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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  
Eun Woo cho
Catalogue : 2008GATE | Installation multimédia | dv | couleur | 1:20 | Coree du Sud | USA | 2008
Eun Woo cho
Installation multimédia | dv | couleur | 1:20 | Coree du Sud | USA | 2008

« Gate » constitue un point d?entrée ou un tournant dans l?espace psychologique circonscrit dans, et créée par, une forme architecturale spécifique à l?intérieur du corps humain. Il représente une ouverture, avec différents types de rencontres humaines et de séparations. « Gate » voudrait réussir à s?opposer au contrôle extrême des entrées et à la libre sortie de soi-même et des autres. Le geste de rencontre et de séparation est une forme de psychothérapie, qui a émergé avec la communication interpersonnelle et l?intensification de l?expérience psychologique du spectateur et du public. Lorsque le processus de séparation se produit, il transforme un mélange de substances, en rapport avec plusieurs espaces physiques, en différents composants architecturaux et psychanalytiques. Souvent, la pression du pouvoir et la force politique provoquent d?inévitables migrations humaines, ainsi qu?immigration, rencontres et séparations. Ces séparations et rencontres sont intimement liées au cycle de vie naturel. La structure de la pression ou du pouvoir impose des situations frontalières existantes, telles précisément, la séparation actuelle entre Corée du Nord et Corée du Sud.

Cho Eun Woo est née à Séoul (Corée). Elle a obtenu son BFA (Bachelor of Fine Arts) à l?Ontario College of Arts & Design (Canada). Elle a été impliquée dans diverses performances et expositions au Canada, en Italie et aux USA. Elle a récemment obtenu son MFA (Master of Fine Arts ) de la School of Visual Art de New York (USA) et fréquente actuellement les cours de l?Institute for Doctoral Studies in the Visual Arts Main de Portland (USA). Elle a obtenu des résidence artistiques auprès de la 7e Gawnju Biennale Global Institution et du Skowhegan Residency Program in Main de Portland en 2008-2009, et du Cat?Art en France, en 2007-2008.

Pip chodorov
Catalogue : 2018The Stranger | Fiction expérimentale | 16mm | couleur | 9:19 | USA | Roumanie | 2018
Pip chodorov
The Stranger
Fiction expérimentale | 16mm | couleur | 9:19 | USA | Roumanie | 2018

Romanian fairy tales usually start with the sentence: “Once upon a time something happened, if it hadn’t happened it couldn’t be told”. In this fairy tale, a stranger visits the remote mountain village of Slon. This film was made at an annual ten-day filmmaking residency in Slon. As a stranger myself, first time to Romania, with only four days to shoot and four days to edit, I wrote this modern-day fairy tale to coincide with my fantasy idea of what my unpredictable visit to the village would be like.

Pip Chodorov. Born April 13, 1965 in New York. Filmmaking and music composition since 1972. Studied cognitive science at the University of Rochester, NY and film semiotics at the University of Paris, France. Work in film distribution - previously Orion Classics, NYC; UGC, Paris; Light Cone, Paris; and, currently, Re:Voir Video, Paris, which he founded in 1994 and The Film Gallery, the first art gallery devoted excusively to experimental film. He is also co-founder of L`Abominable, a cooperative do-it-yourself film lab in Paris, and the moderator of the internet-based forum on experimental film, FrameWorks.

Adam chodzko
Catalogue : 2014Knots | Fiction expérimentale | hdv | couleur | 8:5 | Royaume-Uni | 2013
Adam chodzko
Fiction expérimentale | hdv | couleur | 8:5 | Royaume-Uni | 2013

In Knots, Adam Chodzko focuses on the remote but important relationship between the artist Kurt Schwitters, in the final years of his life in the late 1940’s, living in poverty and exile in England’s Lake District, and J. Edgar Kaufmann, the wealthy owner of the Kaufman Department Store in Pittsburgh, USA. Kaufmann had arranged for money to be wired to Schwitters so that he could develop a new Merz structure. Chodzko plays with the desire to conclude and tie up the loose and disparate ends of this narrative. He imagines the now empty Merzbarn (Schwitters final work having been removed to a Newcastle museum in 1965) as a vacuum, sucking in thoughts, desires and matter; all caught up in the vortex of a dream-like surreality. Kaufmann had commissioned Frank Lloyd Wright to design his Pittsburgh office, a structure that itself was also later displaced from its source when donated to the Victoria & Albert Museum, London. Chodzko sees the interior spaces that Schwitters and Kaufmann worked within as unstable, flowing, collaged together, as though becoming a Merz themselves, whilst the form of the video also echoes this process of construction and deconstruction. Knots is a mesmerizing combination of fact and fiction, text and moving image building a story about longing, creation and fragmentation, endings and beginnings, networks of people and isolated individuals, separations and notions of home. It was commissioned by Tate Britain in 2012.

