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Browse the entire list of Rencontre Internationales artists since 2004. Use the alphabetical filter to refine your search.  update in progress  
Ijosé chou
Catalogue : 2005Bullfight (acts of war) | Vidéo expérimentale | dv | couleur | 1:0 | Sahara Occidental | Liberia | 2004
Ijosé chou
Bullfight (acts of war)
Vidéo expérimentale | dv | couleur | 1:0 | Sahara Occidental | Liberia | 2004

"Bullfight" touche à des espaces qui sont psychiques, personnels, privés / déplacés ? où le corps est un fois cru et interposé comme un clown, et matador et un taureau.

Il est né et a été élevé en Afrique Occidentale et vit maintenant en Amérique du Nord.

Catalogue : 2005Anne | Vidéo expérimentale | dv | couleur | 1:25 | Sahara Occidental | Canada | 2003
Ijosé chou
Vidéo expérimentale | dv | couleur | 1:25 | Sahara Occidental | Canada | 2003

Dans "anne", les images archives sont un acte de souvenir. En insérant mon visage (et par-là même, "mon corps"), sur l'un des personnages du film, "Anne of Green Gables", je démarre un processus de souvenir qui est autant romanesque qu'historique.

Est né et a grandi dans les pays de l'Ouest de l'Afrique. Vit actuellement en Amérique du Nord. Son activité comprend la peinture, le dessin, la vidéo et la représentation vidéo.

Saddie choua
Omar chowdhury
Catalogue : 2015The Colonies at Dusk | Vidéo | hdv | couleur | 12:49 | Bangladesh | Australie | 2014
Omar chowdhury
The Colonies at Dusk
Vidéo | hdv | couleur | 12:49 | Bangladesh | Australie | 2014

To make the moving-image work for Means the recently returned Australian-Bangladeshi artist Omar Chowdhury headed out into the Australian bush seeking a form of simple and focused sensing. Carrying stills and cinematic cameras, he ventured into the Southern Highlands of New South Wales, crossed the Great Dividing Range, and wandered out to the remnant Victorian gold towns, searching. Haunted by the ‘weirdness’ of the trees, the totemic termite mounds, the warbling creeks and dirt packed roads, he felt himself and his thinking seep into the darkening landscape. The traces of this spiritual ethereality inhere in his strange and occult video footage of animals, rocks, branches, burnings, machines and the silence of the isolate people. In it, somewhere, lie the means of his being.

Bangladeshi-Australian artist Omar Chowdhury makes moving-image, photographic, conceptual and textual installations based on immersions into contested spaces and their histories. Often mixing notions of ontology, political economy, and the spirit, they hold in uneasy tension various polarities: facts and the surreal, humour and melancholia, rhythm with chaos, weakness and power, and memory with forgetting. Out of these cohesions and frictions he produces densely woven languages and environments of moral and psychic inquiry. In 2016 he has an upcoming solo presentations at Bengal Gallery (Dhaka) and Dhaka Art Summit 2016 and screenings at the Queensland Gallery of Modern Art (Brisbane) for Asia Pacific Triennial 8. Recently he has had solo exhibitions at 4A Centre for Contemporary Asian Art (Sydney), ALASKA Projects (Sydney) and MOMENTUM (Berlin). He was a finalist in the 2015 John Fries Award (Sydney) and the 2015 and 2016 Blake Prize Award (Sydney). He is the recent recipient of a Bengal Foundation Practice Grant, Keir Foundation/4A Commission, Australia Council Skills and Development Grant, Edward M. Kennedy Grant for the Arts, and an Australian Cinematographer`s Society Gold Award. He also founded and often programs the Bengal Cinematheque in Dhaka.

Thanos chrysakis
Catalogue : 2006Errant waves | Création sonore | 0 | | 40:9 | Grèce | Royaume-Uni | 2006
Thanos chrysakis
Errant waves
Création sonore | 0 | | 40:9 | Grèce | Royaume-Uni | 2006

"Errant Waves" fait partie de la série "Inscapes", un recueil de compositions reposant sur les affinités entre les timbres de différents sons. Les micro-sonorités changeantes et leurs micro-ondulations au niveau de la 'texture' du morceau permettent l'émergence d'espaces auditifs dynamiques.

