for Contemporary Art Ujazdowski Castle where he produced Versus, showed in Bank Pekao Project Room in Warsaw. In 2015 he participated in group exhibition Waiting for better times Curatorated by Magda Kardasz (Zachęta Project Room, Warsaw). During of the 8th edition of Biennale of Young Artists RYBIE OKO his video Reverb received special award. He has been crowned the 2015 winner of the Young European Artist Trieste Contemporanea Award. His next individual exhibition will take place in Studio Tomaseo (Italy) 26th of March.

Dominik ritszel
Catalogue : 2013Preludium | Vidéo | hdv | couleur | 7:57 | Pologne | 2013
Dominik ritszel
Preludium
Vidéo | hdv | couleur | 7:57 | Pologne | 2013

Video explore the relations between son and father (student/master), which is bring to inconspicuous, childish game. Situation plays in family house, where actors are my father, brother and myself. ?Preludium? is a memoir of my request to my father, who refused to teach me play piano, saying, that is too late.

In 2008 I began study on Academy of Fine Arts in Katowice. My first individual exhibition ?See you all? took place in CSW Kronika in Bytom. In 2012 I took part in group exhibition; ?Whoever seen, whoever knows?, (CSW Kronika, Bytom). I was invited to take part in project ?Public space as tool for shaping social attitudes? in Chisinau (Moldova) where I made film ?Campers?. My second individual exhibition was in Częstochowa (Centrum Promocji Młodych); entitled ?No fun?. In collaboration with French curator Lore Gablier, I was co-create film ?D?eux?, based on two weeks traveling through France and England. I was chosen, as one of 20 polish artist, in polish edition of project Curators Network, which intend to promote selected artists by international group of curators in Poland and abroad. In 2013 I was participant in group exhibition young Silesian artists ?Milk Teeth? in BWA (Katowice) where I showed my film ?Preludium?. I was chosen, as one of 10 artist, in project Showoff?13. On behalf on project Showoff (cooperating with Photo Month in Krakow) I was showing my works in gallery Grey house Exhibition was entitled ?Eine kleine Werke?.

Catalogue : 2014Film o szkole | Fiction expérimentale | hdv | couleur | 8:59 | Pologne | 2014
Dominik ritszel
Film o szkole
Fiction expérimentale | hdv | couleur | 8:59 | Pologne | 2014

The video was recorded in primary school, which I graduated in 2003. This work is inspired by architectural elements in space of the school. I am mainly interested about functionality of certain spaces of the school, for example halls, passages, gyms, dressing room and also how institutional rules and statutes can take a form of game.

Dominik Ritszel was born in 1988 in Rybnik. He studied at the Faculty of Graphics in the Institute of Arts at the University of Silesia in Cieszyn and at the Academy of Fine Arts in Katowice, where he did graphic arts. His works were exhibited, among others, at international video art festivals Les Rencontres Internationales (Gaîté Lyrique, Palais de Tokyo, Paris) and Video Art Review THE 02 Spaces as a tool for shaping social attitudes. He participated in group exhibitions - in the Show Off Section at the Krakow Photomonth Festival (2013), Curators Network in the Museum of Contemporary Art (MOCAK) in Krakow (2012), Mum, I just really need to focus on my art right now in the Arsenał Gallery in Poznan (2012), among others, and in a joint exhibition presenting works of young Silesian artists Mleczne Zęby (Milk Teeth) in the BWA Contemporary Art Gallery in Katowice (2013). He had individual exhibitions in the Centre for Contemporary Arts Kronika in Bytom and in the Silesian Museum in Katowice. He was chosen among the three finalists of the Talenty Trójki 2013 contest in the Visual Arts category, he was short-listed for the Grey House Foundation Prize. In 2014 he was granted the Young Poland Programme scholarship. In spring 2014 as an artist in residence he stayed in the A-I-R Laboratory in the Centre for Contemporary Art Ujazdowski Castle where he produced Versus, showed in Ujazdowski Castle in Bank PEKO Project Room (Warsaw).

Catalogue : 2015Pogłos | Vidéo | hdv | couleur | 14:30 | Pologne | 2015
Dominik ritszel
Pogłos
Vidéo | hdv | couleur | 14:30 | Pologne | 2015

Ritszel in his movie Reverb cleans view of audial perception. He introduce the viewer to his laboratory, spread through whole city. Process of the civilization has been reverse and for a moment, receiver gain privilege of sharpen hearing,. Sounds act on the same rules as they act in horror movies. They grow from what is known. They grow stronger and stronger, minute after minute. They become powerful and than they spread. Dynamic of the horror movie shows, that what scarry the most are not perfectly design monsters but minor, accumulative sounds. Creak of slowly opening wordrobe doors,expending floor planks under footsteps, TV which swich on itself, scraping, grating, crashing, and the most, sudden, ominous, dead silent.

