Catalogue > Liste par artiste
Browse the entire list of Rencontre Internationales artists since 2004. Use the alphabetical filter to refine your search.  update in progress  
Teddy williams
Catalogue : 2012Pude ver un puma | Fiction | hdv | couleur | 17:0 | Argentine | 2012
Teddy williams
Pude ver un puma
Fiction | hdv | couleur | 17:0 | Argentine | 2012

An accident leads a group of young boys from the high roofs of their neighbourhood, passing through its destruction, down to the depths of the earth.

Eduardo Williams (b. 1987, Argentina) studied film directing at Universidad del Cine in Buenos Aires and directed films Arrepentirse (2006) or Beware (2011), which won the special BAFICI prize at International Film School Festival at Buenos Aires.

Eduardo williams
Catalogue : 2014Tôi quên rồi ! | Doc. expérimental | hdv | couleur | 29:0 | Argentine | 2014
Eduardo williams
Tôi quên rồi !
Doc. expérimental | hdv | couleur | 29:0 | Argentine | 2014

Grimpez-là, sautons, les champs sont verts et les maisons grises. Nous sommes tous petits. Je sens que les pores de ma peau deviennent géants.

Eduardo Williams studied at the Universidad del Cine in Buenos Aires (Argentina), then at Le Fresnoy, Studio National des Arts Contemporains (France). Tôi quên rồi ! (I Forgot !) is his sixth short film. He previously directed the following short films : Que Caigo ? (That I`m falling ?), 2013 El ruido de las estrellas me aturde (The sound of stars dazes me), 2012 Pude ver un puma (Could see a puma), 2011 Tan Atentos (Beware), 2010 Alguien los vio (They were seen), 2010

Jane wilson, louise wilson
Catalogue : 2014Toxic Camera | Doc. expérimental | hdv | couleur | 20:59 | Royaume-Uni | 2013
Jane wilson , louise wilson
Toxic Camera
Doc. expérimental | hdv | couleur | 20:59 | Royaume-Uni | 2013

The Toxic Camera is a new short film for cinematic screening by British artists Jane and Louise Wilson, former Turner Prize nominees. The film reflects on the 1986 Chernobyl disaster, inspired by the film Chernobyl: A Chronicle of Difficult Weeks made by Soviet filmmaker Vladimir Shevchenko in the days immediately following the accident. On processing his film, Shevchenko noticed sections of it were heavily pockmarked and affected by static interference, coinciding with the sound of his Geiger counter measuring radiation, and realised that radiation was effectively ‘visible’ on the film material itself. The Wilson’s film explores interconnecting stories from the interviews conducted with Chernobyl ‘veterans’ and with Shevchenko’s film crew, 25 years after the incident. The narrative includes the story of the camera that Shevchenko used which became highly radioactive that it was subsequently buried on the outskirts of kiev. The film is a reflection on the material nature of the film and considers the human impact of disasters such as Chernobyl.

