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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  
Jan de bruin
Catalogue : 2006Calling 911 | Doc. expérimental | dv | couleur | 8:0 | Pays-Bas | USA | 2004
Jan de bruin
Calling 911
Doc. expérimental | dv | couleur | 8:0 | Pays-Bas | USA | 2004

Au milieu du bruit de la circulation, une jeune femme est debout dans un coin, c?est encore une petite fille et elle n?a ni manteau ni sac. Son visage et la manière dont elle se tient laissent panser qu?elle est triste et abattue, ce qui la fait paraître encore plus renfermé sur elle-même. Une nouvelle réalité s?est approchée de trop près ; la réalité de la rue est maintenant à années lumières d?elle. L?homme qui lui parle, dont on pense d?abord qu?il est là pour la secourir, est en fait la raison pour laquelle elle est dans une situation difficile. De petits gestes, de plus grands gestes ? à l?exception de quelques mots, on ne peut pas les comprendre, mais il est clair qu?il se disputent, et pas seulement : c?est la fin (?vas-y, appelle le 911). Elle n?a qu?à composer trois chiffres. Une oscillation soudaine de la caméra qui nous permet de voir une plus grande partie de la rue, et le son de la musique qui commence donnent a l?incident une nouvelle dimension : un événement enregistré devient une tragédie. Que s?est-il passé ? Qui était cet homme ? A qui est-elle en train de parler ? Que dit-elle entre ses sanglots violents et ses profondes inspirations pour tenter de reprendre son souffle ? Lorsque la police arrive, elle continue de parler parce que la voix au téléphone lui paraît plus proche de celui qui l?a laissé là toute seule que deux hommes habillés en bleu ; on dirait qu?elle les remarque à peine. Entre temps, les pompiers sont également arrivés, suivis d?une ambulance. Une équipe entière de sauveteurs se rassemble autour d?elle. Finalement, elle entre dans l?ambulance de son plein grès, en titubant. Un plan, une prise unique contient toute une histoire, résume un long-métrage en entier.


Jan de Bruin est né en 1977 à Delft, aux Pays Bas et il vit et travail à Rotterdam. De 1996 à 2002, il a étudié au département audiovisuel de l?Académie des Beaux-arts St. Joost à Breda. En ce qui concerne ses films, c?est lui qui a les idées, il en est le réalisateur, le cameraman et le monteur. ?Calling 911? a été montré lors de nombreux festivals européens aux Pays Bas, en Italie, en Belgique, en Allemagne, e Suisse et en France. Depuis 1999, il travail sur plusieurs autres courts-métrages, comme par exemple un film composé d?images trouvées appelé ?Lost Angels? en 2000 ou ?No Fire?, un documentaire en un plan qui date de 2006.

Sébastien de buyl
Catalogue : 2020Spectre | Film expérimental | hdcam | couleur | 2:45 | Belgique | USA | 2020
Sébastien de buyl
Spectre
Film expérimental | hdcam | couleur | 2:45 | Belgique | USA | 2020

Un esprit communique avec une lumière mystérieuse.


Sebastien De Buyl est ne? le 23 fe?vrier 1987 a? Houston, Texas. Eleve? par ses deux parents belges dans les «suburbs» du Texas, Sebastien change d’imagerie en troquant l’aride contre l’humide lorsqu’il revient a? Bruxelles a? l'a?ge de 15 ans. A 18 ans, il rec?oit un appareil photo et gagne un concours de photographie la me?me anne?e. Sebastien suit une formation artistique au UCCA Maidstone dans laquelle il pratique pluto?t la peinture. Il re?alise une reproduction d'une photographie de Diane Arbus qui retiendra l'attention de l'e?cole, au point que son tirage est choisi pour la couverture du recueil d'art et de poe?sie Londonien Succour. Aujourd'hui, cette photographie est encore confondue avec l'originale sur de nombreux sites. En 2012, il re?alise Lone Wolf, un long-me?trage tourne? en gue?rilla (Belgique, France, Espace) librement adapte? du roman de Jim Harrison «Un bon jour pour mourir » En 2015, Sebastien co-e?crit le long-me?trage, The Life List avec Louise Dubois pour Belga Films. En 2016, Sebastien re?alise Tournures, court-me?trage sur la the?matique de l'ine?galite? homme-femme. Le film connait une belle vie en festivals. En 2017, il re?alise Ya me voy, long-me?trage documentaire, portrait croise? d'un petit village de pe?cheurs dans le golfe du Mexique. Le film est projete? au FIFF en 2017. Sebastien est actuellement en post-production de Usures, en pre?-production de son court- me?trage de fiction De?mon et en de?veloppement de son nouveau film documentaire au Venezuela.

José Maças de carvalho
Catalogue : 2006To president (drinking version) | Vidéo expérimentale | dv | couleur | 2:0 | Portugal | 2006
José Maças de carvalho
To president (drinking version)
Vidéo expérimentale | dv | couleur | 2:0 | Portugal | 2006

Une des pops stars les plus importantes revient sur le devant de la scène pour porter un toast à quelques uns des hommes politiques les plus important de notre époque.


José Maças de Carvalho est né en 1960 à Anadia au Portugal. Il a obtenu un diplôme en littérature à l?université de Coimbra Depuis le début des années 90, il travaille sur la photographie et il a commencé à travailler sur la vidéo en 2000. Il a fait des expositions au Portugal, à Macao, en France, en Espagne, en Hollande, en Slovaquie, au Brésil et dans d?autres pays. Il a également organisé plusieurs expositions.