Adam Chodzko’s art explores the interactions and possibilities of human behaviour by investigating the space between how we are and how we could be. Working across media, from video installation to subtle interventions, with a practice that is situated both within the gallery and the wider public realm, his work investigates and invents the possibilities of collective imagination through using a poetics of everyday life. By wondering how, through the visual, we might best engage with the existence of others he reveals the realities that emerge from the search for this knowledge. Chodzko's art proposes new relationships between our value and belief systems, exploring their effect on our communal and private spaces and the documents and fictions that control, describe and guide them. Working directly with the networks of people and places that surround him, often using forms of anthropology, Chodzko focuses on the relational politics of culture's edges, endings, displacements, transitions and disappearances through a provocative looking in the 'wrong' place; a search for knowledge through instability. His art is catalysed by imagining a collapse of the category of Art, requiring not only a new audience but also a new status for the art object. Chodzko’s practice operates in the tight, poetic spaces he evolves between documentary and fantasy, conceptualism and surrealism, and public and private space, often engaging reflexively and directly with the role of the viewer. Intimate collections and ephemeral communities are frequently generated through his works; assemblies of owners of a particular jacket and a reunion of the children 'murdered' in a Pasolini film; a god look-alike contest; lighting technicians asked to advise on the light in heaven; a London gallery's archive given to a group of Kurdish asylum seekers to edit and hide outside the capital; the multi-faceted Design for a Carnival, the evolution of a ritual event for the future including Settlement, the legal purchase of a square foot of land as a gift to a stranger, Nightshift, a late night parade of nocturnal animals to the Frieze Art Fair, London and M-path, the collection and distribution of perception-changing footwear for gallery visitors. More recently a trilogy science fiction video and mixed media works, Hole, Around and Pyramid, have all explored, the idea of art becoming a vehicle for a community’s collective mythology, whilst Echo, The Pickers and Ghost elaborate these themes through excavating processes of memory, empathy and the imaginary. Because, 2013 (at Tate Britain) and We are Ready for your Arrival, 2013 (at Raven Row) further develop these ideas through manifestations of the unconscious relationships between individuals and groups; their excesses and disappearances. Born in 1965. Lives and works in Whitstable, Kent, UK. Since 1991 Chodzko has exhibited extensively in international solo and group exhibitions including: Raven Row, London; Tate Britain; Tate, St Ives; Museo d'Arte Moderna, Bologna (MAMBo); The Benaki Museum, Athens; Athens Biennale, Istanbul Biennale, Venice Biennale; Royal Academy, London; Deste Foundation, Athens; PS1, NY; Ikon Gallery, Birmingham, Kunstmuseum Luzern etc. Recent projects include commissions by Creative Time, New York, The Contemporary Art Society, Frieze Art Fair, and Hayward Gallery. In 2002 he received awards from the Hamlyn Foundation and the Foundation for Contemporary Art, New York, and in 2007 was awarded an AHRC Research Fellowship in the Film Department at the University of Kent, Canterbury. His work is in the collections of the Tate, The British Council, The British Film Institute, The Arts Council, APT, Auckland City Art Gallery, Contemporary Art Society Collection, The Creative Foundation, Frac Languedoc-Rousillon, GAM - Galleria d’Arte Moderna, Turin, Grizedale Arts, MAMBo - Museo d’Arte Moderna di Bologna, Plains Arts Museum, North Dakota, USA, Saatchi Collection, South London Gallery, Towner Gallery Eastbourne, and international private collections.

Isaac chong wai
Catalogue : 2020Rehearsal of the Futures: Police Training Exercises | Vidéo | mp4 | | 18:14 | Hong Kong | 2018
Isaac chong wai
Rehearsal of the Futures: Police Training Exercises
Vidéo | mp4 | | 18:14 | Hong Kong | 2018

In Rehearsal of the Futures: Police Training Exercises (2018), Isaac Chong Wai choreographs the movement of uniformed riot police in a tortuously slow motion, imbuing their originally violent intentions with a paradoxical gentleness. Slowing down the aggressive attack and the collision of bodies, the posturing and movements struggle in between touching and hitting. These decelerated actions visualise the violence inflicted upon individuals by the collective power structures.

