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Arnaud dommerc
Catalogue : 2010le cochon | | | couleur | 55:0 | France | 2010
Arnaud dommerc
le cochon
| | couleur | 55:0 | France | 2010

Durant trois jours, dans la montagne corse, des Hommes tuent et charcutent le cochon.


Arnaud Dommerc est né en 1971. Il enseigne le cinéma à l?Université Saint Denis - Paris 8 depuis 2001. Il travaille notamment comme assistant avec Jean-Marie Straub (Le genou d?Artémide, Itinéraire de Jean Bricard, Le Streghe, O Somma Luce, Joachim Gatti, L?Inconsolable, L?Héritier). Son précédent film "Nous n?irons pas à Buti" a été sélectionné en compétition au FID 2008 ainsi qu?aux Rencontres Paris / Berlin / Madrid 2009. Il prépare actuellement une installation vidéo sur Gênes et la méditerranée pour l`Université de Lille 3, "L`innocence radicale des fleurs".

Charles domokos, neil reichline, bob silverthorne, charles attila domokos
Catalogue : 2010Heroes of Conscience - U.S. Non Violence Actions | Doc. expérimental | 16mm | noir et blanc | 95:0 | USA | 2009
Charles domokos , neil reichline, bob silverthorne, charles attila domokos
Heroes of Conscience - U.S. Non Violence Actions
Doc. expérimental | 16mm | noir et blanc | 95:0 | USA | 2009

HEROES OF CONSCIENCE: THE U.S. ?NON-VIOLENCE? PEACE MOVEMENT (FRENCH, SPANISH & GERMAN PREMIERE PROGRAM) DAVID HARRIS, POLITICAL PRISONER (25 min) (1971; 16mm; b&w; DVD) ?David Harris, Political Prisoner? was made at the height of the anti-Vietnam War Resistance movement in the United States. The film records the logic of Resistance through interviews with U.S. political activist David Harris and through the final speech Harris made before he was sent to federal prison. This film was used as an organizing tool for the Resistance. Harris, who married folk singer Joan Baez before he went to jail, was the leading spokesperson for the Resistance and his words and actions still resonate today in an increasingly violent world. The film aired on KCET TV in Los Angeles and on other PBS stations around the U.S. along with an interview by director Taylor Hackford after Harris was released from U.S. federal prison. Filmmaker Neil Reichline made a number of films on anti-war and non-violent themes. He also has worked extensively as a Director of Photography. Neil Reichline: Filmmaker ____________________________ THE RESISTER (30 min) (1971; 16mm; b&w/sepia; DVD) Bill Garaway, a Los Angeles draft resister, receives a five year prison sentence and is released on bail while he files a court appeal. This film is a document of the intellectual and emotional climate of the early nineteen-seventies time period. It is a study of the changes the U.S. anti-war movement goes through in the six-month period Bill Garaway is out on bail waiting the results of his court appeal. This film is the story of an activist?s efforts to remain committed to non-violence amidst increasing violent political action. ?The Resister? documents six months in the life of Bill Garaway as he waits out his appeal on a draft evasion conviction. It is the story not only of Garaway, but an entire generation of young people who began by protesting Vietnam and have ended up creating a counterculture.? (Kevin Thomas, ?Los Angeles Times? review) San Francisco Film Festival, 1971; Broadcast on PBS /KQED-TV, San Francisco. Charles Domokos, Filmmaker ____________________________ TOGETHER AT THE INSTITUTE FOR THE STUDY OF NON-VIOLENCE (35 min) (1970; 16mm; b&w; DVD) This film documents the early days of one of the first American organizations to put Gandhi?s non-violent political ideas into practice in the United States. Singer, Joan Baez, and political activist, Ira Sandperl, organized the ?Institute for the Study of Non-Violence" to channel progressives? frustration into political action. The Institute organized draft resisters against the U. S. armed forces during the Vietnam war era. The film follows several draft resisters as they prepare to go to prison to serve sentences for non-cooperation with the U.S. armed forces. The narration also examines the role American Universities, such as Stanford University, play in co-operating with the military-industrial complex continuing to foster a war-based economy in the U.S. Bob Silverthorne: Filmmaker

?David Harris: Political Prisoner:? Author: Neil Reichline. Neil Reichline is a Cinematographer and Fine Arts Still Photographer who lives in Los Angeles. ?David Harris? is Neil Reichline?s first film. ?The Resister?; Author: Charles (Attila) Domokos. Charles Domokos is a Filmmaker who lives in Los Angeles, California. ?Together at the Institute for the Study of Non-Violence;? Author: Bob Silverthorne. Bob Silverthorne is a Sound Mixer who lives in Washington, D.C.