Anouk de clercq
Catalogue : 2014Thing | Animation | hdv | noir et blanc | 17:0 | 0 | Belgique | 2013
Anouk de clercq
Thing
Animation | hdv | noir et blanc | 17:0 | 0 | Belgique | 2013

An architect talks about the city he has built. Gradually we realise that the city is imaginary. His account is an attempt to give his ideas a fixed shape. This, in a nutshell, is the story of Thing. Screened at a very large scale, Thing, is an architectural universe that ceaselessly reveals its own virtuality for it exists only as a nebula of points wherein the camera, or actually, the point of view, wanders. Indeed, the technology used in Thing does not allow talking about a camera since it is made of 3D scans of urban spaces. Instead, we could talk about a point of view, a gaze, or even a body (that wanders). Thereby, a tension is generated between the mechanical register of space and its embodied perception. A tension or overlap between two sensing interfaces: the scanner and the body, without any need to determine whether there is a desire to reproduce the mode of sensing of the latter through the technology of the former. Unlike other works in which the animation is for the artist an occasion to create spaces without memory (precisely because animation does not capture anything), in Thing, the virtual universe does have a memory; the scanner does capture. The same memory that a body has or that is required in the learning of perception. Calling it Thing is a resistance to provide connotation beyond the signalling of a paradoxical –for it is virtual– materiality. Notwithstanding the nuances between authors and periods, the word "thing" in philosophical and psychoanalytic traditions has often been used to refer to the inaccessible, a stronghold of inexplicable emptiness on which meaning is built. Thing, is a film that is built from a text that progressively describes, creates, or builds a space. The dot and the word become thereby, parallel compositional elements. (Anna Manubens)

Anouk De Clercq studied piano in Ghent and film at the Sint Lukas Brussels University College of Art and Design. Her works explore the audiovisual potential of computer language to create possible worlds, many of which have a strongly architectonic character. She has received several awards, including the Illy Prize at Art Brussels in 2005 and a Prix Ars Electronica Honorary Mention in 2014. Her work has been shown in Tate Modern, Centre Pompidou, Museo Nacional Centro de Arte Reina Sofia, MAXXI, Centre d’Art Contemporain Genève, International Film Festival Rotterdam, Ars Electronica, among others. Anouk De Clercq is affiliated to the School of Arts University College Ghent as an artistic researcher.

Anouk de clerq, anton aeki & jerry galle
Catalogue : 2013Swan Song | Film expérimental | hdv | noir et blanc | 3:0 | Belgique | 2013
Anouk de clerq , anton aeki & jerry galle
Swan Song
Film expérimental | hdv | noir et blanc | 3:0 | Belgique | 2013

Karel de cock
Catalogue : 2008Resonance | Fiction expérimentale | dv | couleur | 18:30 | Belgique | 2008
Karel de cock
Resonance
Fiction expérimentale | dv | couleur | 18:30 | Belgique | 2008

Il y a John, un homme d'affaires de la Louisiane, François le banquier de Londres, et Antoine un trader suisse. Ensemble, ils réfléchissent sur leur carrière, sur les choix qu?ils ont fait et sur ceux qu?ils n?ont pas faits. Les choix qui ont fait leur succès, et fait d?eux ce qu?ils sont aujourd?hui. Alors que nous commençons à les connaître un peu, nous commençons également à connaître quelqu'un d'autre. Quelqu'un qui a peut-être été moins chanceux dans sa carrière. Ou peut-être voyons-nous le vrai visage de la réussite.


Karel De Cock est un cinéaste qui vit et étudie à Bruxelles (Belgique). À l?origine, il a une formation en conception graphique, mais il a très vite développé un intérêt pour le cinéma. Le fondement de ses films se trouve toujours dans la psyché des personnages. Pour chaque nouveau film, le défi principal est de trouver une nouvelle façon de faire passer la narration, et d?inventer un moyen de combiner de façon harmonieuse le contenu et la forme. Grâce à sa formation graphique, il combine les conventions de communication à travers les images fixes, avec celles du film traditionnel. De cette façon, il élargit les conventions cinématographiques traditionnelles et explore de nouveaux moyens de communication.

Catalogue : 2009Unheard Silence | Vidéo | betaSP | noir et blanc | 4:30 | Belgique | 2009
Karel de cock
Unheard Silence
Vidéo | betaSP | noir et blanc | 4:30 | Belgique | 2009

Unheard Silence is a meditation on the role of women in the western genre. I came to realize that I related this subject matter to an image of The Searchers that was imprinted on my memory. So I decided to use this image hoping it would trigger a similar memory and communicate this subject to others as well. We stand together with a woman. Waiting and staring into the empty desert. Not knowing if the men will return or not.

Karel De Cock °1982: Lives in Brussels and studies Audiovisual arts at the Sint-Lukas Hogeschool in Brussels. In 2008 he received his Bachelor diploma with his film Resonance (2008). The film has been selected by various festivals e.g. Rencontres Internationales (FR), Transmediale 09 festival (DE) and Migrating Forms (New York Underground Film Festival). His films are character based and situate themselves in the search and recover of identity and relations. He has a background in the traditional fiction genre but since Resonance he finds himself crossing the borders of both fiction and documentary. Right now he finishes his studies in the master department of documentary with guidance from Herman Asselberghs, Rob Rombout and Ronnie Ramirez

Catalogue : 2010Accepting the Image | Doc. expérimental | dv | couleur | 18:12 | Belgique | 2010
Karel de cock
Accepting the Image
Doc. expérimental | dv | couleur | 18:12 | Belgique | 2010

?Accepting The Image? portrays the way New York City women, their dreams and their lifestyles are represented in the media and in reality. The film questions this dual relationship between both worlds by sketching the portraits of Alynn, Lindsey and Holly, three young women who recently moved to the city. Filled with certain dreams and expectations, they each tell us what New York means to them and what their motivations were to go live there. As it appears, their incentives seem to blend with the image of the city as it is depicted in their favourite movies and television series. Some of the girls try to live up to the fiction, while others have already been confronted with a somewhat different reality. An observing camera sketches a feminine image of the streets of New York. The girls` story provides a direct comment to this and offers a critical perspective on the way young women in general identify with this and their idols representing it. ?Accepting The Image? questions the adoration of certain media and its consequences.

Karel De Cock °1982: Lives in Brussels and studied Audiovisual arts at the Sint-Lukas Institute in Brussels. In 2008 he received his Bachelor degree with his film ?Resonance? (2008). The film has been selected by various festivals e.g. Rencontres Internationales (FR), Transmediale 09 festival (DE) and Migrating Forms (New York Underground Film Festival). In 2009 he was selected for an exchange program with Beijing where he shot ?A Beijing Tale?, which was shown at Europalia China and The Beijing Student Film Festival. He graduated in the master department in 2010 with the film ?Accepting The Image? for which he spend 3 and a half months in New York City. His films are character based and situate themselves in the search and recovery of identity and relations. He has a background in the traditional fiction genre but since Resonance he finds himself crossing the borders of both fiction and documentary. He finished his studies as a bachelor in the fiction department with guidance from Patrice Toye and graduated in the master department of documentary with guidance from Herman Asselberghs & Rob Rombout

Max de esteban
Catalogue : 2012Proposition Two | Vidéo | dv | couleur | 7:38 | Espagne | 2012
Max de esteban
Proposition Two
Vidéo | dv | couleur | 7:38 | Espagne | 2012

Proposition Two: The Collection SYNOPSIS The Propositions series assemble my projects dealing with contemporary art issues through photography and video. Contemporary art, as most intellectual endeavors today, has its own narratives, languages and contradictions that often feel highly specialized and removed. These projects search for visual structures that raise questions and pull them back to the social and political. In particular, ?Proposition Two: The Collection? addresses the permanent collections in contemporary art museums today. A collection necessarily reflects the dominant/institutional understanding of the nature of art and its role in society. Long gone the alternative visions led by artists such as Broodthaers and Haacke, the model initiated by Thomas Krens has been carried out to its logical consequences by incorporating advertising and entertainment into the museums core values.