Thanos Chrysakis est un compositeur établi à Londres. Après avoir étudié la timbale, les percussions et la musique classique tout étant musicien(brièvement) dans des théatres d'Athènes, il se dirige vers l'étude des arts sonores et de la musique électronique. Il est actuellement étudiant en doctorat (PhD) au Goldsmiths College de l'université de Londres. Sa production musicale est faite de compositions microacoustiques, de musique instrumentale et d'installations/environnements féconds. Sa musique et son travail sonore se retrouvent sur différents labels indépendants et ont été présentés lors de d'évènements tels que le CYNETart - Dresde, Complexités -Chateâu de Linardie, Senouillac, Maison Populaire ?Art Numériques [Pulsations] ? Paris, ArtPool - Budapest. Son "Inscape 5" a été sélectionné pour participer au Concours international de musique et d`art sonore électroacoustiques de Bourges 2005 dans la catégorie '?uvre d`art sonore électroacoustique'. Bien qu'étant essentiellemnt intéressé par la musique et le son, il écrit également de la poésie et crée, de manière indépendante, des séquences d'images expérimentales. Ses poèmes sont publiés dans des journaux grecs et sur internet, quant aux séquences d'images, elles ont été présentées à l'occasion de festivals comme l'Island Art Film & Video Festival - Londres, la 2° Biennale Internationale de Ferrara et le SynchCinema Festival ? Athens, La Casa Encendida ? Madrid, Image Forum Festival -Tokyo.

Danaya chulphuthiphong
Catalogue : 2016Demos | Vidéo | hdv | couleur | 13:0 | Thaïlande | 2016
Danaya chulphuthiphong
Vidéo | hdv | couleur | 13:0 | Thaïlande | 2016

By the time the zoo is closing, detained animals feeling frustrated and confused. The only thing they can do is retaining a slight degree of consciousness, waiting for the changing of time. `Demos` is a lyrical assemblage of the observational footage collecting from various places. The film is an attempt to depict the gloom, the oppression and the surreal reality under the military regime since the coup in 2014.

Danaya Chulphuthiphong lives and works in Bangkok, Thailand. She holds a BA in Archaeology and MFA in Visual Arts. She started her career as a documentary photographer for a newspaper and a magazine. She is interested in lens-based arts and works with both still and moving images. In 2014, Danaya made her first short film `Night Watch` which has been selected for participation in the International Competition of the 61st International Short Film Festival Oberhausen, Experimenta India and won the Special Jury Prize from Fronteira, The International Documentary and Experimental Film Festival. The film was also screened as part of the 28th Images Festival, Hors Pistes Tokyo, Arkipel, KLEX, Pori Film Festival and the 26th Singapore International Film Festival. In 2016, Danaya released her second short film, `Demos` which has been selected for participation in Southeast Asian Short Film Competition of the 27th Singapore International Film Festival and won the BACC award from the 20th Thai Short Film and Video Festival.

Mathías chumino, pablo villasuso
Jasmina cibic
Catalogue : 2017Nada: Act II | Film expérimental | 4k | couleur | 13:1 | Slovénie | Royaume-Uni | 0
Jasmina cibic
Nada: Act II
Film expérimental | 4k | couleur | 13:1 | Slovénie | Royaume-Uni | 0

NADA: Act II restages a reimagined performance of Béla Bartók’s pantomime ballet The Miraculous Mandarin - as performed inside the Yugoslav Pavilion at the Brussels EXPO in 1958. With its scope to represent the country’s new aesthetic direction on Nations Day almost sixty years ago, the ballet score is here traced through scarce archives and re-invented and overwritten with new purpose in collaboration with the choreographer Lea Anderson. Based on a story by Melchior Lengyel, The Miraculous Mandarin constituted a peculiar choice for the National Day given that it possessed something of a scandalous reputation owing to its prurient narrative: three pimps make use of a prostitute to lure passing men into a room with the intention of robbing them. The titular Mandarin arrives, doomed to be the next victim. His « miraculousness » stems from his ability to withstand beating, suffocation, and stabbing without perishing, persisting always in his lust for the woman. Finally, she embraces him and he dies, sated. Bartók’s original characters, the pimps, prostitute and exotic Mandarin are replaced with the archetypes of politicians, the ideal of Mother Nation, and that most easily abused of Modern practitioners: the Architect. In doing so, the ballet becomes an allegorical proposition through which to view European history: the thugs cast as the state’s bureaucrats and politicos, who deceive and enslave, destroying the desires of those who produce for the benefit of the nation or artistic idealism. Shot in the iconic Arne Jacobsen’s Aarhus City Hall NADA: Act II links across time and space various European models of statecraft, soft power and its framing.