Hadrien don fayel
Catalogue : 2008Le coeur parlait (portrait de Jean Touzet) | Doc. expérimental | dv | couleur et n&b | 22:0 | France | 2008
Hadrien don fayel
Le coeur parlait (portrait de Jean Touzet)
Doc. expérimental | dv | couleur et n&b | 22:0 | France | 2008

Durant les trente premières années de sa vie, Jean Touzet explore différents domaines artistiques en étant tour à tour acteur chez Jean Vilar, pianiste, chef d?orchestre, etc. Lorsqu?on lui propose de donner vie au Festival de Cannes, c`est de manière artistique qu`il règle les nombreuses questions d`ordre administratif. C?est sans doute grâce à cela qu?il réussit à faire du festival un événement hors du commun, une « création originale ».


Après six années de formation en Art plastique et deux ans en sémiologie/ anthropologie de l?Art, Hadrien don Fayel se consacre à l?étude de l?image photographique durant deux ans, puis cinématographique (diplômé assistant réalisateur au Conservatoire Libre du Cinéma Français en 2007). Il réalise deux courts-métrages pellicule : « Celui qui par ses rêves guide le monde, à travers les autres cherche sa voie » (4?) en 2007 et « La Fonction Humaine » (4?20) (2008) (co-réalisation avec Perrine Liévois). En 2007, il produit « Echos », long-métrage réalisé par Perrine Liévois. En 2008, il réalise un documentaire tourné en numérique : « Le C?ur Parlait (portrait de Jean Touzet) » (22?).

Tommaso donati
Catalogue : 2015Faim | Fiction expérimentale | hdv | couleur | 16:4 | Suisse | France | 2015
Tommaso donati
Faim
Fiction expérimentale | hdv | couleur | 16:4 | Suisse | France | 2015

Une femme sdf partage sa vie avec son chien. Après sa fuite, elle s`égare sur les traces de l`animal, ;au même temps les gestes d`un gardien du musée de préhistoire se succèdent comme chaque jour. Unis par le même besoin primaire la femme, l`homme et l`animal se croisent et se déplacent à la recherche de quelque chose de plus élevé.


Tommaso Donati (Lugano, 1988 ) est un réalisateur et photographe. En 2013 il obtient un diplôme en cinema à l’ EICAR – The International Film School of Paris. Ces films et son œuvre photographique se concentrent sur la nature, le cycle de la vie et la relation entre homme et animal.

Catalogue : 2016Dormiente | Fiction | hdv | couleur | 18:15 | Suisse | 2016
Tommaso donati
Dormiente
Fiction | hdv | couleur | 18:15 | Suisse | 2016

Un homme et une femme, qui vivent en marge de la société, se déplacent et se croisent entre espaces urbains et espaces naturels, à la recherche d’une liberté oubliée, en essayant péniblement de rester éveillés.


Tommaso Donati (Lugano, 1988 ) est un réalisateur et photographe. En 2013 il obtient un diplôme en cinema à l’ EICAR – The International Film School of Paris. Ces films et son œuvre photographique se concentrent sur la nature, le cycle de la vie et la relation entre homme et animal. Il partecipe à plusieurs festival comme le Festival du Film de Locarno, Torino Film Festival, Les Rencontres Internationales Paris/Berlin, FimmakerFest...

Catalogue : 2017A Song from the Future | Doc. expérimental | hdv | couleur | 17:29 | Suisse | 2017
Tommaso donati
A Song from the Future
Doc. expérimental | hdv | couleur | 17:29 | Suisse | 2017

Un migrant somalien cherche abri dans les souterrains d`un immeuble près de la douane Suisse italien. Une chanson populaire de son pays réveille en lui l`envie de partir.


Né en 1988, Tommaso Donati est diplômé de l’école internationale de création audiovisuelle et de réalisation (EICAR) à Paris. Son travail se partage entre le documentaire, le cinéma expérimental et la photographie où il explore les relations entre l’homme, l’animal et le milieu naturel dans lequel ils vivent.