Biography Max was born in 1959 in Barcelona, Spain. Lived and worked in Palo Alto, New York, Madrid and London. In 2009 opened his first stable studio in Barcelona and since then focuses exclusively on personal project-based work. Solo Exhibitions: Elegies of Manumission, Quartier Gallery, Vienna, Feb. 2013 Proposition One. Festival de la Luz, Buenos Aires, 2012 Elegies of Manumission, CEHP, Bratislava, 2012 Proposition One. Klompching Gallery, New York, 2011 Proposition One. Spicer House, Barcelona, 2011 Vertige. Fotofestiwal, Lodz, 2010 Don?t listen to me. Spicer House, Barcelona, 2010 Selected Group Exhibitions: Museum of Fine Arts Houston, USA, 2012 Post Script, Cork, Irland, 2012 The Gathering. Rhubarb. Diemar/Noble, London, 2012 Winter Salon. Klompching Gallery, New York, 2012 PNetwork, Siegen, Germany, 2011 Fnac. Madrid and Barcelona, 2011 Escuela Arte, Granada, 2011 FotoTageTrier Triennial, Trier, Germany, 2010 Awards: Encontros da Imagem, Best Portfolio, Finalist, 2011, Portugal National Award of Professional Photography, Gold LUX, 2010, Spain Grand Prix Jury`s Special Award, Fotofestiwal 2010, Poland Monographs: Elegies of Manumission, Nazraeli Press, USA, 2012 Selected TV, Magazine, Journal and Online Features: TA3, TV feature, July 2012, Slovakia Pravda Kultura, Elegies of Manumission, by Jena Opoldusová, July 2012, Slovakia ARTVAS, Vertige, by Joanne Junga Yang, June 2012, Korea Lens Culture, Elegies of Manumission, by Jim Casper, May 2012, France DW-TV Deutsche Welle, TV feature, November 2011, Germany Feature Shoot, by Alison Zavos, November 2011, USA NYC Art Scene, November 2011, USA NY Art Beat, October 2011, USA Wired, August 2011, Italy, USA and Japan Conscientious, by J. Colberg,, March 2011, USA Hotshoe Magazine, by Bill Kouwenhoven, February 2011, UK Education: Graduate from Universitat Politècnica de Catalunya (Spain) Master from Stanford University (USA) PhD from Universitat Ramon Llull (Spain) Fulbright Alumni. Representation: Klompching Gallery (New York) Charles Guice Contemporary (San Francisco) Spicer House (Barcelona)

Daniela de felice
Catalogue : 2007LIBRO | Doc. expérimental | dv | couleur | 20:0 | Italie | France | 2007
Daniela de felice
LIBRO
Doc. expérimental | dv | couleur | 20:0 | Italie | France | 2007

Mon grand-père Guglielmo entre en maison de retraite. Il confie un dossier à chacun de ses enfants. Ma mère ne l'ouvre pas. Moi je le lis. J'ai toujours entendu parler de ce dossier. Le dossier noir. J'étais persuadée que ce n'était qu'une image, un mythe. Le dossier noir existe, il est marron. C'est un recueil de documents relatifs à ma mère. J'y trouve un classement de lettres, de dessins, de cartes de voeux, de bulletins scolaires et même une liste de ses fautes. Les documents sont en ordre plus ou moins chronologique. Gugliemo a nourri sa collection pendant cinquante années. Sa fille, son gendre et ses petits enfants, dans cet herbier. Je trouve des articles qui racontent une tentative de suicide de ma mère, soulignés au bic rouge. À vingt et un ans, Paola a avalé des somnifères, dans la salle d'attente de la gare de Pise, après avoir raté un examen d'anatomie. Je trouve aussi les pages du journal intime de ma mère. Mon grand-père les avait arrachées les jours suivants. Je les lis aujourd'hui, comme il les a lues hier. Guglielmo classe, vole, investigue, mais il n'écoute pas.


Daniela de Felice est née à Milan en Italie en 1976. De 1990 à 1994 elle étudie le dessin et l?histoire de l?Art à Novara (Liceo Artistico). De 1994 à 1998 à Bruxelles elle fréquente l?ERG (Ecole de Recherche Graphique) où elle expérimente tous les supports visuels et narratifs. De 1999 à 2000 elle est boursière à Fabrica (Treviso-Italie), le centre de recherche sur la communication et les nouveaux médias. Elle collabore notamment au court métrage « Afterwords », sélection offi cielle de la Mostra di Venezia en 2000. Elle travaille à des projets de création graphique avec Amnesty International, Witness, Move our Money, Istituto Luce, Domus Magazine, Alessi, ID. Elle assiste aux workshops de Amy Franceschini - web design, Alan Fletcher - graphisme, James Victore - graphisme, John Maeda - web design, Marti Guixe - design, Gijs Bakker, droog design - design, Stephan Sagemaister - fi lm d?animation, Marina Abramovic - body art, Wim Crowel - graphisme et typographie. Elle publie dans Novum Magazine (Berlin), I-D Magazine (London), Abitare (Milano), La Repubblica (Roma), Il Corriere della Sera (Roma). A partir de ses dessins, elle réalise plusieurs fi lms vidéo, dont «Coserelle» sélectionné à Paris Berlin Hors Circuit, , les Inattendus, Festival international de Bruxelles etc? Daniela de Felice obtient une bourse d?aide à la création FIACRE du Centre National Arts Plastiques en 2001, pour « Libro Nero », une série d?images et de textes autour du fascisme en Italie à travers son expérience familiale. Depuis quelques années, son travail pictural croise le support multimédia et, en collaboration avec le cinéaste Matthieu Chatellier, elle a réalisé « Quelle vie heureuse » et « Courage Fuyons ! » deux cédéroms soutenus par la DRAC Basse Normandie et présentés au Centre d?Art Contemporain de Basse Normandie.