JANE AND LOUISE WILSON BORN 1967 Great Britain They live and work in London. EDUCATION 1996 Deutscher Akademischer Austauschdienst Berliner Kunstlerprogramm (Jane and Louise) 1993 Barclays Young Artist Award 1990-92 Goldsmiths College, London, MA Fine Art (Jane and Louise) 1986-89 Duncan of Jordanstone College of Art, Dundee, BA Fine Art (Louise) Newcastle Polytechnic, BA Fine Art (Jane) TWO PERSON EXHIBITIONS 2010 Gul Benkian, Lisbon Helga de Alvear, Madrid EMPAC, Troy, New York 2009 “Animate”, British Film Institute Gallery, Southbank, England Talbot Rice Gallery, Edinurgh, Scotland Musée dʼArt Contemporain de Montreal 2008 303 Gallery, New York 2006 "The New Brutalists", Lisson Gallery, London Haunch of Venison, Zurich JANE AND LOUISE WILSON TWO PERSON EXHIBITIONS (continued) 2004 De Appel, Amsterdam Bergen Art Museum, Bergen, Norway Socrates Sculpture Park, New York “Erewhon”, 303 Gallery,New York Fondazione Davide Halevim ʻA Free and Anonymous Monumentʼ, Pori Art Museum, Pori, Finland Umea Bildmusset, Umea, Sweden 2003 ʻA free and anonymous monument”, BALTIC, England (travelling to Kunsthaus, Bregenz) Lisson Gallery, London Centro de Fotografia, Salamanaca 2002 Kunst-Werke, Berlin, Germany 2000 “Las Vegas, Graveyard Time”, Dallas Museum of Art, Dallas, Texas “Star City”, 303 Gallery, New York Bernier/Eliades, Athens, Greece “Stasi City & Crawl Space”, MIT List Visual Arts Centre, Cambridge, MA 1999-2000 “Turner Prize”, Tate Gallery, London 1999 “Jane & Louise Wilson”, Serpentine Gallery, Kensington Gardens, London, U.K. “Gamma”, Lisson Gallery, London, U.K. 1998 “Stasi City”, 303 Gallery, New York, NY Hamburg Kunsthalle, Hamburg, Germany Milwaukee Art Museum, Milwaukee, WI H & R Projects, Brussels, Belgium “Film Stills”, Aki-Ex Gallery, Tokyo, Japan 1997 “Stasi City”, Kunstverein Hannover, Germany, travelling to Kunstraum Munich, Germany; Museum of Contemporary Art, Geneva, Switzerland; and Kunstwerke, Berlin, Germany “Jane and Louise Wilson”, LEA, London JANE AND LOUISE WILSON TWO PERSON EXHIBITIONS (continued) 1996 Galleria S.A.L.E.S., Rome, Italy, as part of the British Art Festival (exh. cat.) 1995 “Normapaths”, Chisenhale Gallery, London, U.K., and Berwick Gymnasium Gallery, Berwick-upon-Tweed, U.K. (exh. cat.) “Crawl Space”, Milch Gallery, London, U.K. 1994 “Routes 1 & 9 North”, AC Project Room, New York, NY “Crawl Space”, British Project II, Galerie Krinzinger, Vienna, Austria JANE AND LOUISE WILSON GROUP EXHIBITIONS 2010 ʻStar City – The Future Under Communism”, Nottingham Contemporary, England “Imaginario da Paisagem”, Centro de Artes Visuais, Coimbra, Portugal “The Science Of Imagination” Ludwig Museum, Budapest, Hungary 2009 "Of Other Spaces", Columbus College of Art & Design, Columbus, OH Sharjah Biennial 9, United Arab Emirates 2008 Quad Gallery, Derby, England 2007 “Sounding the Subject”, MIT List Visual Arts Center, Cambridge, Massachusetts, October 11–December 21 "Crossing Walls", Centro Atlantico de Arte Moderno, Grand Canary Palms, Spain "Temptation of Space", Louis Vuitton, Paris "Reconstruction #2", Sudeley Castle, Winchombe, Gloustershire "Double Vision", Deutsche Bank, New York 2006 "Out of Time", Museum of Modern Art, New York "Serpentine Gallery Marathon", London "Space is the Place", Cranbrook Art Museum, Bloomfield Hills, Michigan 2004 “The Raft of the Macumba”, Les Abattoirs, musée d`art moderne et contemporaine, Toulouse “Dream Extensions”, S.M.A.K. Museum of Contemporary Art, Belgium “Printemps du Septembre”, Toulouse “Shhh….”, Victoria and Albert Museum JANE AND LOUISE WILSON GROUP EXHIBITIONS (continued) 2003 “Unlimited Edition”, Millais Gallery, Southampton “VideoMix”, Arario Gallery, Korea “Here is Elsewhere”, MOMA, Queens, NY “Crosscurrents at Centuryʼs End: Selections from the Neuberger Berman Art Collections”, Henry Art Gallery, University of Washington, Seattle, WA (travelling To Norton Museum of Art, West Palm Beach, Florida; Tampa Museum of Art, Tampa, FL; and the Chicago Cultural Center, Chicago, IL) “Bewitched, Bothered, andBewildered”, Migros Museum fur Gegenwartskunst, Zurich “25 Hours”, TheVideoArtFoundation & UNXposed, Barcelona, Spain 2002 Baltic Centre for Contemporary Art, England, inaugural exhibition “The GAP Show; Young Critical Art from Great Britain”, Museum am Ostwall, Dortmund, Germany “Screen Memories”, Contemporary Art Center, Art Tower Mito, Japan “Outer & Inner Space: Pipilotti Rist, Shirin Neshat, Jane & Louise Wilson and the History of Video Art”curated by John B. Ravenol, Virginia Museum of Fine Arts, Richmond, VA “Wallflowers”, Kunsthaus Zurich, Switzerlan 2001 “Beau Monde”, curated by Dave Hickey, SITE Sante Fe, NM “W”, Musée des Beaux-Arts, Paris, France “Hypermental Rampant Reality 1950-2000 from Salvador Dali to Jeff Koons”, curated by Bice Curiger, Kunsthaus Zurich, Zurich, Switzerland “Public Offerings”, MOCA, Los Angeles “Double Vision”. Galeri für Zeitgenössische Kunst, Leipzig “EGOFUGAL”, The 7th International Instanbul Biennial, Instanbul, Turkey (traveled to Tokyo Opera City Art Gallery, Tokyo, Japan),( “Zero Gravity: Art, Technology and New Spaces of Identity”, Palazzo delle Esposizioni, Rome, Italy Magazin 3, Stockholm, Konsthall, Stockholm “The Wastland, Desert and Ice: Barren Landscapes in Photography”, Atelier Augarten, Wien, Austria, ( “No world without you…Reflections of identity in New British Art”, Herzliya Musuem of Art, Israel “2001 A Space Oddity”, The Colony Room Club, London (exh. cat) JANE AND LOUISE WILSON GROUP EXHIBITIONS (continued) 2000 “Art Science & Technology”, New Greenham Enterprise, Newbury “Point of View – Works from a Private Collection”, Richard Salmon Gallery, London, UK “Age of Influence: Reflections in the Mirror of American Culture”, curated by Francesco Bonami and Elizabeth Smith, Museum of Contemporary Art, Chicago “Dream Machines”, curated by Susan Hiller, Dundee Contemporary Arts, Scotland, touring to Mappin Art Gallery, Sheffield and Camden, Arts Centre “Images Festival”, Toronto MIT List Visual Arts Center, Cambridge, MA “Film/Video Works – Lisson Gallery at 9 Keane Street”, Lisson Gallery, London, “A Shot in the Head”, Lisson Gallery, London, U.K. “Annika von Hausswolf, Jane & Louise Wilson and Weegee”, Magasin 3, Konsthall, Stokholm, Sweden “Media City Seoul”, Korean Biennial “Vision and Reality”, Lousiana Museum for Modern Art, Copenhagen, Denmark Historisches Museum Frankfurt, Germany “Trace”, Liverpool Biennial, Tate Gallery, London “This Other World of Ours”, TV Gallery, Moscow “Chac Mool Contemporary Fine Art, in collaboration with Lisson Gallery, West Hollywood, CA “Clues”, Monte Video – Netherlands Media Art Institute, Amsterdam 1999 “Carnegie International 1999/2000”, Carnegie Museum of Art, Pittsburgh, PA “Seeing Time: Selections from the Pamela and Richard Kramlich Collection of Media Art”, San Francisco Museum of Modern Art, San Francisco, CA “Gamma”, Serpentine Gallery, London, UK “View 1”, Mary Boone Gallery, New York, NY “In the meantime”, Galeria Estrany de la Mota, Barcelona, Spain “Spectacular Optical”, Thread Waxing Space, New York, NY “Earth, Water, Air”, DC Moore, New York, NY “Then and Now”, Lisson Gallery, London, UK “Mise en Scène”, Grazer Kunstverein, Austria (exh. cat.) “Black Box”, touring exhibition (exh. cat.) “Malos Habitos”, Soledad Lorenzo Gallery, Madrid, Spain “Poor Manʼs Pudding; Rich Manʼs Crumbs”, AC Project Room, New York, NY “Turner Prize Exhibition”, Tate, Britain JANE AND LOUISE WILSON GROUP EXHIBITIONS (continued) 1998 “View 1”, Mary Boone, New York “In the meantime”, Galeria Estrany de la Mota, Barcelona “Spectacular Optical” Threadwaxing Space, New York “Earth, Water, Air”, DC Moore, New York “Then and Now”, Lisson Gallery, London 1997 “Mise en Scène”, Grazer Kunstverein , Austria (exh cat). “Black Box”, touring exhibition (exh. cat) “Malos Habitos”, Soledad Lorenzo Gallery, Madrid, Spain, (cat.) “Hyperamnesiac Fabulations”, The Power Plant, Toronto, Canada (exh. cat.) “Remake -- Re-model”, Centrum Beeldende Kunst, Rotterdam, The Netherlands (exh. cat.) “Ein Stuck vom Himmel”, Kunsthalle Nuremburg, Nuremburg, Germany “Follow Me, Britische Kunst an der Unterelbe”, billboards between