Catalogue : 2018Monte Amiata | Fiction expérimentale | hdv | couleur | 22:29 | Suisse | 2018
Tommaso donati
Monte Amiata
Fiction expérimentale | hdv | couleur | 22:29 | Suisse | 2018

Le Monte Amiata est un complexe résidentiel dans le quartier Gallaratese de Milan, conçu par les architectes Carlo Aymonino et Aldo Rossi à la fin des années 1960. Leur intention était de créer un microcosme paralléle, une sorte de ville alternative du futur. Ses habitants, en référence à sa couleur et à sa forme insolite, le surnomment le dinosaure rouge.


Né en 1988, son travail se partage entre le documentaire, le cinéma expérimental et la photographie où il explore les relations entre l’homme et le milieu naturel dans lequel ils vivent.

Ralitsa doncheva
Catalogue : 2015Baba Dana Talks To The Wolves | Doc. expérimental | 16mm | couleur | 10:38 | Bulgarie | Canada | 2015
Ralitsa doncheva
Baba Dana Talks To The Wolves
Doc. expérimental | 16mm | couleur | 10:38 | Bulgarie | Canada | 2015

Baba Dana Talks To The Wolves is an impressionistic portrait of Baba Dana, an 85 year-old Bulgarian woman who has chosen to spend her life in the mountains, away from people and cities. She lives in one of the oldest monasteries in Bulgaria, Zelenikovsky Monastery. Once known as a favorite place of repose for Bulgaria’s last Tzar, the place is now known as Baba Dana’s home.

Ralitsa Doncheva (b. 1987) is a Montréal-based filmmaker, originally from Bulgaria. A graduate from The Mel Hoppenheim School of Cinema in Montreal, she makes short films and video installations. Her recent works are focused between documentary and experimental cinema using analogue film techniques and photochemical processes.

Yanyu dong
Catalogue : 2018Ayesha | Fiction expérimentale | 4k | couleur | 19:43 | Chine | Inde | 2018
Yanyu dong
Ayesha
Fiction expérimentale | 4k | couleur | 19:43 | Chine | Inde | 2018

An imaginary biography of my mother who, in her youth, dreamed of being a Bollywood dancer. In a lush fantasy through the heart of India, I reclaim her destiny and desires lost in another age.

Yanyu Dong is a Chinese visual artist currently based in Los Angeles. She uses video, photography, and performance as platforms to examine her cultural dissonance as an international artist. She received her BFA at the Tianjin Academy of Fine Arts and her MFA at the California Institute of the Arts. Her work has been exhibited at venues internationally.

Deirdre donoghue
Catalogue : 2013What Belongs To The Sky? | Doc. expérimental | hdv | couleur | 14:7 | Finlande | 2012
Deirdre donoghue
What Belongs To The Sky?
Doc. expérimental | hdv | couleur | 14:7 | Finlande | 2012

What Belongs To The Sky? investigates social aspects between language and communication in a situation where the ability to speak is broken down. Together with my video and audio recording equipment, I inserted myself in the everyday life of an elderly couple living on an isolated, bi-lingual island of Utö in the middle of the Baltic Sea. The man has Bingswangers disease, a type of dementia, and as a result suffers of aphasia. Previously a bi-lingual, charismatic and an eloquent public speaker, his speech has in the last few years been reduced to a very basic level, consisting of simple sentences, isolated words, and supporting bodily gestures. More often than not, he is unable to finish his sentences and give form to his thoughts through words. His inability to partake in the social through language and speaking is heightened by his poor sight and hearing. However, it is specifically his loss of language and its creative power to construct, order and mediate that has placed him in a social abyss with diminished means to navigate in the social and so to have proper agency as a human being.

Deirdre M. Donoghue (b. 1971, Finland) lives and works in Rotterdam, The Netherlands. She is a performance and visual artist, writer and researcher with a background in theatre, directing, photography and fine arts. She received a BA in Photography at the Dublin Institute of Technology, Ireland, and a MA in Fine Arts at the Piet Zwart Institute, the Netherlands, and The Plymouth University, United Kingdom. She is a co-founder of ADA, Area for Debate and Art, (NL), where she has been co-curating and developing its public program since 2008 and curated the project The Open Office for Words (2008-2010). She has co-edited the publications Resonant Bodies, Voices, Memories, (Willem de Kooning Academy, Rotterdam University, 2009) and Pick Up This Book (ADA Rotterdam, 2013), and has contributed to the publications P.A.I.R: Chorografie (PeerGrouP, 2010) and Our House in The Middle of The Street (ed. Bekan, Kromhout, Kunsthuis SYB, 2010.) She is currently running a long term research project entitled (m)other voices, the maternal as an attitude, maternal thinking and the production of time and knowledge in collaboration with Witte de With Centre for Contemporary Art, (NL).