Matthias de groof
Catalogue : 2018Diorama | Documentaire | mov | couleur | 34:40 | Belgique | 2018
Matthias de groof
Diorama
Documentaire | mov | couleur | 34:40 | Belgique | 2018

When the staff of the AfricaMuseum destroys the very dioramas they used to guard for decades, a colonial worldview is demolished. What remains are dead animals staring at you amidst ecocide. The violent destruction forms an allegory of museological and ecological relations. Diorama literally means “through that which is seen”. It is a window which wants to suggest life as truthful as possible through death. The diorama then, becomes a still life: a Vanitas. So still, that the sculptural becomes pictorial, until men enter the broken window and become part of the nature morte. Men animate death through caress and tear the animals loose from a morbid decorum that offered them verisimilitude of an obsolete landscape.

Dr. Matthias De Groof has a strong interest in film, Congo and (post)colonialism. He has a Master’s in Philosophy (HIW - KUL), International Relations (UCL) and Cinema Studies (UA). He studied African Studies at UMU (Uganda) and became a Fulbright and BAEF visiting scholar at NYU’s Tisch School of the Arts. His PhD in Cinema Studies looked at African cinema. As a Postdoctoral Fellow of the Research Foundation - Flanders (FWO), he studied postcolonial film theory at the Antwerp University where he also taught World Cinema, Aesthetics and Curating & Exhibiting. His scholarly work has been published in Third Text and Columbia University Press amongst others. He is regularly asked to talk and write in non-academic contexts and to curate film programs. His own films have been presented i.a. at the IFFR, Media City, Cannes Pan-African Film Festival and the San Francisco Art Institute. Currently, he works at the Collegium for Advanced Studies in Helsinki. His film-triptych on postcolonial museology (CobraFilms) and his book on Lumumba’s Iconography (Leuven University Press) are about to be published.

Joëlle de la casiniere, michel bonnemaison
Catalogue : 2006Rose de Lima | Doc. expérimental | 16mm | couleur et n&b | 39:59 | Belgique | Pérou | 1975
Joëlle de la casiniere , michel bonnemaison
Rose de Lima
Doc. expérimental | 16mm | couleur et n&b | 39:59 | Belgique | Pérou | 1975

Est-ce que le paradis peut exister dans une société corrompue ? Est-ce que l?éducation peut vaincre la télévision et la pornographie qu?on y voit ? De quelle manière est-ce que la citoyenneté peut jouer un rôle dans l?éducation, et l?éducation encourager la citoyenneté ? A 19 kilomètres de la capitale du Pérou, Lima, Villa El Salvador n?est pas une ?barriada? ordinaire. C?est une ville de plus de 300 000 habitants et un véritable exemple d?autogestion, d?autonomie et d?esprit communautaire. Joëlle de la Casinière dresse un portrait de cette ?nouvelle ville? qui fut construite à partir de rien, extrêmement rapidement et au milieu de nulle part. Le travail qu?elle a effectué sur la bande-son relève véritablement du poème musical en langage radiophonique. Avec le même style de collage ? à la fois produit et anticipation de l?ère du zapping ? qui caractériserait le travail de de la Casinière dans les années 80, ?Rose de Lima? joue avec les contradictions et les sens nouveaux que produit la juxtaposition du son et des images. En associant des boléros, des rancheras et d?autres genres de musique populaire Sud Américaine avec la vue accablante de routes en plein milieu du désert et de voitures industrielles, de la Casinière joue sur les stéréotypes qui existent à propos de l?Amérique du Sud et souligne ainsi les grands contrastes de ce continent.


D?origine française mais Belge d?adoption, Joëlle de la Casinière, qui est née en 1944, est connue principalement pour son travail avec le Centre de Recherche Montfaucon dans les années 80. Les vidéos Montfaucon, qui s?inspirent de Marshall McLuhan, sont des images de télévision qui se réfléchissent elles-mêmes dans le but de déconstruire l?idole qu?est devenue la télévision. Ce sont des ??uvres d?art complètes?, ils utilisent tous les systèmes sémiotiques que la télévision utilise : musique, images (des séquences trouvées et auto générées) et langage parlé, écriture et chansons. Le collage qui en résulte interrompt la perception conventionnelle et rend donc possible une réflexion sur ce medium. Entre 1972 et 1979, Joëlle de la Casinière et son compagnon Michel Bonnemaison (1923-2006) ont voyagé à travers le continent américain et ils ont rapporté de ce voyage une série de dix films.

Astrid de la chapelle
Catalogue : 2017Uccello | Film expérimental | 16mm | couleur | 2:20 | France | 2016
Astrid de la chapelle
Uccello
Film expérimental | 16mm | couleur | 2:20 | France | 2016

L'épopée sur branches et en sous-bois, télescope: nature, peinture: uccelli et Uccello. Le film tisse un dialogue avec des éléments photos et vidéos trouvés sur internet d'oiseaux et d'extraits de tableaux de Paolo Uccello.


Astrid de la Chapelle est réalisatrice, artiste et musicienne. Elle est née en 1983 à Paris. Dans ses films 16mm, dessins et projets éditoriaux, elle procède à des transcriptions entre médiums et à des reconstructions narratives en renouvelant les hiérarchies de récit et l’utilisation de documents. Son travail explore les potentiels qu’ouvre les espaces ou les paysages. Elle auto-édite le fanzine de science-fiction Futu et joue en parallèle dans le groupe de musique, Shrouded and the Dinner, avec quatre autres artistes et musiciens. Elle a étudié à l’Ecole nationale supérieure des Arts Décoratifs de Paris (diplômée en 2008), à la School of Visual Arts de New-York (USA) et à l’Ecole Supérieure des Arts Appliqués Duperré. Invitée par le Muséum national d’Histoire naturelle en 2017, elle a imaginé le cycle sur l’île de Pâques avec une sélection de films et de conférences.