Dominik Ritszel was born in 1988 in Rybnik. He studied at the Faculty of Graphics in the Institute of Arts at the University of Silesia in Cieszyn and at the Academy of Fine Arts in Katowice, where he did graphic arts. His works were exhibited, among others, at international video art festivals Les Rencontres Internationales (Gaîté Lyrique, Palais de Tokyo, Paris), Proyector, International Video Art Festival (Spain, Italy, Portugal) and Video Art Review THE 02. He participated in group exhibitions - in the Show Off Section at the Krakow Photomonth Festival (2013), The increased Difficulty od Concretation in Prague (2015), What’s Hidden in National Gallery of Art (2015), Curators Network in the Museum of Contemporary Art (MOCAK) in Krakow (2012), Mum, I just really need to focus on my art right now in the Arsenał Gallery in Poznan (2012), among others, and in a joint exhibition presenting works of young Silesian artists Milk Teeth in the BWA Contemporary Art Gallery in Katowice (2013). He had individual exhibitions in the Centre for Contemporary Arts Kronika in Bytom, in Grey Gallery in Cieszyn, Grey House Gallery in Krakow and in the Silesian Museum in Katowice. He was chosen among the three finalists of the Talenty Trójki 2013 contest in the Visual Arts category, he was short-listed for the Grey House Foundation Prize. In 2014 he was granted the Young Poland Programme scholarship. In spring 2014 as an artist in residence he stayed in the A-I-R Laboratory in the Centre for Contemporary Art Ujazdowski Castle where he produced Versus, showed in Bank Pekao Project Room in Warsaw. In 2015 he participated in group exhibition Waiting for better times Curatorated by Magda Kardasz (Zachęta Project Room, Warsaw). During of the 8th edition of Biennale of Young Artists RYBIE OKO his video Reverb received special award. He has been crowned the 2015 winner of the Young European Artist Trieste Contemporanea Award. His next individual exhibition will take place in Studio Tomaseo (Italy) 26th of March.

Paul ritt
Catalogue : 2014Connected | Vidéo | hdv | noir et blanc | 2:2 | Pays-Bas | 2014
Paul ritt
Connected
Vidéo | hdv | noir et blanc | 2:2 | Pays-Bas | 2014

Connected,a video/drawing of a short journey through fragments of intuitive moments. The work is about following, exploring known/unknown directions, registering, leaving traces,emerging into patterns, maps of the free spirit.

Paul Ritt was born in the Netherlands (1957). He studied monumentale vormgeving at the Academie Beeldende Kunst, Maastricht, (1980-1984). He lived and worked in Australia from 1984 -1999. After studying for the Advanced diploma of Arts in Electronics, design and interactive media at the Royal Melbourne Institute of Technology Melbourne (1997-1998), he started making short films.

Esteban rivera ariza
Catalogue : 2015Die Versteinerten | Vidéo | hdv | couleur | 7:27 | Colombie | Allemagne | 2015
Esteban rivera ariza
Die Versteinerten
Vidéo | hdv | couleur | 7:27 | Colombie | Allemagne | 2015

An interview with David Stodolsky, member of the Cryonics Institute, who guides us trough the Building-Monument built over the previous house of Walter Gropius in Dessau, Germany. Renovated by Bruno Fioretti Marquez Architects in 2008, the construction reproduces the original volume of Gropius` house. In the film, the house works as a metaphor of what is fossilized. The idea of Modernism remains in this case in a fossil state, and survives in time as a trace of what once was. This video is part of a reflection on the act of conservation (of ideas, of bodies) as a human activity.

Esteban Rivera, Bogotá, Colombia (1981). He is finishing his Master studies in Art and Media in the Arts University in Berlin (Universität der Künste, Berlin) under Prof. Ai Weiwei and also as student of Prof. Anna Anders. He studied Graphic Design and a Master in Arts in the National University of Colombia (Universidad Nacional de Colombia). He makes films and videoinstallation and currently works in Berlin.

Jorge rivero
Catalogue : 2009La presa | Doc. expérimental | 35mm | couleur | 20:0 | Espagne | 2009
Jorge rivero
La presa
Doc. expérimental | 35mm | couleur | 20:0 | Espagne | 2009

Ben rivers
Catalogue : 2016There is a Happy Land Further Awaay | Film expérimental | 16mm | couleur et n&b | 20:0 | Royaume-Uni | 2015
Ben rivers
There is a Happy Land Further Awaay
Film expérimental | 16mm | couleur et n&b | 20:0 | Royaume-Uni | 2015

THERE IS A HAPPY LAND FURTHER AWAAY (20 mins, S16, col/b+w, 2015) There Is A Happy Land Further Awaay (2015), captures the landscapes of the remote volcanic Republic of Vanuatu archipelago, before they were devastated by Cyclone Pam in early 2015, the footage becoming a ghostly document of an ecosystem now irrevocably altered. A hesitant female voice reads a poem by Henri Michaux, recounting a life lived in a distant land, full of faltering and mistakes. Island imagery of active volcanoes, underwater WW2 debris, children playing, and wrecked boats transform into intangible digital recollections of the island, made on the opposite side of the world. Images of the eroded land merge with eroding film, a lone figure on a boat drifts at sea.

Ben Rivers (born in 1972) is an artist and experimental filmmaker based in London. His work has been shown in many film festivals and galleries around the world and has won numerous awards. His work ranges from themes about exploring unknown wilderness territories to candid and intimate portrayals of real-life subjects. Rivers`s practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. Rivers uses near-antique cameras and hand develops the 16 mm film, which shows the evidence of the elements it has been exposed to – the materiality of this medium forming part of the narrative.