Buxtehude and Cuxhaven, Germany “Pictura Britannica”, Museum of Contemporary Art, Sydney, Australia; Art Gallery South Australia, Adelaide, Australia; and City Gallery, Wellington, New Zealand “Broken Home”, Greene Naftali, New York, NY “Hospital”, Galerie Max Hetzler, Berlin, Germany “Instant”, Green Room, Manchester, UK “Young British Artists”, Roslyn Oxley 9 Gallery, Paddington, Australia “More Than Real”, Palazzo Reale, Caserta, Italy (exh. cat.) 1996 “Co-operators”, Southampton City Art Gallery, Southampton City, U.K.; and Huddersfield Art Gallery, Huddersfield, U.K. (exh. cat.) “Ace! Arts Council New Purchases”, Hatton Gallery, Newcastle, U.K.; Harris Museum, Preston, U.K.; Ikon Gallery, Birmingham, U.K.; Mappin “NowHere”, Louisiana Museum, Humlebaek, Denmark (exh. cat.) “Auto Reverse 2”, Le Magasin, Grenoble, France “Trailer”, Ynglingagatan Gallery, Stockholm, Sweden “Der Umbau Raum”, Künstlerhaus Stuttgart, Germany “British Artists”, Rhona Hoffman Gallery, Chicago, Il “Nach Wiemar”, Kunstsammlungen zu Weimar, Germany (exh. cat.) JANE AND LOUSIE WILSON GROUP EXHIBITIONS (continued) 1996 “Quatros Duplos”, Fundaçao Calouste Gulbenkian, Lisbon, Portugal (exh. cat.) “Files”, Bunker, Berlin, Germany “Full House”, Kunstmuseum Wolfsburg, Germany (exh. cat.) “Attitude Adjustment”, 5th New York Video Festival, Lincoln Center, New York, NY “Dei Popoli”, Filmfestival, Florence, Italy (exh. cat.) 1995 “The British Art Show 4”, South Bank Exhibition Centre, Edinburgh, Scotland; Manchester, U.K.; and Cardiff, U.K. (exh. cat.) “Young British Artists”, Eigen + Art, Independent Art Space, London, U.K. “Corpus Delicti: London in the 1990ʼs”, Kunstforeningen, Copenhagen, Denmark (exh. cat.) “Kine Kunst ʻ95”, Casino Knokke, Belgium “Speaking of Sofas...”, Soho House, London, U.K. “Mysterium Alltag”, Kampnagel, Hamburg, Germany, with Jane Wilson, Gillian Wearing, Tracey Emin, and Tacita Dean (exh. cat.) 1994 “General Release”, British Council selection for Venice Biennale, Scuola San Pasquale, Venice, Italy (exh. cat.) “Here and Now”, Serpentine Gallery, London, UK “Fuori Uso”, Stabilimenti Ex-Aurum, Pescara, Italy “Wild Walls”, Stedelijk Museum, Amsterdam, The Netherlands (exh. cat.) “Interno 1”, Galleria Raucci/Santamaria, Naples, Italy “Gang Warfare”, Independent Art Space, London, UK “Kunst aus London, Mysterium Alltag”, Hammoniales Festival der Frauen, Hamburg, Germany “Beyond Belief”, Lisson Gallery, London, UK “Domestic Violence”, Gio Marconi, Milan, Italy “Facts of Life”, Galerie 102, Düsseldorf, Germany “Audience 0.01”, Trevi Art Museum, Trevi, Italy “New Reality Mix”, 18 Högbergsgatan, Stockhom, Sweden “The Ecstasy of Limits”, Gallery 400, University of Illinois, Chicago, IL; and Galerie Valeria Belvedere, Milano, Italy “Use Your Allusion: Recent Video Art”, Museum of Contemporary Art, Chicago, IL “Le Shuttle”, Künstlerhaus Bethanien, Berlin, Germany JANE AND LOUSIE WILSON GROUP EXHIBITIONS (continued) 1993-94 “BT New Contemporaries”, Cornerhouse, Manchester, U.K.; Orchard Gallery, Derry, U.K.; Mappin Art Gallery, Sheffield, U.K.; City Museum and Art Gallery, Stoke-on-Trent, U.K. (exh. cat.) 1993 “Barclays Young Artists”, Serpentine Gallery, London, U.K. (exh. cat.) “Underlay”, Renwick Street, New York, NY “The Daily Planet”, Transmission Gallery, Glasgow, Scotland “Over the Limit”, Arnolfini, Bristol, U.K. (exh. cat.) “Summer Show”, David Zwirner Gallery, New York, NY “Wonderful Life”, Lisson Gallery, London, UK “Lucky Kunst”, Silver Place, London, UK “Close Up”, 42nd Street, New York, NY “Walter Benjaminʼs Briefcase”, curated by Andrew Renton, Moagens, Oporto, Portugal 1992 “Inside a Microcosm, Summer Show”, Laure Genillar Gallery, London, U.K. “Into the Nineties 4”, Mall Galleries, London, U.K. JANE AND LOUISE WILSON BIBLIOGRAPHY 2010 “Jane & Louise Wilson” Art Review, April Schwabsky, Barry, review, Artforum, January 1 2009 Sherwin, Skye, “Jane & Loise Wilson”, Art Review, March, p.25 Brown, Mark, “Kubrick Holocaust Film to be told in installation”, The Guardian, January 3 2008 Review, “War Works in Walsall”, Art World, Dec. 2007-Jan. 2008 2006 Hubbard, Sue, "What`s Behind the Screens?", The Independent, May 24, p. 20 Ebner, Jorn, review, Frieze Jan/Feb 2004 Avgikos, Jan, review, Artforum, December, p. 192 Vanderbilt, Tom, “Best of 2004”, Artforum, December, p. 170 Schwendener, Martha, review, Time Out, Oct 28-Nov4, p. 77 Smith, Roberta, review, The New York Times, Oct 29, p. E38 Driel, Anne van, “Het mooie van falende architectuur”, de Volkskrant, January 22nd, p. 16-17 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2003 Smith, Roberta, “When an Artistʼs Eye Guides a Museum Show”, The New York Times, December 12th, E43 Dillon, Brian, Frieze, issue 78, October, p.129-130 “Jane and Louise Wilson: A free and anonymous monument”, The Art Newspaper Searle, Adrian, “You are here”, The Guardian, September 16 Lunn, Felicity, “Bewitched, Bothered, and Bewildered”, Artforum, September, p. 234 Glover, Michael, review, ARTnews Summer, Vol. 102, No.7, p.170-171 2002 Metzger, rainer, “The Waste Land”, Kunstforum International, January-March, No. 158, Lamm, April Elizabeth, review, tema celeste, May-June, No. 91, p. 87 Simmermon, Jeff, (interview), “the ghosts of paranoia”, Punchline, June 27, Is.203, p. 8-11 Gopnik, Blake, “Here&Now”, The Washington Post, June 16, p. G3 “Art in Review (date book)”, The New York Times, Friday June 28 Jones, Steven L., “Art Meets Technology”, Style Weekly, July 10 Katy Deepwell, “Egofugal, Woman artists at the 7th Istanbul Biennal”, n. paradoxa, international feminist art journal, (Eco) Logical, vol. 9/2002, p. 74-83, interview with Louise Wilson, p. 79-81 Paul Usherwood, “B. Opened”, Art Monthly, No. 259, September 2002, p. 1-4 Campbell, Clayton, “Spotlight: Beau Monde”, Flash Art, October, Vol XXXIV, No. 220, p. 98 Israel, Nico, review (ʻPublic Offeringsʼ, MOCA,L.A.), Artforum, September, Vol. XL, No. 1, p. 189 V Magazine, No. 11, May-June, p. 38 2001 Cash, Stephanie, review (303 Gallery), Art in America, Vol. 80, No. 5, May, p. 175-6 Ichikawa, Akiko, review, NYArts, Vol. 6, No. 2, February, p.30 Bonascossa, Ilaria, review (303 Gallery), tema celeste: contemporary art, XVIII, No. 83, January -February, p.92 Clifford, Katie, review, Art News, January, p.149 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2000 Schwendener, Martha, review (303 Gallery), Artforum, Vol. XXXIX, No. 4, December, p. 144 Arning, Bill, “Carnegie Dilly: A Remarkable Exhibition in Pittsburgh Breathes New Life into the Mega-Show”, Time Out New York, November 25 Luyckx, Filip, “Critical Review: Jane and Louise Wilson”, Sint-Likasgalerij, Brussel, No 2, November, p.10-11 Levin, “Part: Jane & Louise Wilson”, review, The Village Voice, October 31, p. 102 Young, Laura, “Stargazing” (review), Washington Square News, New York, NY, October 27-29, p.9 Griffin, Tim, “Back in the U.S.S.R”, Time Out New York, October 26, Is. 266 Johnson, Ken, “Art in Review” (303 Gallery), The New York Times, Friday, Caniglia, Julie, “New Sensation”, Harperʼs Bazaar, September, pp. 436-38 Williams, Gilda, “Jane & Louise Wilson in the Light of the Gothic Tradition, Parkett, No. 58, pp. 15-18 Godfrey, Tony, “London, Roni Horn, Craigie Horsfield, and Contemporary Artistsʼ Video”, Burlington Magazine, July, p. 456 -58 McQuaid, Cate, review, Art News, June, p. 152 Hillman, James, “Plural Art”, tema celeste, Italy, May-June, p. 108-182 Glover, Michael, “The Back Half”, New Statesman, May 22, p. 43 Dixon, Andrew Graham, “The Art od Success”, Vogue, London, May, p. 179-92 Packer, William, “Screening Time”, Financial Times, London, May 6 “Cocker to Judge New Brit Art Award”, D-Pict, London, April/May “This World of Ours”, Contemporary Visual Arts, Is. 25, p. 8 Moynes, Jojo, “Film of car trip win £24, 000 art award”, The Independent, London, April 19, p. 7 IOʼR, “The New Brits on the Block”, Tate, The Art Magazine, London,Spring, p. 8 JL, “Dream On”, Tate, The Art Magazine, Spring, p. 14 “1999 Carnegie Itnternational”, Masterpiece, Spring, p. 88 2000 Kissick, John, “Feelinʼ Mighty Real: The 1999/2000 Carnegie International”, New ARTE Examiner, March, p.38 Lubbock, Tom, “Has