Wojtek doroszuk
Catalogue : 2015Prince | Doc. expérimental | hdv | couleur | 18:50 | Pologne | Congo (Brazzaville) | 2014
Wojtek doroszuk
Prince
Doc. expérimental | hdv | couleur | 18:50 | Pologne | Congo (Brazzaville) | 2014

A man performs the same ritual every day: he cleans his shoes, dresses up in his shiny blue suit, wears his white gloves and grey hat, and spends his time walking around Brazzaville. His presence generates an absurd apparition in the urban chaos of the city, which reflects the imaginary produced by one of the up-most icons of pop culture.

Wojtek Doroszuk (b. 1980 in Poland) is a video artist based in Krakow, Poland and Rouen, France. He graduated from the Academy of Fine Arts in Kraków, Poland, Faculty of Painting, in 2006. His works have been shown in numerous solo and group shows in, among others, Centre for Contemporary Art Ujazdowski Castle (Warsaw), Zachęta National Gallery of Art (Warsaw), Museum of Modern Art (Warsaw), Location One (New York), Marina Abramovic Institute (San Francisco), The Stenersen Museum (Oslo), Joseph Tang Gallery (Paris) etc.

Barbara doser
Catalogue : 2005Even odd even | Art vidéo | dv | noir et blanc | 7:30 | Autriche | 2004
Barbara doser
Even odd even
Art vidéo | dv | noir et blanc | 7:30 | Autriche | 2004

"even odd even" est une interprétation artistique du temps et de l'espace d'une vidéo qui délivre une vue intérieure d'un monde fascinant de complexité spaciale et d'un comportement dynamique. "La vision est dessinée de manière hautement suggestive par des motifs de lignes en noir et blanc. Par le mouvement rhytmiques de ces codes barre, pénétré par un épais tapis de son, la vision se transforme en même temps d'une pièce de puzzle à une dimension spatiale...". (Gunnar Landsgesell) Cela concerne le centre d'une vidéo dont les images défilent très vite. Pour être capable non seulement d'expérimenter les informations mais aussi le contenu et les liens, la vidéo est décomposée en ses parties essentielles- l'alternance de scènes faisant chacune 1/50second. Chacune séparée les unes des autres, différentes séquences sont créées pour faire un lien avec la vidéo d'origine. L'apparence cachée devient visible dans un processus d'expérience esthétique.


Né à Innsbruck, Autriche. Vit et travaille à Vienne. A étudié à l'Université d'Innsbruck, doctorat en 1989. Depuis 1994, artiste free lance. Domaine artistique: vidéo, vidéo expérimentale, intallations vidéo/média, gravure et peinture. A exposé en Autriche et ailleurs, vidéos présentées dans plus de 30 pays, à des festivals internationaux de film. Collaboration à des projets d'art média internationaux.

Peter downsbrough
Catalogue : 2007AS] IN | Art vidéo | dv | couleur | 3:35 | USA | Belgique | 2007
Peter downsbrough
AS] IN
Art vidéo | dv | couleur | 3:35 | USA | Belgique | 2007

Des bureaux vides dans la zone de Zaventem, près de l'aéroport de Bruxelles. Aucune présence humaine, excepté les voitures passent ou les bureaux voisins que l'on aperçoit par la fenêtre. Avec de fluides mouvements de caméra, des travellings et des panoramiques, Downsbrough scrute l'environnement et explore les relations potentielles qui peuvent en émerger : intérieur et extérieur, vide et inhabité, horizontal et vertical, surfaces sombres et surfaces claires. La géométrie de l'espace, renforcée par le recours à des images en noir et blanc, détermine également celle de l'écran. Dans l'?uvre de Downsbrough, la façon de considérer l'espace, de même que l'espace, est profondément politique. Ses vidéos mettent l'accent sur les limites, l'ordre et les règles que le système social nous impose et s'intéressent à nos modes d'appropriation de l'espace, nous rappelant que tout "placement" est en même temps une "mise en ordre".