ISAAC CHONG WAI is a Berlin-based artist from Hong Kong. He works across a range of media, including performance, installation, painting, video, photography and multimedia. Influenced by personal events and global phenomena, he engages themes of collectivism and individualism, geopolitics, migration, historical trauma, identity politics and public spheres. Dealing with societal shifts, global tensions and collective wounds, he endeavors to transform the powerlessness—the unanswered demands, the suppression from authority and the denial of individual freedom—into resistance, rebellion and criticism of social systems. He had solo exhibitions at Bilsart, commissioned by Kulturakademie Tarabya and Zilberman (2021); Blindspot Gallery, Hong Kong (2019); Zilberman, Berlin (2019); Kunstraum München, Munich (2018); Goethe Institut Hongkong,  Hong Kong (2018); Bauhaus Museum, Weimar (2016). His work has been shown at National Museum of Modern and Contemporary Art, Seoul, Innsbruck Biennial and IFFR, Rotterdam (2020); Museum of Contemporary Art in Taipei and Guangdong Times Museum in Guangzhou (2019); M+ Museum and Para Site in Hong Kong (2018); Stiftung Brandenburger Tor and Haus der Kulturen der Welt in Berlin (2017); Deutsche Ku?nstlerbund, Berlin and Gwangju Media Art Festival (2016); Kunstfest Weimar and Macura Museum, Serbia (2015); Moscow Biennale for Young Art in Museum of Moscow (2014). He graduated from Academy of Visual Arts at Hong Kong Baptist University with a BA in Visual Arts and Bauhaus-Universität in Weimar, Germany, with a MFA in Public Art and New Artistic Strategies. 

Oleg chorny, gena khmaruk
Catalogue : 2005Pershe Karaoke | Doc. expérimental | dv | noir et blanc | 3:0 | Ukraine | 2005
Oleg chorny , gena khmaruk
Pershe Karaoke
Doc. expérimental | dv | noir et blanc | 3:0 | Ukraine | 2005

L'histoire vraie de la première invention du karaoke.

OlEG CHORNY. Est né en 1963. Il obtient son diplôme au Département de réalisation du Kiev State Institute of Theatre and Cinema en 1985. Il a travaillé dans de nombreux studios de films et vidéos gouvernementaux et non gouvernementaux. Avec Gena Khmaruk, il a fondé le service créatif non gouvernemental "Sampled Pictures". GENA KHMARUK. Est né en 1972. Il obtient son diplôme au Département de réalisation de la Ukrainian State Academy of Culture en 1996. Il a travaillé comme monteur dans divers studios de télé. Il travaille également comme présentateur de clips et infographiste.

Vera chotzoglou
Catalogue : 2020Monstera | Vidéo | hdv | couleur | 8:24 | Grèce | 0
Vera chotzoglou
Vidéo | hdv | couleur | 8:24 | Grèce | 0

monstera deliciosa; an originally tropical plant, which is now very popular as an indoor plant, used as an aesthetic, decorative object. Inside our houses, they claim for their space, their freedom, their existence. In this work, monstera becomes a comparison with and the symbol of our very own internment experience, deriving from the recent lockdown. A state, for which we have not been prepared for, that brought a destabilization in various aspects, deviating us from our familiar course and directions. As if the world was blown away in a delirious drift and suddenly or better, violently, derailed, but in terms of a shocking, unexpected pause. In this narration video, the consecutive scenes of indoor life, shown in a back and forth motion, eliminate the perception of time and connote a disarray process, a state of turbulence or surprise, with the parallel narration, consisting in the protagonist plant’s features; inertia bodies, the monstera in an indoor tropical storm, wild animals in captivity, lighting bolts, along with an orgasm scene, a Luchador* getting prepared, footage from an athenian balcony during the lockdown period. The strobe lights used, tent to reveal the party echo and intensify the feeling that something is about to start. In this field of desire, reality, struggle, memory and expectation, a whole new perception of being developed. The accumulated tension that the state of hold has brought, leads to the persistent bodies’ preparation for wrestling and crash. Through the way we perceive the body, how we contemplate its inner rhythm, our physical beingness, this work aims to trace layers of now, potential and future options of (co) existence, as an “expedition chronicle”, about what is getting prepared and about the totally new emerging context, culture and daily life. *Luchador is the term used in Mexico for the professional wrestlers. Text Credits: Pavlina Kyrkou