Modern At Lost its Bottle”, The Independent Review, London, March 11, p. 11 Leffingwell, Edward, “Carnegie Ramble”, Art in America, No. 3, March, p. 86-94 Temin, Christine, “Disquiet, please”, The Boston Globe, February 11 Mc Milan, Duncan, “Like a Dream”, The Scotsman, February 11, p. 24 Jones, Jonathan, “Warning: this woman is inside your head”, The Guardian, London, February 10, p. 10 Siegel, Katy,Carnegie International, Artforum, pp.106 Jones, Jonathan, “Liverpool Biennial”, frieze, Is. 50, January/February, p. 96-7 “Biennale di Liverpool”, Tema Celeste, February Boyer, Charles-Arthur, “Je est un Autre”, Beaux Arts, Nr, 189, February, p. 48 Carrier, David, “Pittsburgh Carnegie International”, Burlington Magazine, Feb. Lewison, Cedar, “Turner Prize”, Flash Art, January – February, p. 61 Gorucheva, Tanya, “This World of Ours”, Flash Art, January – February, p.62 Schwabsky, Barry, “Twins who share an enigmatic vision “, The New York Times, January 2, p.44 “Very New Art 2000, Bijutsu Techo, Japan, vol. 52, no. 782, January Hickey, Dave, “Double or Quits”, frieze, pp. 65-66, Issue 50, Jan-Feb Sherman, Mary “Twin Brit Video Artists Delight in Shades of Dark Visual Arts”, The Boston Herald, January 30 Schwalb, Harry, “Carnegie International: Carnegie Museum of Art, Pittsburgh”, Art News, January Dailey, Meghan, “Pittsburgh, 1900/2000 Carnegie International”, Art Press nternational, Is. 253, January, p. 12-14 Wu, Chin-Tao, “Special Report”, Art China, January 1999 “1999 Turner Prize Feature”, Zoo, Lonson, January, Is. 4, p. 155 Leith, Caoimhin Mac Giolla, “Liverpool Biennial Of Contemporary Art”, Artforum International Special Issue ʻBest of the 90ʼsʼ, December, p. 158 Turner, G, “Pittsburgh: The Carnegie International”, Flash Art, Nov – Dec, Is. 209, p. 57 Villers, Sarah, “A Thought that Counts”, The Herald, Glasgow, Dec.16, p. 19 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) Thomas, Mary, “11 videos, Two-Films Are Among Highlights”, Post Gazette, November 28 Shearing, Graham, “Reviewing the Carnegie International”, Tribune Review, Londond, November 28 Arning, Bill, “Carnegie Dilly”, Time Out New York, November 25 1999 Falkenstein, Michelle, “Whatʼs So Good About Being Bad”, ART News, November , p.159-163 Reardon, Valerie, “Trace”, Art Monthly, November, No. 231, Potter, Chris, “The Carnegie International Explores Boundaries in a Complicated World”, Pittsburgh City Paper, November 3 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2000 Smith, Edward Lucie, “Edward Lucie Smith is sickened by the rumors over ʻSensationʼ […]”, Art Review, November 1, p. 26 Clay, J, “Artist Aiming to Clean Up”, Leicester Mercury, London, October 29, p. 19 Walter, Natasha, “Itʼs Time for Emin to make her bed and to move on”, The Independent, London, October 25, p. 5 McEwen, John, “Eminence Without Merit”, Sunday Telegraph, London, October 24, p. 11 Miler, Catherine, “Real Turner stands up to prize namesakes”, Sunday Telegraph, London, October 24, p. 11 Gibbons, Fiachra, “Controversy Over Bed will not rest”, The Guardian, London, October 23, p. 10 Johnson, Paul, “For 1,000 years art has been one of our great civilizing forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all”, Daily Mail, London, U.K., October 23, p. 12 Lusher, Tim, “All Aboard the Turner Bandwagon”, Evening Standard, London, October 23, p. 34 Searle, Adrian, “Traceyʼs pants but McQueenʼs the real pyjamas”, The Guardian London, October 20 Alberge, Dalya, “Itʼs not a dirty bed, itʼs a Turner prize enrty”, The Times London, October 20 Watson-Smyth, Kate “Artistʼs abortion tape and unmade bed lead Turner prize short list”, The Independent, London, October 20 Kitchen, Clare, “ The dirty bed that could bring Emin a Turner prize”, The Daily Mail , London , October 20 Smith, David, “Is this art? We think weʼll just sleep on it”, The Express, London, October 20, p. 35 Gibbons, Fiachra, “Scandal sheets envelop Turner prize”, The Guardian, London, October 20, p. 5 Cork, Richard, “Celluloid Heroes and Video Villains”, The Times, London, October 20th Dormant, Richard, “Pick me, Iʼm Tracy”, Daily Telegraph, London, October 20, p. 23 Reynolds, Nigel, “Soiled bed shortlisted for Turner art prize”, Daily Telegraph, London, October 20, p, 5 Alberge, Dalaya, “Itʼs not a dirty bed, itʼs a Turner Prize entry”, Daily Telegraph, London, October 20, p. 7 Sumpter, Helen, “Off the Walls”, The Big Issue, October 18, p. 25 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2000 “Double Take”, The Daily Telegraph, London, October 13, p. 11 “Magnetic North attracts the crowds”, The Journal, Newcastle, October 12, p. 17 “Fameʼs mized blessing when your house is destroyed”, Sunday Herald, London, October 10, p. 6 Adams, Tim, “Eyes on the Prize”, The Observer, Life Magazine, London, October 10, p. 30 “The Lowdown”, Mail on Sunday, London, October 10, p. 39 Glazebrook, Mark, “Keep it Underground”, The Spectator, London, ctober 9 Wired Magazine, review, October Searle, Adrian, “Venice on the Mersey”, The Guardian, London, September 28 Cumming, Laura, “Stasi headquarters twinned with greenham common”, The Observer, London, September 26 “La Biennale di Liverpool: Tracce”, Flash Art, Sept –Oct, Is. 218 Kent, Sarah, “Twin Peeks”, Time Out London, September 22 Dorment, Richard, “ Down the corridors of power”, The Daily Telegraph , London, September 22 Cork, Richard, “A marathon of horrors - but is it safe?” ,The Times, London, September 22 Lubbock, Tom, “ Dreams in the corridors of power “, The Independent, London, September 21 Kent, Sarah, “ Who dares twins”, Time Out , September 15-22, 1999 Darwent, Charles, “ Are you seeing double yet?”, The Independent London, September 19, Januszczak, Waldemar, “ Having a bad trip”, The Times, London September,19 Moore, Rowan, “Fearful symmetry”, Evening Standard , London, September, 19 Russel, John, “The Big Show: Jane and Louise Wilson”, The Times, London, September 18, p. 42 Glancey, Jonathan, “ A ratʼs eye view of the commons”, The Guardian London, September, 15 Caplan, Nina, “Jane and Louise Wilson”, Metro, September 13, p. 18 Williams, Murphy, “ Double Exposure”, The Daily Telegraph, London September 4 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1999 Van der Wyck, Edina, “Double Exposure”, Telegraph Magazine, London, Sept. 4 Jones, Jonathan, Cover “Ghostbusters”, article “Seeing double”, The Guardian, London, Friday review cover story, September 3 Shone, Richard, preview, Artforum, September, p. 45 Shone, Richard, “Turner Points”, Artforum, September, p. 48 Brenson, Michael, “Fact and Fiction”, Artforum International, September, p. 67 Graham-Dixon, Andrew,”Twin Peaks”, British Vogue,Sept. pp.316-321 Poynter, Phil, “Twin Peaks”. Vogue, September, 1999, pp. 318-321. Manby, Joe, “Dossier of a Madwoman”, Make ʻUnder Surveilanceʼ, London, August , No. 84 Leith, William, “We are a Camera”, The Independent , London August 29, 1999 Bishop, Claire, review, Flash Art, summer, p. 13 Marlow, Tim, “Gamma”, Sight & Sound, London, July 28 Wainwright, Jean, “Dual Perspectives”, Hot Shoe International, London, July Krygler, Irit, “Letter fromm L.A.”, Cumming, Laura, “The juryʼs still out…”, The Observer, London, June 6, p.10 Thorncroft, Anthony, “Turner contendors focus on moving image”, Financial Times, London, June 4, p. 12 Gibbons, Fiachra, “Artists in camera for Turner prize”, The Guardian, London, June 4, p.7 “The art rebels are turning respectable”, Daily Telegraph. London, June 4, p. 10 Alberge, Dalya, “Turner Prize officially round the bend”, The Times, London, June 4, p.5 Burdon, Jackie, “Painters shunned as Turner Prize short list favours moving images”, The Scotsman, June 4, p.8 “Vine, Andrew,“Shortlist adds to the role of notoriety”, Yorkshire Post, June 4, p.10 “Artists chase £20,000 prize”, Daily Post, (Liverpool), U.K. June 4, p.10 Slotover, Mathew, “Young British Art: The Saatchi Decade”, frieze, Is. 47, June, July, August, p. 112 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1999 Schwabsky, Barry, review, Artforum,May, p. 187 Williams, Gilda, “Jane & Louise Wilson”, Art Monthly, April, No, 225, p. 26-7 Coronelli, Marconi and Chiara, “Le Gemelle Wilson – Nel