Jaime de la jara
Catalogue : 2009Reality (Show) | Vidéo | dv | couleur | 13:17 | Espagne | 2009
Jaime de la jara
Reality (Show)
Vidéo | dv | couleur | 13:17 | Espagne | 2009

In his essay Prison Time, Michael Hardt maintained that we have to construct a way for the moment of love to return, for it to be repeated endlessly and take on a tempral density, a duration that would become the material structure for a new time. That is what I wanted to construct, tinking in terms of the literal meaning of the word construct. To modify time and make visible not only something that generates a crucial change, but also something that apparently does not, whose change we are unable to perceive because of their fleetingness or because they are too commonplace. Using the strategy and the power of slowness. As Genet, who Hardt addresses in his Prison Time, might have put it, somebody could have achieved it even if it were only for a thousandth of a second. Things are not as they seem. They are much more coplex or contain more than we can see at first glance. Paraphrasing Frank Stella, "things are as they seem, but for me they are not as they seem...". Reality is much more complex, as well as changing and fragile. Any detail can breach it, one single event can transform a scene from reality into something completely different. We to are part of this reality, and that makes us just as fragile and changing. We are a reflection of what is happening around us. With this project, I continue transgressing reality, looking for ways to explore it further and find that which is difficult to see, accentuating the importance of what surrounds us in order to reach a better understanding and valuation. I have constructed a path twelve metres long by one metre wide for a trolley to circulate automatically along it in both directions. On it is a six metre high tower with a 500 watt spotlight. The trolley moves at a very slow speed from one end of the path to the other, pausing for one minute on both ends. It takes approximately one minute to cover the twelve metre stretch. At this speed, the trolley iluminates everything along its path as it comes under its focus. When bringing the work into the exhibition hall as we see in the intervention shown in the video, something that I touched on earlier happens: the structure somehow loses its core role and the place takes on a greater centrality, thus transforming it into an object and part of the installation. It takes on the false appearance of a stage set and reveals all its fragility, its harshness, or it is simply transgressed. Everything is a to-and-fro, a coming and going, endlessly repeating itself and marking this temporal density Michael Hardt spoke of. The idea is form this moment to keep on repeating itself and to generate a false way of controlling the uncontrollable, which is time.

Jaime de la Jara (Madrid, 1972) graduated with a degree in Fine Arts from de Universidad Complutense of Madrid in 1996. Since then he has won several prizes and grants, including one from the Fundación Marcelino Botín in 2003 and another from the Artistic Creation Awards of the Region of Madrid in 2008. His works have been seen in various exhibition and competitions such as: Generaciones 2005 and 2006 at La Casa Encendida and Destino Futuro, the selection of young artists by the Region of Madrid at the Botanical Garden, curated by Oliva María Rubio. He took part in LOOP 05 with an individual project and at the Planes futuros exhibition curated by Lorena and María Corral. De la Jara is on the roster of Fúcares Gallery in Madrid where he showed his work in the 15 inches project in 2007. It was then seen at art fairs like Balelatina (Miami, New York and Basel), ParisPhoto, Foro Sur, MACO, D-Foto, Vienna Fair, ARCO, Artorama (Marsella)? His work is in public and private collections like Fundación Coca-Cola, Caja Madrid, Fundación Marcelino Botín in Santander, Artium Museum in Vitoria, Caja de Ahorros del Mediterráneo, Region of Madrid and ABC Vocento. In 2005 he was runner-up at the ABC Vocento Prize. He is currently preparing a one-person show for Sala Tecla in Barcelona.

Manuela de laborde
Catalogue : 2019En la era | Doc. expérimental | 16mm | couleur et n&b | 19:0 | Mexique | 2019
Manuela de laborde
En la era
Doc. expérimental | 16mm | couleur et n&b | 19:0 | Mexique | 2019

In The Era is an abstract work documenting the Experimental Concrete Workshop in Las Pozas, Xilitla. A diptych of Manuela’s subjective style of documentation, the film uses color and black and white to create two separate dreamlike and fragmented expressions of a single event: a group of foreigners immersed in the jungle among the surreal constructions of Edward James while creating sculptural works of their own. The film’s viewer is thrust into all that this stunning setting entails – the local residents, the nature, food preparation… In The Era is firmly grounded in the sensorial, with Camila Fuchs’ sound design melding sound scoring with field recordings from beyond the viewer’s visual frame of reference.

In 2012 she exhibited her solo show, Maquettes, in Generator Projects, Dundee; in 2013 screened, Sun, at London MexFest with the live score of Camila Fuchs; her short films Viveros, The exponential Nature of Images and Le Visible et L’Invisible where shown at Antimatter FF, Jihlava IDFF and Milwaukee UFF; and this year her thesis film, As Without So Within, was screened at Toronto International Film Festival, Winnipeg WNDX (Best International Short), 25fps Festival in Zagreb (Grand Prix), FICM of Morelia and International Film Festival Rotterdam, New Directors MoMA + FSLC and VideoBrasil among others.

Manuela de laborde
Catalogue : 2020EN LA ERA | Doc. expérimental | 16mm | couleur et n&b | 18:50 | Mexique | 2019
Manuela de laborde
EN LA ERA
Doc. expérimental | 16mm | couleur et n&b | 18:50 | Mexique | 2019

En La Era (In The Era) is an abstract work documenting the Experimental Concrete Workshop in Las Pozas, Xilitla. A diptych of Manuela’s subjective style of documentation, the film uses color and black and white to create two separate dreamlike and fragmented expressions of a single event: a group of foreigners immersed in the jungle among the surreal constructions of Edward James while creating sculptural works of their own. The film’s viewer is thrust into all that this stunning setting entails - the local residents, the nature, food preparation… En La Era is firmly grounded in the sensorial, with Camila Fuchs’s sound design melding sound scoring with field recordings from beyond the viewer’s visual frame of reference.

In 2012 she exhibited her solo show, Maquettes, in Generator Projects, Dundee; in 2013 screened, Sun, at London MexFest with the live score of Camila Fuchs; her short films Viveros, The exponential Nature of Images and Le Visible et L’Invisible where shown at Antimatter FF, Jihlava IDFF and Milwaukee UFF; and this year her thesis film, As Without So Within, was screened at Toronto International Film Festival, Winnipeg WNDX (Best International Short), 25fps Festival in Zagreb (Grand Prix), FICM of Morelia and International Film Festival Rotterdam, New Directors MoMA + FSLC and VideoBrasil among others. Manuela is currently one of the ‘resident’ filmmakers for Oberhausen Film Festival - Conditional Cinema for which she is finishing her film, Ficciones. During October this year Manuela attended the artist residency at LIFT (Liason of Independent Filmmakers in Toronto).