Vera Chotzoglou is a Visual artist working with time based media. They are an Athens School of Fine arts’ BA & MFA graduate, Department of Visual Arts, Fine Arts & Art Education (2013-2018). They had studied in Academy of Fine Arts in Munich with an Erasmus+ scholarship. They was awarded with audience award for the shortfilm S W E A T at 22th Thessaloniki International GLAD Film Festival (2021) , SNF Artist Fellowship Award by Stavros Niarchos Foundation(2019) Scholarship to cover Degree Expenses from Athens School of Fine arts(2018) and audience award for the short film “Munich almost killed me ½” at 2th Piraeus Film Festival in Athens(2018) They has exhibited internationally at 22th Thessaloniki International GLAD Film Festival Thessaloniki-Greece (2021), Interface video art festival, Zagreb-Croatia (2020), 26th Athens International Film Festival (2020), Centrum Berlin, Berlin, Germany (2020), Eos Gallery (2019), Athens, A.Antonopoulou Gallery, Athens (2019), GRRL HAUS CINEMA, Berlin (2019), Hacker Porn Film Festival, Rome (2019), Platforms project, Athens (2019), Foto Wien, Austria (2019), 6th Athens Biennale, Athens, Greece,(2018) Inshort Film Festival, Lagos, Negiria (2018), Action Field Kodra, Thessaloniki (2018), 2th Pireus Film Festival,Athens (2018), Belleve di Monaco, Munich (2016), TAF Gallery, Athens (2013) et al. ?hey work may be found in private collections. Vera Chotzoglou lives and works between Athens & Berlin

Isoje chou
Catalogue : 2007anne (the assumption) | Vidéo expérimentale | dv | couleur | 3:0 | Nigeria | Canada | 2006
Isoje chou
anne (the assumption)
Vidéo expérimentale | dv | couleur | 3:0 | Nigeria | Canada | 2006

Dans "Anne (The assumption), les images d'archive sont un acte de mémoire, de mort et d'élévation physique. En insérant mon visage "natal" sur celui du personnage Anne du film Canadien par essence "Anne of Green Gables", le doux plaisir du film de télévision est transformé en déconcertant souvenir, tout autant fictionnel qu'historique.

Iso Chou est née à Kano, au Niger. Elle possède une double origine: chinoise/ mandchourienne et nigérienne/cap-verdienne. Elle a obtenu son Master of Arts à l'université de York, à Toronto.

Davy chou
Catalogue : 2014Cambodia 2099 | Fiction expérimentale | hdv | couleur | 21:0 | France | 2014
Davy chou
Cambodia 2099
Fiction expérimentale | hdv | couleur | 21:0 | France | 2014

Phnom Penh, Cambodge. Sur Diamond Island, joyau de modernité du pays, deux amis se racontent les rêves qu'ils ont faits la veille.

Davy Chou est un réalisateur français. Son premier long métrage documentaire, Le Sommeil d’or, fut sélectionné au Forum de la Berlinale 2012 et au festival international de Busan 2011. Il développe un long métrage de fiction intitulé Diamond Island.

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
Catalogue : 2019Today is the Shortest Day of the Year But Somehow Hanging Around With You All Day Makes it Seem Like the Longest | Vidéo | super8 | couleur | 11:45 | Belgique | Allemagne | 2018
Saddie choua
Today is the Shortest Day of the Year But Somehow Hanging Around With You All Day Makes it Seem Like the Longest
Vidéo | super8 | couleur | 11:45 | Belgique | Allemagne | 2018

Dans ses films, Saddie Choua combine son propre matériel cinématographique avec des images trouvées, des documents d’archives visuels et textuels, provenant de diverses sources, telles que la télévision nationale, des programmes de loisirs, des vidéos musicales et des magazines. Dans sa pratique, Saddie Choua se concentre sur le rôle de l’image en mouvement dans les loisirs et la politique et leur influence sur l’image commune de l’Autre. Dans certains de ses projets, elle introduit du matériel autobiographique pour rechercher le rôle entre elle et cet Autre. Dans ses films et installations, Saddie Choua simule la conception des médias de masse vus du salon, créant ainsi une situation familière pour transmettre de nouvelles images qui suggèrent les complexités de l’Autre. Saddie Choua montre les structures de pouvoir derrière l’industrie de l’image actuelle et les préjugés et malentendus qu’elles provoquent.