Labirinto della Paranoia”, photo (Edizione Italiana), April, No. 25 Buck, Louisa, “UK artists Q & A: Jane and Louise Wilson”, The Art Newspaper, London, March Smithson, Helen, “Legacy thatʼs not common”, Hampstead & Highgate Express, London, March 26 Costa, Maddy, “Jane and Louise Wilson”, Hot Tickets / Evening Standard,4/ 25 “Kunstmarkt”, Frankfurt Allgemeine Zeitung, Germany, March 20, p.52 Exhibition diary, World of Interiors, London, March “Jane and Louise Wilson: Gamma”, The Guardian, London, March 2 Jones, Jonathan, “Meet the Wilson sisters, with Stasi in their eyes”, The Observer, London, February 14 Kent, Sarah, “Art”, Time Out, London, February 17, No. 1487, p.5 IOʼR, “Twin Peak”, Tate Magazine, Spring, issue 17, pp. 6-7 “Installation Gamma”, The Times/Metro, London, February 13, p.4 Searle, Adrian, “Absolutely Bunkers”, The Guardian, London, February 20, p.5 Aldersey-Williams, Hugh, “Bunker Mentality”, New Statesman, London, February 26 Jones, Jonathan, “Be confident. Be happy. Splash it all over”, The Observer, London, January 3 1998 Adams, Brook, review, Art in America, October, p. 131 Wakefield, Neville, “Jane & Louise Wilson”, Artforum, October, p.112-113. Smith, Roberta, review, The New York Times, June 5, p. E37 Review, The New Yorker, June 15 Voice Choices review, The Village Voice, June 9, p. 102 Newton, Douglas, review, New York Contemporary Art Report, June, p. 82 Review, New York Now, 1997 Kyriacou, Sotiris, “The Rise and Rise of British Video”, Contemporary Visual Arts, Issue 14 “Jane & Louise Wilson, Stasi City”, Kunstverein Hannover, No. 1, pp. 8-9 Barrett, David, “First LEA Gallery Exhibition”, Art Monthly, London, Issue 212, p. 33-34 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1996 Williams, Gilda, review, Art Monthly, London, No. 193, February, pp. 25-26 Savage, John, “Jane and Louise Wilson”, Frieze, Issue 27, March-April, p. 66-67 Bevan, Roger, “Lotta Action with Jake and Max”, The Art Newspaper, London, March, p. 37 Tozer, John, “Co-operators”, Art Monthly, London, No. 194, March, pp. 26-28 Stange, Raimar, “Im Banne des Mediums?”, Kunst-Bullettin, Zurich, No. 5, May, p. 16-21 Barrett, David, “Co-operators”, Frieze, Issue 28, May, p. 64 1995 “Jane + Louise Wilson”, Blok Notes, Paris, No. 8, Winter, pp. 62-63 Norman, Geraldine, “Turning the Tide in Venice”, The Independent on Sunday, London, U.K., March 12 Baerwaldt, Wayne, “Crawl Space: Jane and Louise Wilson”, Art and Text, No. 52 Newman, Michael, “Beyond the Lost Object: From Sculpture to Film and Video”, Art Press, Press, Paris, No. 202, May, pp. 45-50 Archer, Michael, “Home and Away”, Art Monthly, London, No. 188, Jul-Aug, p. 8-10 “Speciale Anteprima Fuori Uso ʻ95”, Segno, Pescara GuignoLuglio, No. 141, June-July, p. 20-25 Kent, Sarah, “Sound and Vision”, Time Out, London, No. 1306, Aug 30-Sept 6, p. 24-27 Di Raddo, Elena, “General Release”, Tema Celeste, No. 53-54, Autumn, p. 88 Lutyens, Dominic, “Jane & Louise Wilson, Chisenhale Gallery”, Whatʼs On In London, London, December 13, p. 17 1994 Mooring, Letty, “Sister Act”, Womenʼs Art, No. 56, Jan/Feb, pp. 10-11 Choon, Angela, “Rebels of the Realm”, Art and Antiques, April, pp. 56-64 Lillington, David, “Monkey Business”, Time Out, London, U.K., No. 1235, April 20-27, p. 41 Wigram, Max, “British Art Special”, The Face, No. 68, May, pp. 56-72 Graham-Dixon, Andrew, “The dying of the light”, The Independent, Tuesday, April 26, p. 23 Cork, Richard, “All human life is misssing”, The Times, Tuesday, April 26, p. 37 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1994 Stallabrass, Julian, “Beyond Belief”, Art Monthly, No. 177, June, pp. 29-30 Kastner, Jeffrey, “Beyond Belief”, Flash Art, Vol. XXVII, No. 177, Summer, p. 61 “Tales of Not So Unexpected”, Hampstead and Highgate Express, May 6 Hilty, Greg, “Beside Themselves”, Frieze, Issue 18, Sept-Oct, pp. 40-43 Muir, Gregor, “Beyond Belief”, World Art, Vol. 1, No. 2, June, p. 109 “Wonderful Life”, Nikkei Art, Japan, No. 61, October, p. 97 Jaio, Miren, “Construyendo la Identidad”, Lapiz, Spain, No. 106, pp. 12-19 1993 Lillington, David, “True Brit, David Lillington on Wonderful Life at the Lisson”, Time Out, London, U.K. , July 28 Dorment, Richard, “Hypnotised by a Handful of Stars”, The Daily Telegraph, London, U.K., August 11 Cottingham, Laura, “Wonderful Life, Lisson Gallery”, Frieze, Issue 12, September-October Wilson, Andrew, “Wonderful Life, Lisson Gallery, London”, Forum International, Belgium, Vol. IV, No, 19, Oct/Nov “Itʼs a Wonderful Life at the Lisson”, Flash Art News, Vol. XXVI, No. 172, p. 60 Harada, Ruiko, “From London”, Bijutsu Techno Monthly Art Magazine, Vol. 45, No. 678, pp. 148-9 Jones, Gareth, “Ouverture: Jane and Louise Wilson”, Flash Art, Vol. XXVI, No. 173, Nov/Dec, p. 103 JANE AND LOUISE WILSON BOOKS AND CATALOGUES 2004 Jane and Louise Wilson: A Free and Anonymous Monument, Film and Video Umbrella, Baltic, Lisson Gallery UK. text by Giuliana Bruno Jane and Louise Wilson, De Appel Amsterdam (exh catalog) 2003 Crosscurrents at Centuryʼs End: Selections from the Neuberger Berman Art Collection, Neuberger Berman, New York Lajer-Barcharth, Ewa, “Spaces of the Self: Some Recent Video Installations and the Notion of the Woman Artist”, Biographien des organlosen Korpers, p. 133-150 JANE AND LOUISE WILSON BOOKS AND CATALOGUES (continued) 2003 Installations II lʼempire des sens, Nicolas de Oliveira, Nicola Oxley, and Michael Petry, Thames & Hudson, Paris, 136 2002 “Outer & Inner Space: Pipilotti Rist, Shirin Neshat, Jane & Louise Wilson and the History of Video Art” ( curated by John B. Ravenol, with texts by Laura Cottingham, Eleanor Heartney, and Jonathan Knight Crary, Virginia Museum of Fine Arts, Richmond, VA “The GAP Show, Young Critical art from Great Britain”, Mueseum am Ostvall, Dortmund, text by Claire Doherty and Alexander Broun “Beau Monde: Toward a Redeemed Cosmopolitalism”, SITE Santa Feʼs Fourth International Biennial (exh. cat.), curated by David Hickey, text by Louis Grachos 2001 “Hypermental Rampant Reality 1950-2000 from Salvador Dali to Jeff Koons”, curated by Bice Curiger, Kunsthaus Zurich, Zurich, Switzerland, p. 124, 141 “2001 A Space Oddity”, The Colony Room Club, London, UK, text by George Melly and Louisa Buck 2000 Carnegie International 1999/2000: Artists Reader, Carnegie Museum of Art, Carnegie Institute, Pittsburgh, PA, p. 213 “Jane and Louise Wilson: Las Vegas, Graveyard Time”, Dallas Museum of Art, Dallas, Texas, (, text by Suzanne Weaver “Das Gedächtnis der Kunst”, Historisches Museum Frankfurt, in colaboration with Kunsthalle Schirn Jane & Louise Wilson, Serpentine Gallery, London, U.K. (exh. cat) Young British Art, The Saatchi Decade, Both – Clibborn Editions Video cult/ures, ʻGammaʼ, Museum for Contemporary Art, Karlsruhe, Germany The British Art Show 4, National Touring Exhibitions, Arts Council Collection and Hayward Gallery, Cornerhouse Publications, London, ( 1999 Seeing Time: Selections from the Kramlich Collection, San Francisco Museum of Modern Art, pp. 66-69 1998 Black Box, Film and Video Umbrella, touring exhibition (exh. cat.) 1997 Jane and Louise Wilson: Stasi City, (, Kunstverein Hannover, Germany JANE AND LOUISE WILSON BOOKS AND CATALOGUES (continued) 1996 Co-operators, exhibition catalogue, Southampton City Art Gallery, Southampton, U.K. and Huddersfield Art Gallery, Huddersfield, UK NowHere, (, Louisiana Museum, Humlebaek, Denmark 1996 Artisti Britannici a Roma, (, Turin, Umberto Allemandi & C. 1995 Here and Now, (, text by Sarah Kent, Serpentine Gallery, London, U.K. General Release, (, British Council selection for the Venice Biennale, Scuola San Pasquale, Venice, Italy (, Chisenhale Gallery, London, U.K. The British Art Show 4, (, South Bank Art Centre 1994 New Contemporaries, (, text by Stuart Morgan, New Contemporaries, London, U.K., Cornerhouse, Manchester, U.K., Orchard Gallery, Derry, U.K., Mappin Art Gallery, Sheffield, U.K. (exh cat.) 1993 Over the Limit, (, text by Andrew Renton, Arnolfini, Bristol, U.K. MAGAZINE PROJECTS 1994 Aitken, Doug, “Fashion”, Ray Gun, Santa Monica, CA, Issue 22 VIDEO PROJECTS 1994 “Use Your Allusion: Recent Video Art”, Museum of Contemporary Art, Chicago, IL