Jean de lacoste
Catalogue : 2010A Place | Art vidéo | dv | couleur | 16:6 | Belgique | 2008
Jean de lacoste
A Place
Art vidéo | dv | couleur | 16:6 | Belgique | 2008

"A Place" is a video triptych that depicts a singular apprehension of familiar interior and exterior spaces, brought together by various lines of flight. Three physical and mental spaces, inhabited by the affective presence of those who cross them or occupy them, follow one another, responding and canceling each other out.

Jean De Lacoste, born March 27, 1984; Belgian video artist and musician; graduated in 2009 from the E.R.G., Brussels and lives and works in Brussels. His work is a reflection on the phenomenological apprehension of inhabited, familiar places (related to souvenirs, family, anecdotes) and of non-places who don?t really belong to anyone, places we go through, that can even liberate us. This notion of « affect » is translated rather suggestively and distantly through editing image and sound.

Henri de latour
Catalogue : 2008L'asile du droit | Documentaire | betaSP | couleur | 54:30 | France | 2007
Henri de latour
L'asile du droit
Documentaire | betaSP | couleur | 54:30 | France | 2007

résumé : En 2006, près de 40 000 personnes se sont présentées comme victimes de persécutions dans leur pays et ont demandé protection à la France. Dès leur arrivée elles se sont adressé à l?OFPRA, l?Office Français de Protection des Réfugiés et Apatrides qui a statué sur la validité de leurs demandes. 92% ont été rejetées. Les demandeurs d?asile rejetés par l?OFPRA peuvent faire réexaminer leur dossier en faisant appel à la Commission des Recours des Réfugiés. C?est la plus grande juridiction française, elle est composée de magistrats issus de la société civile assistés par un représentant du Haut Commissariat aux Réfugiés et un autre de l?OFPRA. Cette année là, la Commission des Recours des Réfugiés a annulé 4081 décisions de l`OFPRA, soit 14% des recours déposés. Le film expose le face à face souvent bouleversant de cinq requérants, assistés de leurs avocats et interprètes, avec la Commission et l?attente des résultat affichés dans le hall. Devant ce grand mur blanc se joue leur destin.


Biographie de Henri Pradelle de Latour, réalisateur. Né en 1949 en Autriche d`un père ambassadeur de France et d`une mère Cévenole, issus tous deux de vieilles familles conservatrices, Henri de Latour se rebelle à 20 ans contre les bonnes manières et les idées reçues . Il abandonne ses études de sciences économiques à Assas et achète une péniche avec quelques amis pour satisfaire sa passion, la musique. L`idée est de partir sur les canaux et de vivre de spectacles itinérants. Mais très vite la crise économique l`oblige à vendre la péniche et il se fait embaucher comme docker sur le port d`Anvers. Il part ensuite en Afrique et fait de l`import-export pour le compte d`un trafiquant qui le licencie quand il prend partie pour les dockers en grève. Toujours en mer, il part pour une saison de pêche en Islande ce qui lui a définitivement ôté le gout du poisson. L`Afrique l`attire et il y reviendra pour réaliser ses premiers films de 1985 à 1992 , dont une collection de 26` intitulée « Chercheur d`aventures ». LA DEMOCRATIE SOUS PRESSE, 1992, Bénin, une des premières démocraties en Afrique, vue à travers sa presse indépendante. PROFESSEURS BURKINABÉS, 1990 : Burkina Faso - Deux scientifiques burkinabés reviennent vivre dans leur pays après leurs études en Occident. VETERINAIRE DU DÉSERT, 1990 : la vie quotidienne d?un jeune vétérinaire dans le Nord-Est du Tchad. A PREMIERE VUE, 1986 : Portrait du musicien africain : Fela Randsom Kuti, chez lui, au Nigeria et lors de sa tournée européenne. SURINAM", 1986 : la guérilla dans l`ancienne colonie hollandaise. ... En 1985, il a créé ADL avec sa compagne, Anne Marie Luccioni et produit avec elle de nombreux documentaires sur les problèmes de société et sur les créateurs qui vivent dans leur région d`adoption, le Languedoc-Roussillon. Il réalise une série de 4 films sur le thème de la Justice :  PAROLE D?EVANGILE, 2003 , Portrait de Georges Frêche, Maire de Montpellier, plan séquence de 24 minutes, UN JUGE DE PAIX, 2002 , MISE EN EXAMEN" en 2000, et L?asile du droit en 2007. Il crée en 2001, le festival du film documentaires de Lassalle en Cévennes ? berceau de sa famille ? dont il a été élu maire aux dernières élections.

Arjen de leeuw
Catalogue : 2009Eruptions | Vidéo | dv | couleur | 7:30 | Pays-Bas | 2008
Arjen de leeuw
Eruptions
Vidéo | dv | couleur | 7:30 | Pays-Bas | 2008

Eruptions a video by Arjen de Leeuw concept, setdesign, camera, editing, sound: Arjen de Leeuw actors: Luc van Esch, Emanuel Muris running time: 7.33min format: 16:9 miniDV,Betacam/PAL color/sound, no dialogue year: 2009 screeningformat: dvd/beta SP/Pal shot in Japan at mount Aso and in the Netherlands Synopsis: 2 men are working in a control room, monitoring a volcano. With all their buttons and control panels they give the impression they can adjust and manage these natural forces.