Saddie Choua a étudié la sociologie à la VUB de Bruxelles. Elle participe actuellement au projet international de recherche et de discussion intitulé “Décolonisation perverse”, à l’Akademie der Künster der Welt à Cologne. Saddie Choua a été invitée pour les expositions personnelles suivantes (une sélection) : Le Joli Mois de Mai, Ten Weyngaert, Bruxelles, 2017 ; The Chouas - Work in Progress, MU.ZEE, Ostende, 2016 ; Great News. J’ai été élu félin de l’année, WIELS, 2014. Ses œuvres ont également été présentées dans les expositions de groupe, festivals et projections suivants (une sélection) : Festival Concreto, Fortaleza, 2017 ; Montrez-moi vos archives et je vous dirai qui est au pouvoir, KIOSK, Gand, 2017 ; Je crois qu’il y a une confusion chez vous. Vous croyez que moi je veux vous imiter, Kaaistudio’s, Bruxelles, 2017 ; The Chouas - A work in progress Episode #3, Human(art)istic festival, Beursschouwburg, Bruxelles, 2016 ; L’acte de fixer le soleil, Zwart Wild, Gand, 2016 ; Biënnale de Marrakech, Marrakech, 2016 ; Festival d’égalité, Vooruit, Gand, 2015 ; Été de la photographie, BOZAR, Bruxelles, 2014.

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
Catalogue : 2019Attractor - Repeller | Performance multimédia | hdv | noir et blanc | 20:0 | Uruguay | 2018
Mathías chumino , pablo villasuso
Attractor - Repeller
Performance multimédia | hdv | noir et blanc | 20:0 | Uruguay | 2018

ATTRACTOR REPELLER is an audiovisual piece created by AUTOPOL (Pol Villasuso) & C03RA (Mathías Chumino) It explores the tension and duality of the aggregation and disaggregation phenomena; continous – discontinous of visual and sound particles. These dualities are easier to imagine if we think tof the valley – mountain topography. The energy attraction is in the valley and the energy repelling is at the top of the mountains. This piece intepellates the flat and striated fields through noise, rumors, whispers, silence, buzzing and trembling, as a path and audiovisual texture.

C03RA (Mathías Chumino) is a multimedia artist and musician, specialized in image post-processing, editing and visual art. His visual work is the result of continuous experimentation and bold image manipulation rendered through the minimal filter of polished aesthetics, His technical expertise and proficiency using state of the art software and hardware are put to the service of a poetic vision of the world to deliver dark and mysterious visual landscapes, always dwelling on primal and metaphysical concepts. The result is a synesthetic journey through new worlds, an experience that defy and cautivates the viewer. AUTOPOL (Pol Villasuso) is a self-taught musician, sound artist - investigator and Architect. He has been known as AutoPol since 2010, conducting research and presentations in the experimental sound field. AutoPol explores the analogical and digital synthesis in an environment of noise, a-synchrony and poly-morphic sound superposition, designing complex, confusing sound atmospheres and austere and shocking moments. His live performances are always different. Based almost exclusively on improvisation the categories and musical limits of (dis) harmony, (a) rhythm and tempo are often confused and fade into the sound/visual air. When the architecture waits for the event, sound and light appear.

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).

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 ».

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.

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.

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.

Florinda ciucio
Catalogue : 2020And yet I rise | Film expérimental | mp4 | couleur | 7:20 | Belgique | Espagne | 2020
Florinda ciucio
And yet I rise
Film expérimental | mp4 | couleur | 7:20 | Belgique | Espagne | 2020

Five years ago, Amr moved from Syria to Madrid. During a stroll in the Royal Botanical Garden of his new home, surrounded by plants and trees from all over the world, he reflects on what it means for him to be The Other. 'And yet I rise' aims to translate the exchange of thoughts and conversations between Amr and the director into an organic synergy between Amr, the viewer and its reflective mind. Out of this grew a mosaic of the plants’ images emphasizing their catalogued character. Within this the garden becomes a metaphor for immigration, a very dense topic, while at the same time remaining a peaceful environment for reflection.

(°1993, Belgium) As the daughter of an Argentinian father and a Dutch/Belgian mother, Florinda has always been interested in the themes of culture and identity. Thus, she became quickly aware of the importance and beauty of intercultural understanding. This is also reflected in her work in which she searches for a common language through images and metaphors. She graduated in 2018 with a Masters Degree in Audiovisual Arts at the LUCA school of Arts in Brussels, with a focus on documentary imagery. Since then, her work travels through multidisciplinary platforms like art centers, film festivals and exhibitions. In 2019 she got selected to enter a trainee program initiated by the United Nations, in which she helped build an audiovisual language for a Spanish UN agency. Afterwards she got back to focus on the development of her own artistic practice, which resulted in 'And yet I rise' and a production grant of BREEDBEELD organization for an upcoming video installation project regarding the old super8 footage of her grandfather who was a shipman in Europe throughout the 50's.