Andrew Norman wilson
Catalogue : 2014SONE S/S 2014 | | | | 10:46 | USA | 2014
Andrew Norman wilson
SONE S/S 2014
| | | 10:46 | USA | 2014

In "SONE S/S 2014: Chase ATM emitting blue smoke, Bank of America ATM emitting red smoke, TD Bank ATM emitting green smoke /// Invisibility-cloaked hand gestures in offshore financial center jungle", both parts deal with transparency and opacity in relation to finance and multimedia software. The ATMs emitting branded smoke could suggest either an incorporated terrorist act or a sign of distress. The hand gestures evoke Adam Smith's concept of the invisible hand of the market, but bring it back down to earth by locating its operations and breakdowns in an offshore financial center. This video circulates on both the art/film circuit and the stock media market through sites such as Getty Images.

Andrew Norman Wilson has screened work at the New York Film Festival, Centre Pompidou in Paris, Palais de Tokyo in Paris, Ullens Center for Contemporary Art in Beijing, MuseumsQuartier Wien in Vienna, The Hammer Museum in Los Angeles, Images Festival in Toronto, the San Francisco Cinematheque, and the San Francisco International Film Festival. Solo exhibitions include Fluxia in Milan, Project Native Informant in London, Document in Chicago, Reed College in Portland, Oregon, and Art Metropole in Toronto. He has participated in group exhibitions at MoMA PS1 in Queens, NY, Yvon Lambert in Paris, Palazzo Peckham at the 55th Venice Biennale, Betonsalon in Paris, the Ullens Center for Contemporary Art in Beijing, and CCS Bard/Basilica Hudson in Hudson, NY. He has performed and lectured at Oxford University, Harvard University, Berlin University of the Arts, California Institute of the Arts, threewalls Gallery in Chicago, the Academy of Fine Arts, Finland, the School of the Art Institute of Chicago, and the Banff Centre. His work has been featured in Aperture, Artforum, Art in America, DIS Magazine, Frieze, The New Yorker, Tank Magazine, Rhizome, Wired (magazine) and more.