Jasmina Cibic (b. Ljubljana 1979) is a London based artist who works in performance, installation and film, employing a range of activity, media and theatrical tactics to redefine or reconsider a specific ideological formation and its framing devices such as art and architecture. Her work draws a parallel between the construction of national culture and its use value for political aims, encouraging the viewer to consider the timelessness of psychological and soft power mechanisms that authoritarian structures utilise in their own reinsertion and reinvention. Jasmina represented Slovenia at the 55th Venice Biennial with her project « For Our Economy and Culture ».

Jasmina cibic
Catalogue : 2013Framing the Space | | | | 11:31 | Slovénie | 0
Jasmina cibic
Framing the Space
| | | 11:31 | Slovénie | 0

?Framing the Space? was shot at the summer residency of former Yugoslavia`s president Tito. The Vila underwent numerous redesigns concurrent with national cultural and political imperatives throughout its life, culminating in its 1950s redesign by Tito?s official state architect, who had the task of translating the existing Austro Hungarian castle into a new, modernist architecture, fit to illustrate a new national formation. The film presents philosophical and architectural theories of purpose, form, function and aesthetic priorities through a staged interview between the architect and a journalist questioning his possible successes and failures. The script is based on documents from Slovenian Parliament?s archives from 1950s. The theoretical debate around ideological vision lies in opposite to the period/melodrama-style delivery and aesthetic and points to the exoticism that historical and geopolitical revisitations are subjected to in the eyes of the contemporary viewer. The recontextualising of issues around the ideas of national representativeness, dramatises not only the power paradigms inherent in systems of authority, but also the explicit contradictions present in the transmutation of a national identity from past to present, place to place. Framing the Space was produced specifically for Cibic?s project ?For Our Economy and Culture? representing Slovenia at the 55th Venice Biennial.

Jasmina Cibic was born in Ljubljana, Slovenia in 1979. She completed her MA in Fine Art at Goldsmiths College in London in 2006. She has taught at the Accademia di Belle Arti in Venice and regularly holds artist talks and lectures internationally. Jasmina Cibic?s recent projects and exhibitions include ?For Our Economy and Culture?, Slovenian pavilion, 55th Venice Biennial, ?Disturbances?, Musée national d`histoire et d`art, Luxembourg, 3oth International Graphics Biennial Ljubljana, ?October Salon?, Belgrade, ?U3 ? 7TH Triennial of Contemporary Art?, MSUM, Ljubljana, ?Monitoring?, Dokfest, Kassel, ?Borderline?, Joanneum Museum Graz, ?The Secret of the Ninth Planet?, California College of the Arts, San Francisco, ?Museum on the Street?, Museum of Modern Art Ljubljana, ?The Object of the Spectacle?, Galerija ?kuc, Ljubljana, ?Present State?, Five Years Gallery, London, ?Tourists Welcome?, Ljubljana International Airport and ?Landescape?, Künstlerhaus Graz. Her upcoming exhibitions include ?Fruits of Our Land?, LMAKprojects, New York and Ernst Museum (Capa Contemporary Photography Center), Budapest. Jasmina Cibic? s moving image work has recently been screened at Copenhagen International Documentary Film Festival, Museum of Modern Art Ljubljana and KORO, Oslo. Her upcoming screenings include 14th GOEAST - FESTIVAL OF CENTRAL AND EASTERN EUROPEAN FILM, Wiesbaden, ?Art and Power?, Museum of 25th of May, Belgrade.

Catalogue : 2015Tear Down and Rebuild | Fiction expérimentale | 4k | couleur | 15:28 | Slovénie | Royaume-Uni | 2015
Jasmina cibic
Tear Down and Rebuild
Fiction expérimentale | 4k | couleur | 15:28 | Slovénie | Royaume-Uni | 2015

Composed of various quotes - belonging to political speeches, debates and proclamations that extract and emphasize the iconoclasm of architecture, art and monuments – the film creates an original conversation between four characters. A Nation Builder, a Pragmatist, a Conservationist and an Artist/Architect become a reflection of ideological deliberation facing a practical scruple. Including words drawn from Regan’s speech on the Berlin Wall, Prince Charles’s 1984 address at RIBA and Isis bloggers’ proclamation on the demolishment of temples, the film’s storyline uses language that endorses demolition and redesign, which were to aid the creation of new displays for ensuing nation-states or ideological positions throughout the 20th and 21st centuries. As the film’s narrative unfolds, the viewer is a witness to the final decision to demolish the fictitious building, the image of which is constructed in the spectator’s imagination through a collage of quotations on diverse, ideologically contrived and historically charged buildings, monuments, walls etc. that were to be or were knocked down - pointing to the universality and timelessness of the paradox of national and ideological representation and its icons.