Curriculum Vitae Name Arjen de Leeuw Date of birth 17-08 1972 Place of birth Amsterdam, The Netherlands Education 1991-1995 Bachelor of fine arts, sculpturedepartment Koninklijke Academie van Beeldende Kunsten Den Haag, the Netherlands Grants: 2006 Basisstipendium Dutch Fund for visual arts (Fonds BKVB) 2002 Basisstipendium Dutch Fund for visual arts (Fonds BKVB) 1996 Startstipendium Dutch Fund for visual arts (Fonds BKVB) Prizes 2007 Workspace 2007, filmhuis, Den Haag Selection of recent exhibitions 2009 Visions of William Living ( a collaboration with Pia Wergius) is shown as part of her solo exhibition in Kristinehamns Konst Museum , Sweden Video festival Narave, Mestna-galerija,Ljubljana, Slovenija 2008 Amsterdam Int Filmfestival, de Melkweg, Amsterdam, the Netherlands Visions of William Living, met Pia Wergius, de Veemvloer, Amsterdam, the Netherlands 2007 Festival del creativita, Florence, Italy de altijd prijs prijs, de Fabriek, Eindhoven, The Netherlands Visions of William Living, met Pia Wergius, Filmhuis, Den Haag, the Netherlands 2005 the Videodictionary, as part of Impakt festival, Utrecht, the Netherlands Disegnitudine, la quotidianita?dell?utopia curated by Fiametta Strigoli La Giarina arte Contemporanea,Verona, Italy Access, Consortium, Amsterdam, the Netherlands Use this Kind of sky, curated by Paul Eachus and Nooshin Farhid, Keith Talent Gallery, London, UK La mossa delle idee, Sala santa Rita, curated by Fiametta Strigoli, Rome, Italy/Spacio Uno, Firenze, Italy 2004 No premises/no conclusions, curated by Manuel Saiz, Moriarty gallery, Madrid, Spain 2003 De Grote Verbeelding, de Grote kerk, Den Haag, the Netherlands Overexposed, curated by Jorge Bravo, Joan Prats Gallery, Barcelona, Spain 2001 Vertrek en verblijf, op Admiralengracht 52, Amsterdam, the Netherlands recent Screenings/videofestivals 2009 Noordelijk filmfestival, Leeuwarden, the Netherlands Architecture filmfestival, Rotterdam, the Netherlands Floss, VHDG, Leeuwarden, the Netherlands Revision, Dutch filmfestival, Utrecht, he Netherlands 25fps, Zagreb, Croatia 2007 Indie Memphis Micro Cinema Club ,Memphis, Tennessee, USA Central Cinema Seattle, Washington, USA Metropolis, broadcasted on TVE(spanisch national television) Spain. Filmfrontfestival, Gorcums museum, Gorichum, the Netherlands Videoar(Te)mpoAttivo, curated by Fiammetta strigoli,Plasma Art, Firenze, Italy, 2006 Prescriptions, a videonight by Spark video at ForestCity gallery, London Ontario, Canada Videothek, Korperein/satz. Hedah, Maastricht, the Netherlands, MuseumAbteiberg, Mönchengladberg, countryclub InternationalVideo.ArtFestival and Competiton.,Germany NPS new arrivals, web site 2005 Impakt avBBQ night, Impakt festival,Utrecht, the Netherlands 2004 Halloweird, Microcinema, shown oa, New York, San Francisco , USA All tomorrows deja vu, Video Mundi, Chicago, USA Island art film and videofestival, London, UK Love and other difficulties, Microcinema, shown oa in San Francisco, Houston, Oakland, USA Rotterdam VHS festival, of Corso, het Wilde Weten, Rotterdam, the Netherlands 2003 Videovisions, broadcasted by Edith Russ haus fur Medienkunst, Oldenburg, Germany Exploding cinema, London,UK 25HRS, the videoartfoundation, Barcelona, Spain the video?s are also distributed by De Filmbank, Amsterdam. Recent Theatreworks/stage and costume design/ projects 2008 teaching and lecturing at Hogeschool voor de kunsten Utrecht. costumedesign Alles is goed, direction Gienke Deuten, Toneelschuurprodukties, Haarlem 2006 Springplank voor de Val, a theatreproject with Gienke Deuten, produced by het Lab, Utrecht,The Netherlands 2005 costumedesign De Groote Storm, direction Rieks Swarte, Toneelschuurprodukties, Haarlem, the Netherlands 2004 costumedesign Woord and Van de wind en de berg, direction Rieks Swarte, Emanuel Muris, Toneelschuurprodukties, Haarlem, the Netherlands

Catalogue : 2011a place where life was captured | Film expérimental | 0 | | 11:48 | Pays-Bas | 2011
Arjen de leeuw
a place where life was captured
Film expérimental | 0 | | 11:48 | Pays-Bas | 2011

A woman tries to understand who she is and what her life was like. A group of scientists found her standing on an icefloat in Arctic waters. She used to be one of them. They found her back, but her memory is gone. Her state of mind and the state of the melting glacial ice surrounding her run parallel in the film.

Arjen de Leeuw is a visual artist, mainly working in the field of video and sculpture. Featuring within fictional settings his protagonists are challenged to deal with existential questions. They are forced to ask themselves how to position within these often absurd circumstances. Recurring elements in his work consist of the limitations of our western notion of freedom, fate and controllabilty, and the question if our (technological) progress brings us closer to the subliminal. Arjen de Leeuw was born in Amsterdam in 1972 where he still lives and works. He graduated from the Royal Academy of arts in The Hague. His work has been exhibited and screened both nationally and internationally. Including exhibitions in Galeria Joan Prats, Barcelona and Keith Talent gallery, London. Recent screenings of his work have been at the Centre Pompidou, Paris, the Reine Sophia museum, Madrid, the International Film Festival Rotterdam and 25fps in Zagreb. Parallel to his practice, he has designed theatre sets and costumes for several experimental theatre productions.

Inês de lima torres
Catalogue : 2017De Madrugada | Fiction | hdv | couleur | 30:6 | Portugal | 2017
Inês de lima torres
De Madrugada
Fiction | hdv | couleur | 30:6 | Portugal | 2017

In the hot month of August, Alice and her siblings go to their grandmother’s summer house. As the days go by, the house becomes a hive of slow straying bodies, as Alice becomes more and more engrained in her grandmother’s colonial past.

Inês de Lima Torres was born in 1995 in Setúbal, Portugal. She graduated from university at Lisbon School of Theatre and Film, majoring in Cinema, in the branch of Directing in 2017 “De Madrugada”, her graduation film, premiered at IndieLisboa 17’ National Competition and was also screened at other festivals such as San Sebastián International Film Festival.

Alberto de michele
Catalogue : 2009I Lupi (The wolves) | Vidéo | dv | | 17:0 | Italie | 2009
Alberto de michele
I Lupi (The wolves)
Vidéo | dv | | 17:0 | Italie | 2009

The protagonists of this project are a group of 40-to 70-year old thieves from the north of Italy called ?I Lupi? the Wolves. The only time they steal is when it`s very foggy. The fog makes everything invisible including them. They rob houses, banks, jewelers, trucks - everything they can profit from. The video `I Lupi` is part of an installation that was made in collaboration with the Wolves.