Stina wirfelt
Catalogue : 2013Fire Work | Vidéo expérimentale | hdv | couleur | 22:14 | Suède | Royaume-Uni | 2013
Stina wirfelt
Fire Work
Vidéo expérimentale | hdv | couleur | 22:14 | Suède | Royaume-Uni | 2013

Goody-b. wiseman
Catalogue : 2007Sounds of silence | Vidéo expérimentale | 16mm | couleur | 4:51 | USA | 2006
Goody-b. wiseman
Sounds of silence
Vidéo expérimentale | 16mm | couleur | 4:51 | USA | 2006

"Superlovestarpower2: The Album Project" s'intéresse aux pochettes d'albums cultes d'artistes des années 1960s/1970s comme Simon and Garfunkel, Carole King, John Lennon et Yoko Ono. Goody-b. Wiseman replace dans un temps linéaire et une narration abstraite l'importance de ces pochettes d'albums légendaires. Entre nostalgie et science fiction, "The Album Project" se situe à la limite du connu pour découvrir ce qui aurait pu être.

Goody-B. Wiseman est une artiste basée à Los Angeles. Intéressée par la narration et la structure de l'information, elle travaille dans les domaines de la vidéo, du print et de la sculpture. Elle a obtenu un BFA au Nova Scotia College d'Art et de Design and 2000 et un MFA au San Francisco Art Institute en 2005. Ses ?uvres ont été présentées au Canada et aux Etats-Unis.

Helena wittmann
Catalogue : 2014WILDNIS | Film expérimental | hdv | couleur | 12:22 | Allemagne | 2013
Helena wittmann
Film expérimental | hdv | couleur | 12:22 | Allemagne | 2013

Potatoes have to be peeled, withered orchid blossoms must be plucked. Then everything is in order.

Helena Wittmann is a filmmaker and visual artist born in Neuss, Germany. After her studies of Theatre, Media and Spanish she attended the Academy of Fine Arts in Hamburg from 2007-2014. Currently she is working and living in Hamburg, Germany.

Wiktoria wojciechowska
Marcin wojciechowski
Catalogue : 2016under_construction | Animation | hdv | couleur | 7:50 | Pologne | 2014
Marcin wojciechowski
Animation | hdv | couleur | 7:50 | Pologne | 2014

Psycho- gymnastics, psycho-drama. A narrated animation in the form of a journal produced as a combination of drawings and graphics. An attempt to find visual equivalents for decomposition and mental deconstruction of personality/person as well as to show desperate efforts aiming at its reconstructing, merging. It’s a peculiar game of graphic representations of mental states which accompany daily struggle with reality, including questions such as: "who am I?, "what do I consist of?".

Born in 1972. Graduated from the of the Academy of Fine Arts in Kraków, Poland. Under the name of Moving Pictures Laboratory, he creates small audiovisual forms based on classic stop motion animation techniques. In his works, he explores the realm of emotional states and reactions to the stimuli of the outside world. He takes part in numerous film and video screenings and festivals.

Matt wolf
Catalogue : 2005I Feel Love | Doc. expérimental | betaSP | couleur | 14:30 | USA | 2004
Matt wolf
I Feel Love
Doc. expérimental | betaSP | couleur | 14:30 | USA | 2004

En 1997,Andrew Cunanan fut surnommé le "serial killer gay" après assassiné au couturier de mode Gianni Versace.I Feel Love raconte l'histoire de Joel Manero, une victime fictive de Cunanan dont les accrochages avec le tueur l?entraînent vers son inattendue célébrité médiatique. Joel est femme de chambre dans un hotel new-yorkais. Pendant son service, Joel se met à fouiller dans les affaires du client de l?hôtel, Andrew Cunanan et devient l'hôtage et l'objet de l'affection bizarre de celui-ci.Par un curieux hasard, Joel et Andrew se rendent compte qu'ils étaient amis dans leur enfance dans la ville ouvrière National City en Californie. Ainsi, en raison de la nostalgie de Cunanan, la vie de Joel est épargnée.

Matt Wolf est un réalisateur et écrivain basé à Brooklyn, New York. Ses clips ont fait l'objet de projections dans des manifestations tels que le Chicago and and New York Underground Film Festival, Mix Festival, Cinematexas, New York, Toronto et les San Francsisco Gay and Lesbian Film Festivals, Viper Basel Competition, Walker Art Center ainsi que dans des festivals en Lituanie, Roumanie, Allemagne et Angleterre. "Golden Gums" a reçu le Premier Prix au Black Maria Film and Video Festival en 2003. Ses films ont fait l'objet de critiques dans le Village Voice et le New York Times.Matt a fréquenté le New York University's Institute of Film and Television où il a reçu le W.T.C Johnson Felloship. Actuellement, Matt est "Video Fellow" pour le groupe artistique publique Creative Time" à New York.

Melanie Jame wolf
Jack wolf, alexander schindler
Catalogue : 2017In Camera Proceedings | Doc. expérimental | hdv | couleur | 4:0 | Allemagne | 2017
Jack wolf , alexander schindler
In Camera Proceedings
Doc. expérimental | hdv | couleur | 4:0 | Allemagne | 2017

In Camera Proceedings is an intervention that challenges Googles Earth`s practice of scanning, modelling and storing our world. Google’s process involves a combination of aircraft imagery and satellite photos. These are pushed through image analysis and photogrammetry softwares that reconstruct 3D models of the area photographed. The 3D models created are stored on Google’s servers, they are not available for download. Our cities have been modelled digitised and then locked away. Google`s algorithms erase all inhabitants from these models. The digital world is not meant for human habitation. We can not change it edit it, or rebuild it. We can only passively observe. In Camera Proceedings challenges this. It does not accept Google`s policy. The work visualises the technical process of taking back our space, it`s a tutorial in how to take back our virtual world. A virtual drone is programmed to fly through Google Earth taking hundreds of pictures of the digital terrain. These photos are then run through the same algorithms as the images taken by Google`s aircraft. We scan the scan and then upload it to a server where any one can download it, own it and change it.

Jack Wolf is a media artist working with new and old technologies: computer games, web, film, animation, as well as print. His work examines contemporary issues such as migration, conflict, data, as well as technology itself. He holds a bachelor of arts from the University of the Arts, London, and a postgraduate degree in Art and Media from the Berlin University of Arts (UdK). Alexander Schindler is an assistant of the Vilém Flusser Archive at the Berlin University of the Arts (UdK). He is a master student of the study program “ Communication in Social and Economic Contexts ”at the UdK, where he focuses on media studies, philosophy and lens-based media technologies. He is currently interested in (post-)photography theory, especially the “ Spatial Image”as a result of the fusion of lens-based technologies and computer generated imaging.

Steven woloshen
Paul wong
Catalogue : 2012VIGIL 5.4 | Vidéo | hdv | | 8:15 | Canada | 2010
Paul wong
Vidéo | hdv | | 8:15 | Canada | 2010

Documentation of Rebecca Belmore?s performance VIGIL from the 2002 Talking Stick Festival in Vancouver . Performing on a street corner in the Downtown Eastside, Belmore commemorates the lives of missing and murdered aboriginal women who have dissapeared from the streets of Vancouver.

Born in Glasgow, Scotland in 1964 to Chinese parents from Malaysia and Mauritius. Trained as a dancer for 3 years at the Central School of Ballet. Danced with Swedish ballet companies, London Festival Ballet, Hong Kong Ballet, Union Dance Company, The Featherstonehaughs, Lloyd Newson etc etc. Freelanced as a dancer and extra/actor in various productions. Trained as a journalist at the London College of Printing. Regular writer for City Limits, SiYu Chinese Times, Dance Theatre Journal, The Independent, Socialist etc Researcher and producer at London Weekend Television. Assistant Producer at the BBC.