1979, Ljubljana A London based artist working in installation, performance and photography. Cibic has begun making films in 2012 for her solo presentation of the Slovenian Pavilion at the 55th Venice Biennial. Cibic`s work is site and context specific, performative in nature and employs a range of activity, media and theatrical tactics to redefine or reconsider an existent environment and its politics. The basic gesture in Cibic’s artistic explorations is the dismantlement and careful analysis of the work of art, its representation, and its relationship to the viewer as she tries to operate inside the system she is investigating. The mechanisms and structures of the system thus often become integral parts of the practice, allowing the work to transcend the plane of art and the language of form. Her film works have been shown at Ludwig Museum Budapest, MSUB Belgrade, MGLC Ljubljana, Dokfest Kulturbahfhof – Kassel, Haus der Kulturen der Welt Berlin, Les Rencontres Internationales - Gaîté Lyrique Paris, Copenhagen International Documentary Festival, Art Brussels Cinema Program and Nassauischer Kunstverein Wiesbaden. Her upcoming solo screenings include MSUM Ljubljana, Crawford Art Gallery Cork, the Artist Cinema at the Museum of Contemporary Art Zagreb.

Catalogue : 2016Nada: Act I | Vidéo | hdv | couleur | 10:9 | Slovénie | Royaume-Uni | 2016
Jasmina cibic
Nada: Act I
Vidéo | hdv | couleur | 10:9 | Slovénie | Royaume-Uni | 2016

Jasmina Cibic’s film trilogy NADA draws parallels between the construction of national culture and its use-value for political aims. The first chapter Nada: Act I fans out from a biographical thread of architect and artist Vjenceslav Richter, one of the key figures in charge of the visual representation of the Yugoslav state and his first and unrealized design for the Yugoslav Pavilion at the 1958 EXPO in Brussels. Cibic traced this architecture through archives and recreated the pavilion’s initial design as a musical instrument. In the film, a violinist constructs and continually tunes the instrument according to the Miraculous Mandarin, a musical composition for ballet written by Béla Bartók. This artwork was the one chosen to represent Yugoslavia at the most important dates of the pavilion itself “its National Days” whose role was to maximise the attention and the number of visitors. Paradoxically, this work was since its conception in 1917 marred by state censorship due to its explicit subject matter: a plot of a prostitute, her pimps and the client’s roles which Cibic recasts in the following chapters of Nada into characters of Mother Nation, politicians and the artist in charge of national presentation.

Jasmina Cibic works in performance, instalation and film, employing a range of activity, media and theatrical tactics to redefine or reconsider a specific ideological formation and its framing devices such as art and architecture. She represented Slovenia at the 55th Venice Biennial with the project “For Our Economy and Culture”. Her recent solo exhibitions include Esker Foundation Calgary, Museum of Contemporary Art Zagreb, Museum of Contemporary Art Belgrade, Museum of Contemporary Art Vojvodina, MGLC Ljubljana and Ludwig Museum Budapest along with group exhibitions at Hessel Museum, Pera Museum Istanbul, Museum of Modern Art Ljubljana, La Panacee Montpellier, City Gallery Wellington, MSUM+ Ljubljana, MNHA Luxembourg. Her films have recently been screened at Biennial of Moving Image Buenos Aires, Pula Film Festival, HKW Berlin, CCA Laznia, Les Rencontres Internationales Paris, Dokfest Kassel and Copenhagen International Documentary Festival. Cibic has been nominated for the Jarman Award (2016), Golden Cube Award (Dokfest 2016) and won the MAC International Ulster Bank Award (2016) and best International Artist at the Kunsthalle Charlottenburg(2016). Cibic’s upcoming solo exhibitions include NN Contemporary, Crawford Art Gallery Cork, Aarhus 2017, BALTIC Gateshead, Krefeld Museum and DHC Art Montreal.

Catalogue : 2018NADA: Act III - The Exhibition | Vidéo | 4k | couleur | 16:20 | Slovénie | Allemagne | 2017
Jasmina cibic
NADA: Act III - The Exhibition
Vidéo | 4k | couleur | 16:20 | Slovénie | Allemagne | 2017

Composed of quotes drawn from political discussions on German national representation at 20th Century’s World Expositions, The Exhibition creates an original conversation between three allegorical positions. The Curator, the Artist and Germania become a reflection of ideological deliberation facing a practical scruple: how to create an exhibition of the nation’s best artworks in order to affect society. Including words drawn from the opening address at the German Pavilion at Barcelona EXPO 1929, Goebbels’ ideas on casting out women from politics and post 2WW soft power deliberations, The Exhibition merges political rhetoric to arrive at what seems to be the only solution that guarantees the success of capital: banning the audience. Filmed within the villas Haus Esters and Lange, that Ludwig Mies van der Rohe built for the Krefeld silk barons in 1920s, The Exhibition uses the architecture which itself served as soft power realised: a theatrical frame and pedestal that went on to establish Mies as the architect that paved way for the theatricality of the concept of nation state and its visual branding.