Alberto De Michele (IT,1980) received his education at the Rietveld Academy, Amsterdam, department Audiovisual (1997-2001) and the Sandberg Instituut (Master Degree), Fine Arts, Amsterdam (2001-2004). His work straddles the line between (pulp) fiction and (plain) fact. It involves highlighting an individual, a phenomenon, an experience. His aim is to penetrate into the most expressive part, the core of his chosen subject. De Michele shows himself to be a captivating narrator with an eye for gripping personal stories or penetrating observations, causing intangible and alienating experiences. In the past three years he has mainly been focusing on the world around his father. His was given an upbringing surrounded by thieves, gangsters and gambling addicts, a social environment most people experience as sinister and unsavoury. Since De Michele grew up in this environment and still has one foot in his father`s world, he?s able to communicate easily with the people in it. The artist can build up a bond of trust between them and himself that enables him to explore their lives in a privileged way. De Michele has participated in several group exhibitions, for example at W139 - Amsterdam, Montevideo - Amsterdam, Kunsthal - Rotterdam, Apexart - New York, The Alternative Film Video - Belgrade. In 2007/08 the artist had a solo exhibition entitled ?Adriano? at the Appel in Amsterdam, an installation about an Italian bank robber who for a period of time was hiding in Amsterdam. From january 2010 Alberto De Michele will be a resident artist at the Rijksakademie, Amsterdam.

Regina de miguel
Catalogue : 2012Nouvelle Science Vague Fiction | Doc. expérimental | hdv | couleur et n&b | 20:37 | Espagne | Pays-Bas | 2011
Regina de miguel
Nouvelle Science Vague Fiction
Doc. expérimental | hdv | couleur et n&b | 20:37 | Espagne | Pays-Bas | 2011

?Nouvelle Science Vague Fiction? focuses on the relationship between construction and analysis of human ecologies. This raises as a syntactic space in which connections are made between analytic situations and scientific perception (verisimilitude scales), non-experiential learning derived from technological imaginary (estrangement and projection) and levels of configuration of ideal and critical conscience (new orientation forms). An off-screen voice in the position of a ?super observer? guides us through various possible ends of the world, in a markedly objective tone; leaving these apocalyptical prophecies behind, it concludes with some irony on the spectator?s role and the meaning of those events and images, that nobody will ever be able to contemplate. The soundtrack is made in collaboration with the musician Jonathan Saldanha from sound recordings of the black hole Sagitarius A*, located in the centre of the Milky Way, captured by the Dwingeloo Radio Telescope in the Netherlands. The composition has been transferred to vinyl disc which is imaged by a scanning electron microscope with a magnification of ten thousand times, giving rise to a landscape impossible to perceive by simple view.

Regina de Miguel, Málaga, Spain, 1977. Artist and cultural producer.

Catalogue : 2013El conocimiento nunca viene solo | Doc. expérimental | hdv | couleur | 39:31 | Espagne | Chili | 2013
Regina de miguel
El conocimiento nunca viene solo
Doc. expérimental | hdv | couleur | 39:31 | Espagne | Chili | 2013

This work tries to delve into the production of hybrid objects and knowledge, by means of an extensive field work with the collaboration of experts in many different areas whose research methods include the use of concepts such as the invisibility or the difficulty of the parameters that characterize their search, as well as the negotiations with the territory, taking the dark matter as a metaphor and thread of this story. Let?s just say that the aim is to make up a story or scientific historiography which, in some of its particularities, transforms into more general stories based in the specific characteristics of a physical and political territory that becomes an exceptional parameter for the study of specific problems. "The supposed neutrality of geographical knowledges has at best proven to be a beguiling fiction and at worst a downright fraud. Geographical knowledges have always internalized strong ideological content. In its scientific (predominantly positivist) forms, natural and social phenomena are represented objectively as things, subject to manipulation, management and exploitation by dominant forces of capital and the state". Spaces of Capital: Towards a Critical Geography, David Harvey. In this scientific forms, eventuality considered as a possibility or risk of change, fact or unexpected problems is presented as a fundamental concept at facing the reading and rewriting of facts before a ?mathematization? of the Universe. The documentary filmed in Chile, in the Atacama desert, the most arid in the World, shows how this landscape and the extreme life conditions in it substantially affect the work carried out there by some scientists. Both recent and past history of this territory are present in the activities and reports elaborated by the scientists, making up a unique paradigm to investigate and rethink the relationship between policies, contexts and knowledge produced within them. This choral story includes people (archaeologist, anthropologists, natives, engineers, astrophysicists, cosmologists, etc) as well as landscapes in which their activities are carried out (an archaeological museum in Arica, in the Peru-Bolivia border, an experimental station in a territory recently revealed to science -Alto Patache-, the Chuquicamata copper mine, the Paranal astronomic observatory (ESO), ... and archaeological ruins arisen from industrial development: old mining cities abandoned in the desert, cemeteries of ancient dwellers of those settlements, etc. The change in the cosmological model emerged from the studies of dark matter and energy plays the role of an allegory and a mental image of the need of change in the archetype used when dealing with the production of knowledge, orders and paradigms, all of which are apparently intact.

Artist and cultural producer. Regina?s work develops connections between situations of scientific analysis and perception as objective knowledge, (scales of verisimilitude), non-experiential learning as derived from the technological imagination, (estrangement and projection), and levels of development of the ideal and critical consciousness, (new means of orientation). Part of her production has dealt primarily with the strategies of the formation of desire, crises in subjective meaning, and the visualization of the psychological landscape as a form of map making. In the same vein, she also analyzes the speculative transfer in scientific and cultural learning tools. Her work has been shown at institutions as Palais de Tokio (Paris), Haus der Kulturen der Welt (Berlin), Gaswork (London), Fundación Telefónica (Santiago de Chile), Artium y Montehermoso (Vitoria), La Panera (Lleida), Can Felipa (Barcelona), Musac (León), La casa Encendida (Madrid), Manifesta (Murcia), CGAC (Santiago de Compostela) y Matadero (Madrid). It has also been shown in independent spaces as Atelierhof Kreuzberg, General Public, Reh Kunst, Altes Finanzamt (Berlin) and Le Commissariat (Paris).

Eléonore de montesquiou
Catalogue : 2014Horses People Time | | | | 16:12 | France | 0
Eléonore de montesquiou
Horses People Time
| | | 16:12 | France | 0

«The seagulls are waking up, can you hear them? It’s really hard to believe that these are now two different cities with a border.» told Olga to Eduard on the roof of a collective housing building where she works as a lift supervisor. A white night in this border town between Estonia and Russia, Olga and Eduard are tired, they are waiting for the sun to rise. "Horse, people and time", Eduard refers to Lermontov’s poem "Borodino" and indeed at this time in this peculiar place, almost non existing, philosphy, politics, all possible topics are grasped and dealt with.

Eléonore de Montesquiou (1970, Paris, France) is a French-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts, it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.