Owen Eric wood, owen eric wood
Catalogue : 2013This Man | Film expérimental | 0 | couleur | 2:14 | Canada | 2012
Owen Eric wood , owen eric wood
This Man
Film expérimental | 0 | couleur | 2:14 | Canada | 2012

Laurel woodcock
Fred worden
Catalogue : 2011Possessed | Création numérique | hdv | noir et blanc | 9:20 | USA | 2010
Fred worden
Création numérique | hdv | noir et blanc | 9:20 | USA | 2010

With my film film, Possessed. I had a strong, slightly illicit, urge to commandeer the original train sequence from the 1931 film Possessed and make it move in such a way as to give the girl (Joan Crawford) what she thought she wanted: a position on the inside. To do that, I had to create my own (all encompassing) vehicle. By my count, the original sequence provides three orders of motion: the motion (and stillness) of the passengers on the train, the motion of the train itself, and finally the motion of the girl (Joan) outside of the train. By injecting my own additional level of motion, I was able to move Joan from her position on the outside looking in (played melodramatically as desire?s longing for the just-out-of-reach) to a position inside, looking around (played as pure vision). But maybe that?s really just my fanciful imagining and, as such, pretty much situates me in Joan?s original position: projecting desire onto a handy passing vehicle. In the end, at least this much is true: we both love staring into this passing train. In fact, we never seem to tire of it.

Fred Worden has been making experimental film since the mid 1970?s. His films have been shown in the 2002 Whitney Biennial, The Museum of Modern Art , The Centre Pompidou, The Pacific Film Archive, The New York Film Festival, The London Film Festival, The Rotterdam International Film Festival, The Toronto Film Festival, The Hong Kong International Film Festival and numerous other experimental film venues.

Jason workman
Catalogue : 2008Untitled Elsewhere | Performance | dv | couleur | 0:36 | Nouvelle-Zélande | USA | 2008
Jason workman
Untitled Elsewhere
Performance | dv | couleur | 0:36 | Nouvelle-Zélande | USA | 2008

Workman prend une voie peu orthodoxe, en bas de l'escalier ? en partie « parkour » (art du déplacement), en partie graffiti physiques.

Le travail de l'artiste consiste principalement à introduire des gestes, des textes et des objets dans l'espace public. L'artiste s'intéresse à l?introduction subtile d?interventions minimales et calmes dans le flux de la vie quotidienne. Il essaie de ne pas différencier l?« art-pratique » de la « pratique de la vie ». À cette fin, il a créé des interventions sur son lieu de travail, dans des espaces de vente au détail, dans les trains, les parcs, sur le trottoir. Ces interventions sont poétiques, éphémères et souvent à petite échelle, c?est pourquoi, il arrive que seul un petit nombre de gens les remarque. Le souhait de l?artiste est de réussir à obtenir un sourire, une pause, un moment de désorientation chez ce petit nombre de personnes. Son travail est intuitif et exploratoire. Il cherche des opportunités par lesquelles s?engager, en jouant, dans les aspects de notre réalité quotidienne.

Catalogue : 2009Stateless Gestures | Vidéo | dv | couleur | 1:35 | Nouvelle-Zélande | USA | 2009
Jason workman
Stateless Gestures
Vidéo | dv | couleur | 1:35 | Nouvelle-Zélande | USA | 2009

Two associates undertake some impromptu physical experimentation on the streets of Greensboro, North Carolina. 1 part contact improv, 1 part parkour, 8 parts play.

Jason Workman b1970 New Zealand Lives Melbourne, Australia Workman is an artist,writer and poet. Workman`s film, writing and physical interventions focus on public space as a field of play and everyday creativity.

Run wrake
Catalogue : 2006Rabbit | Animation | dv | couleur | 8:30 | Royaume-Uni | 2005
Run wrake
Animation | dv | couleur | 8:30 | Royaume-Uni | 2005

Quand un petit garçon et une petite fille trouvent une idole dans l`estomac d`un lapin, ils reçoivent de grandes richesses, mais pour combien de temps ?

Run vit à Londres et travaille en tant qu'animateur indépendant depuis 1990, année où il a obtenu sa maîtrise en animation au Royal College of Art. Il a produit plusieurs court-métrages auto-produits ainsi que des publicités et des vidéo-clips (notamment pour Howie B and The Chartalans). Il a fourni des illustrations au magazine NME pendant plusieurs années.

Timo wright
Catalogue : 2012Event | Vidéo | hdv | couleur | 3:47 | Finlande | 2011
Timo wright
Vidéo | hdv | couleur | 3:47 | Finlande | 2011

EVENT is a spin-off short film from Heli Meklin`s performance "Simple Events". What goes up, must come down.

Timo Wright is a media artist and documentary film director. His works are mostly political, ranging from photographing everything he owns to ?racist? computers. Recently he has been collaborating with several prominent choreographers working alongside them bringing new computer based content and interaction into dance performances.

wyrzykowski, rumas robert
Catalogue : 2012From Emotikon Project - ELVIS RROMANO | Vidéo | hdv | couleur | 16:7 | Pologne | 2011
wyrzykowski , rumas robert
From Emotikon Project - ELVIS RROMANO
Vidéo | hdv | couleur | 16:7 | Pologne | 2011

Full of feeling and cheerful meeting with Elvis Rromano, a teacher in a Gypsy school somewhere in the countryside of Romania, a fellow country of the European Union. He looks and dresses like Elvis Presley. A guitar and the evergreen songs of Elvis are his permanent companions. Giving an insight into the life of Gypsy-people`s in an untroubled manner, Elvis actually points out the crucial issues of Gypsy roots, European Union identity-politics, the social mobility of Gypsy and his own Otherness in European society. `Hello I am Elvis Rromano. Elvis Rromano means Gypsy Elvis, it?s because I sing Presley?s songs in the Gypsy language. I love what I do, and I do it with passion. I?m unique, I sing in Gypsy. Why? The old Gypsies love Elvis, but they don?t understand his lyrics, many of them don?t know English. So it was a gift for them. Elvis in my very own way, with my own words, in my language, in Gypsy. My lyrics are deeper, more serious. I sing about my roots and my feelings, my own life, as well as the life of the Gypsies. There?s one more reason. I discovered that Elvis was half-Gypsy, from his mother site`

Robert Rumas (b. 1966) ? visual artist and curator, associated with the current of critical art.; a graduate of Gdańsk Academy of Fine Arts; co-founder of Wyspa Gallery in Gdańsk. He creates installations, performances and actions in public space. His works use objects of religious cult, placing them in a non-religious context. His most famous projects include Termofory X 8 (Waterbottles X 8) and Manewry miejskie (City Maneouvers). Simultaneously to his artistic works he has been organizing space and set design in multimedia and theatre performances since 2004. He lives and works in Warsaw. Piotr Wyrzykowski alias Peter Style (b. 1968) - media artist, performer ans set designer. Studied interior architecture and media art at the Fine Arts Academy in Gdansk. He made his debut as a performer in 1990. In his practice he uses video, photography, Internet and sound - creating performances, installations, projects in public space, network projects and multimedia plays. Cofounder and artistic director of CUKT. The best known project of the group was ?Presidential Campaign of Wiktoria Cukt? that proposed a virtual candidate for the President of Poland. He`s work ?Beta Nassau? (1993) is in the collection of MoMA, New York. He lives and works in Gdansk & Kiev.