Jasmina Cibic (b. Ljubljana 1979) is a London based artist who works in performance, installation and film, employing a range of activity, media and theatrical tactics to redefine or reconsider a specific ideological formation and its framing devices such as art and architecture. Jasmina represented Slovenia at the 55th Venice Biennial with her project “For Our Economy and Culture”. Her recent exhibitions include solo shows at: DHC/Art Montreal, BALTIC Centre for Contemporary Art Gateshead, Museum Haus Esters Krefeld, Aarhus 2017, Esker Foundation Calgary, Museum of Contemporary Art Zagreb, Museum of Contemporary Art Belgrade, Museum of Contemporary Art Vojvodina, MGLC Ljubljana and Ludwig Museum Budapest along with group exhibitions at MOMA NY, MUMA Monash Museum, CCS BARD, Guangdong Museum of Art China, Pera Museum Istanbul, La Panacee Montpellier, City Gallery Wellington, MSUM Ljubljana, MNHA Luxembourg, Joanneum Museum Graz and California College of the Arts. Cibic’s films have been screened at FIAC Paris, Pula Film Festival, HKW Berlin, CCA Laznia, Les Rencontres Internationales Paris, Dokfest Kassel and Copenhagen International Documentary Festival. Jasmina Cibic has been shortlisted for the Jarman Award (2018) and was the winner of the MAC International Ulster Bank and Charlottenborg Fonden awards (2016).

Mariangela ciccarello, philip cartelli
Catalogue : 2015Lampedusa | Fiction expérimentale | hdv | couleur et n&b | 13:44 | Italie | USA | 2015
Mariangela ciccarello , philip cartelli
Fiction expérimentale | hdv | couleur et n&b | 13:44 | Italie | USA | 2015

Combining high definition and Super 8 footage, Lampedusa is composed of interwoven narratives based on a series of real events. In late 1831, a volcanic island suddenly erupted from the sea a few kilometers off the southern coast of Sicily. An international dispute ensued, during which a number of European powers laid claim to this newfound “land.” The island receded below sea level six months later, leaving only a rocky ledge under the sea...

Philip Cartelli Philip Cartelli is a filmmaker, critic, researcher, and doctoral candidate in Harvard University’s Sensory Ethnography Lab. His film and video works have been shown in international festivals, conferences, and installation settings. Mariangela Ciccarello After studies in philosophy and visual art, Mariangela Ciccarello pursued a career as a curator in galleries and museums between Europe and South Africa. She has made a series of films over the past few years, most recently during a fellowship at the UnionDocs Center for Documentary Art in Brooklyn.

Mariangela ciccarello
Catalogue : 2018Battleground | Installation vidéo | hdv | couleur | 5:25 | Italie | USA | 2017
Mariangela ciccarello
Installation vidéo | hdv | couleur | 5:25 | Italie | USA | 2017

The existence of a battleground implies a larger war going on and an inherent lack of a resolution. Even within a single battle, the balance can shift, things can change or evolve, and be regarded from a different perspective. Rules and roles can be surpassed. Gesture is crucial in this regard as "the process of making a means visible as such" (Agamben).

Mariangela Ciccarello is a moving image artist and filmmaker whose work has been exhibited at the Festival del film Locarno, Torino Film Festival, Edinburgh International Film Festival, The Film Society of Lincoln Center's "Art of the Real" and Harvard Art Museum. In 2017 she participated in the Mediterranea 18 Biennale. Her work has been supported by the Roberto Cimetta Fund, New York State Council on the Arts, and the Valletta 2018 Foundation.

Luciano cieza
Catalogue : 2015one two three blue | Doc. expérimental | hdv | couleur | 26:0 | Argentine | 2015
Luciano cieza
one two three blue
Doc. expérimental | hdv | couleur | 26:0 | Argentine | 2015

There is something going on. People are moving, maybe going somewhere. Their cars lighting the way, out of the darkness, out of the night. Then, the day comes. People are moving, maybe going somewhere. Then there is the wind the sand and the animals. One, two three blue is a portrait of a place and the people who inhabit it, in a specific moment in time. It is about the relationship that exists between this space, what we can call the natural, and the people, and how they relate to it.

I was born in Buenos Aires Argentina. I have lived in San Francisco, USA and now live in Paris, France. Studied fine arts and experimental film.

Linda ciharova
Catalogue : 2010Jízda Emokrajem | Vidéo | dv | couleur | 8:15 | Tchèque (Rép.) | 2010
Linda ciharova
Jízda Emokrajem
Vidéo | dv | couleur | 8:15 | Tchèque (Rép.) | 2010

The whole project is interested in the border of an urbanistic landscape, where the city meets the nature. It is using an artficial light (hand torch, car lights or a helicopter´s search light ) to enlight and discover a landscape. An artificial light paraphrases here not only quite invasive human activity, but also a searching human mind. Through giving an focused attention revaluates an relationship to this "normal" suburbian landscape and lifts up the landscape and its part into unique objects. The fundamental element here is a feeling - an emotion, which we get from some places minded to communicate with us.

Linda Čihařová has born on 2.7.1982 in Prague, where she is also living and working. She graduated at the University of Art, Archuitecture and design in Prague and also experienced studies on FAMU in Prague, University of New Mexico in Albuquerque and Academy Beeldene Kunste in Maastrichtu, Netherlands. Although Linda Čihařová is using different new media, her projects have base in land art and concept art. She is in a way an muliinstrumentalist of new media techniques, because she is formally not limited in means of expression. While working on her ideas, she is mostly using video, photography, drawing, painting, instalations, an interactivity with a viewer and their combinations. Unifying element and main inspiration source she almost always finds in landscape, nature and a point of reflection of a human energy on it. Recently she is focused on communication of humans and their surrounding. She is also inspired by scientifical methods, micro worlds and landscape deatils. By making the photography an abstract one, she gets into a inner world of landscape and creating a psychological portrait of the place. she finds creatures, stories and situations, which want to be made visible. The drawing is here an expression of a personal reading in particular place and the landscape an interactive personality.

Eva claus
Catalogue : 2018Russell | Film expérimental | 16mm | | 3:15 | Belgique | Autriche | 2018
Eva claus
Film expérimental | 16mm | | 3:15 | Belgique | Autriche | 2018

I am living close to the sea. There is a time to film and a time to do nothing. While I am sleeping my days away I can hear the waves breaking, I see the moon coming up like the sun and the rainbows are coming out of the water, so close.

Eva Claus (Belgium) is working primarily with 16mm film. Educated in photography at the Royal Academy of Fine Arts, Ghent, Belgium and at the Friedl Kubelka School for independent film in Vienna, Austria. Her films have been screened in various places over the world. Eva currently lives and works in Brussels.

Dana claxton
Dana claxton
Catalogue : 2006Anwolek - Regatta city | Vidéo expérimentale | dv | couleur | 4:22 | Canada | 2005
Dana claxton
Anwolek - Regatta city
Vidéo expérimentale | dv | couleur | 4:22 | Canada | 2005

Commandé dans un premier temps par la ville de Kelowna et la Alternator Gallery, ce travail remet en question la mémoire, la perte, l?identité, la nostalgie et la manière dont les paysages sont détériorés à travers l?apparat. Ce travail, plein de sujets sous-jacents et de métaphores, fait allusion au 11 septembre, à l?assassinat de Kennedy et à Olympia de Leni Riefenstahl.

Lenka clayton
Catalogue : 2006Zweifel (doubt) | Documentaire | betaSP | couleur | 32:0 | Royaume-Uni | 2006
Lenka clayton
Zweifel (doubt)
Documentaire | betaSP | couleur | 32:0 | Royaume-Uni | 2006

Un regard surréaliste sur les Socialistes restants de l'Allemagne de l'Est. Racontée par la doublure de l'ex-président Erich Honecker, l'histoire de deux anciens douaniers (l'un de l'est, l'autre de l'ouest) qui se sont photographié l'un et l'autre par-dessus la barrière pendant 18 ans et celle d'un homme dont le rêve est la refondation de sa propre version de la République Démocratique Allemande dans une triste ville d' Allemagne de l'Est grevée par 70% de chômage. Ce film offre un aperçu des répercussions confuses d'un pays disparu.

Lenka s'est formée en tant qu'artiste au Central St.Martins. Après son diplôme elle quitta l'Angleterre pour Berlin où elle travailla comme projectionniste et s'occupa d'une galerie d'art contemporain. Son premier film; Qaeda, quality, question, quickly, quickly, quiet, un réarrangement alphabétique du speech "Axis of Evil" du Président Bush, a été montré internationalement et la bande son a été diffusée en édition limitée de 12" par Accidental Records. Elle a exposée et organisée des expositions à travers le monde et a récemment collaboré avec le musicien Matthew Herbert et le chorégraphe Rafael Bonachela sur deux vidéos-performances. Son film- cérémonie Zweifel (doute), un regard surréaliste sur les Socialistes restants de l'Allemagne de l'Est, a été montré en République Tchèque, Allemagne, Ukraine et au Liban. Elle travaille actuellement sur un documentaire photo de Corée du Nord et enseigne l' Image Mobile à l'École d'Art de St.Martins à Londres.

Wayne clements
Catalogue : | net art | 0 | couleur | 0:0 | Royaume-Uni | 2005
Wayne clements
net art | 0 | couleur | 0:0 | Royaume-Uni | 2005

?Src? (prononcez ?source?) répond à la question complexe de la relation entre l?image, le code et le texte. Lorsqu´un utilisateur entre un ou plusieurs mots-clé pour une recherche, Src cherche dans une banque de données d?images (en ce moment et tente de trouver une correspondance. Si elle y arrive, Src affiche l?image et le code de sa source. Elle défile alors vers le bas et continue jusqu?à ce que l?on lui donne une un nouvel ordre de recherche.

Wayne Clements est un artiste visuel et poète. En 2005, il a soumis une thèse de doctorat explorant l?utilisation des lois et des instructions en art visuel (au Chelsea College of Art Design de Londres). Il a programmé ces dernières années des ?uvres artistiques sur Internet. ?Alt_Img_Tate? fait partie du FILE 2005 Electronic Language Festival de Sao Paulo au Brésil. ?History of a Russian Revolution? (un poème plus long) est publié par Writers, Londres, 2005.

Catalogue : 2007The Most Wanted | Net art | | couleur | 0:0 | Royaume-Uni | 0
Wayne clements
The Most Wanted
Net art | | couleur | 0:0 | Royaume-Uni | 0

"The Most Wanted" est une oeuvre diffusée sur Internet. On la trouve sur le site ou via la page d'information: il s'agit d'une sélection d'image JPG issues de caméras de surveillance trouvées sur Internet. une mise à jour séquentielle d'images immobiles toutes les deux secondes donne une impression de mouvement. L'image source est changée toutes les quinze secondes, selon un mode aléatoire. Des textes viennent se superposer aux images. Ceux-ci comprennent les noms des terroristes les plus recherchés par le FBI. La logiciel qui commande ce processus est un programme informatique écrit en Perl. L'oeuvre est censée tester le climat d'anxiété qui entoure la question de la menace en combinant des caméras de surveillance avec des données issues des services de renseignement. Le titre de l'oeuvre est un clin d'oeil au Thirteen Most Wanted Men d'Andy Warhol (1964).

Wayne Clements vit à Londres. Il est artiste visuel et écrivain. En 2005, il termine son Ph.D. au Chelsea College of Art and Design. Ses recherches concernent sur l'utilisation des règles et des instructions appliquées au texte. Son travail récent implique la sélection, la génération et la manipulation de textes et d'images sur le net. Son oeuvre poétique, son travail visuel et ses textes en prose sont publiés dans un certain nombre de magazines et de livres.

Julia clever
Claude closky
Catalogue : 2005Flux | Installation vidéo | 0 | couleur | 20:0 | France | 2004
Claude closky
Installation vidéo | 0 | couleur | 20:0 | France | 2004

"L`oeuvre récente de Claude Closky s`attache à l`hyperconsommation des signes; et particulièrement des signes publicitaires, parmi lesquels on inclura aisément le vocabulaire graphique de l`économie, pour autant qu`on veuille bien accepter que sa signification, sa capacité de représentation efficace d`une réalité, s`efface derrière une abstraction divertissante, qui produit un effet tapisserie. Closky valorise ces signes en ne prenant en compte que l`énonciation des signifiants, et leur fonction dévorante sur la réalité, faisant disparaître tout message au profit d`un motif décoratif, dont l`infinité des variations ne produit qu`une reproduction infatigable du même. Flux utilise de manière simplifiée, réduite à l`édulcoration logotypique de formes héritées d`une abstraction géométrique moderniste (cercle et ligne), un des motifs caractéristiques de l`économie contemporaine, consistant à représenter les déplacements, matériels et immatériels, entre des masses. En extrayant ces flux de toute intention et de tout contexte, Closky rend leurs mouvements intransitifs jusqu`à l`absurde, mais montre aussi comment ils érigent en valeur, sans qu`elle soit questionnée ni remise en cause, les notions de mobilité, d`adaptabilité, de flexibilité? Par-delà la surface lisse des sphères et des vecteurs, la fluidité de leur animation tranquille, transparaît la violence d`une réalité savamment gommée de ces représentations invariablement positivistes : la violence de l`effacement des causes et conséquences possibles de ces échanges." François Piron, mars 2004 Courtesy

Claude Closky vit à Paris. Il travaille avec différent média, video, photographie, internet, dessin... Il a exposé à l`Arnolfini Gallery, Bristol (2002), au Bass Museum, Miami (2005), à la Bunkamura Gallery, Tokyo (1999), au Busan MoMA, Busan (2005), au Castello di Rivoli (1996), au CCA, Glasgow (1996), au CCAC, San Francisco (2001), au CGC, Genève (1994), au Centre Pompidou, Paris (1993, 2000, 2001, 2002), aux fondations Cartier, Paris (2001), la Caixa, Lleida (2004), Tarragona, Girona (2005), Mirò, Barcelone (2004), Olivetti, Rome (2002), au Fotomuseum, Winterthur (2001), au GEM, La Haye, à Location One, New York (2003), au Ludwig Museum, Cologne (2002, 2005), au Migros Museum, Zürich (2002), à la Moderna Galerija, Ljubljana (2000), au Musée d`art moderne de la Ville de Paris (ARC) (1992, 2000), au Musée d`art moderne Grand-Duc Jean, Luxembourg (2002), au Museum of Contemporary Art, Herzliya (1997), à l`Oca, Sao Paulo (2001), à la Schirn Kunsthalle, Francfort (2002), à la Tate Liverpool (2001, 2003), etc. Il a participé aux Biennales de Lyon (1995), Rotterdam (photo, 2003), Sharjah (2005), Sydney (1996), Taïwan (2000), Valence (2001), Venise (2001), etc? Il est représenté par les galeries Mehdi Chouakri, Berlin - Laurent Godin, Paris - Edward Mitterrand, Genève - Nicola-Fornello, Prato, Turin.

Claude closky
Claude closky
Catalogue : 2008+1 | Installation vidéo | 0 | couleur | 99:99 | France | 2000
Claude closky
Installation vidéo | 0 | couleur | 99:99 | France | 2000

Closky ne décode pas pour rire. Il ne détourne pas les signes de consommation pour le plaisir de critiquer. De façon nihiliste et désespérée, il met en doute la possibilité même de communiquer quelque chose à qui que ce soit. Dans ses ?uvres, le rapport des éléments entre eux compte plus que le contenu. Ainsi, ne s?intéresse-t-il pas à l?introspection ni aux récits singuliers mais aux relations souvent pauvres, stéréotypées et répétitives que nous entretenons avec notre environnement mental et physique. Loin d`exprimer quelque chose de personnel, l`opération +1 appartient aux lieux communs de la pensée arithmétique. Nous apprenons à additionner dès lors que nous savons par c?ur la succession des chiffres. L?ajout d?une unité est une opération de calcul élémentaire dont le résultat est connu d?avance. Aucun hasard, aucun affect ne sauraient perturber les règles de ce jeu fort ancien. Pour pointer cette évidence et mettre à nu les automatismes de la pensée et du comportement, Claude Closky a recours à des outils technologiques usuels : un ordinateur, un écran, une souris. De façon élémentaire, l?écran présente un fond uniformément bleu clair. Au centre, l?inscription +1 est insérée dans un rectangle. Le décalage entre les moyens sophistiqués qui sont mis en ?uvre et l?effet à la fois simple et tautologique que l?on obtient en cliquant +1, plonge l?utilisateur dans un état de trouble. Pourquoi, pour quel effet vient-il de cliquer une ou plusieurs fois de suite ? En tout point conforme à la formule inscrite, le résultat est sans surprise. Le nombre augmente d?une unité à chaque nouveau clic. Tout a commencé à partir du numéro un, un beau jour du mois de janvier 2000. Depuis, le nombre à plusieurs chiffres qui s?affiche n`est rien d`autre que la somme des différents clics. De façon apparemment naïve, Claude Closky détourne les lieux communs de la pensée artistique. Le rêve d?interactivité, si cher aux publicitaires et aux médiateurs culturels, est singulièrement mis à l?épreuve. Tel un boomerang, l?absurdité de certains de nos gestes et de nos croyances nous est renvoyée en pleine figure. Closky ne cherche pas à dénoncer, il ne cherche même pas à être personnel. Avec +1, il réalise une ?uvre conceptuelle minimaliste, accessible à qui le souhaite, à partir de n?importe quel poste branché sur internet. Carole Boulbès