Peter Downsbrough est né en 1940 aux Etats-Unis. Son oeuvre - sculpure, graphisme, photographie, vidéo, film, livre - est née d'un intérêt pour l'architecture et explore la relation complexe entre architecture, langage et typographie pour ne garder que l'essentiel. La forme est réduite à des lignes, les couleurs sont presque inexistantes. Dans ses vidéos, le mouvement et le langage sont envisagés dans leur rapport au temps et à l'espace : tous deux représentent et déconstruisent l'architecture moderne urbaine et industrielle. Il se produit en parallèle un détournement linguistique : en insérant et en interposant des blocs de mots comme AND, AS ou IN, Downsbrough fait de sa vidéo une sorte de "phrase" qui fonctionne également comme un "lieu" pouvant accueillir le spectateur. Les oeuvres de Peter Downsbrough ont notamment été présentées au Reina Sofia (Madrid), au SMAK (Ghent), au Paleis voor Schone Kunsten/Palais des Beaux-Arts (Bruxelles) et au Musée Sztuki (Lodz).

Catalogue : 2013AS ... | | hdv | noir et blanc | 1:46 | USA | Belgique | 2013
Peter downsbrough
AS ...
| hdv | noir et blanc | 1:46 | USA | Belgique | 2013

Catalogue : 2012IN [ TO | Vidéo | hdv | noir et blanc | 2:47 | USA | Belgique | 2012
Peter downsbrough
IN [ TO
Vidéo | hdv | noir et blanc | 2:47 | USA | Belgique | 2012

The silent, ultra-short black-and-white video IN [ TO is shorter than a video clip: it clocks in at 2 minutes, 47 seconds. It was made with material shot exclusively for the film, plus footage filmed `on the occasion`, while Downsbrough was working on other projects. One sees images from (South) Chicago, Brussels and Kent respectively, but since everything is filmed at night, only viewers who are familiar with the location will easily identify the spots. Here, the purpose is not to be specific about a site, to identify a place, or to document a certain location. Rather, Downsbrough gives an overall feeling of some quasi-archetypical `city at night`. The city is shot both as cityscape, from a distance, e.g. from outside the window of a Brussels apartment private building, or from nearer-by: a zoom-in from inside of the same building. IN [ TO contains many elements that define former Downsbrough films, both content-wise ? urbanism, cars, freeways and ring roads ? and formally: clean, `structural` framing, abstraction, the use of graphically inserted words. Here, as before, a phrase or a word game, almost hidden, can be discerned ? it might or might not be a key to the film. First, there?s the title of course, IN [ TO. Only at the very end, when the image is fading, the word TIME lights up, shortly. It seems like an indication of what time does: fading out light. Into time, the light fades out. A stream of cars passes by, only their head lights are visible. Everything else is dark, except for the horizon, with the outlines of distant buildings and hundreds of lights flickering: lit windows, neon publicity, street lights. At the film`s very end, a point of view shot from inside a car shows a road at night: Kent ? but it might be any city, or in between cities. To the left, trees; to the right, light posts; in front, the beam of the headlights, some other cars` rear lights. Then the image fades. TIME. The image`s gone. IN ] TO, with reversed bracket. Credits. - Steven Tallon -

Peter Downsbrough (1940, New Brunswick, N.J.; lives in Brussels) initially studied architecture but decided early on to work as a sculptor. Taking photographs of his trademark Two Pipes lead to taking photographs of ?cuts? that already existed in the urban landscape. Initially used in his books, they were shown in exhibitions from 1980 on. After having realized a few videos around 1978, Downsbrough took up filming again when he got a digital camera in 2002. In 1980, on the Spectacolor Board on Times Square, New York, he realized a 30-second spot shown once every hour for four days, and documented it in a short film, ?7 come 11.? His ongoing research of time, space and structure is further articulated through lines and letters in maquettes, wall and room pieces, and public commissions. Exhibitions include POSITION, 2003, curated by M.-T. Champesme, Palais des Beaux-Arts, Brussels (B), Espace de l?Art Concret, Mouans-Sartoux (F) and Muzeum Sztuki, Lodz (PL); Mamco, Genève (CH); FRAC Bourgogne, Dijon (F); SMAK, Ghent (B) and PETER DOWNSBROUGH: THE BOOK(S), curated by M. Küng, deSingel, Antwerp (B) which will have a second venue at Fabra i Coats, Barcelona (E) in the beginning of 2013.

Catalogue : 2011ET- [ | | hdv | couleur et n&b | 9:11 | USA | Belgique | 2009
Peter downsbrough
ET- [
| hdv | couleur et n&b | 9:11 | USA | Belgique | 2009

ET[- opens with a silent black-and-white close-up of a vertical rod shuttling back and forth across a mechanical loom. The short sequence could be mistaken for footage from an early 20th-century propaganda film. Cut sharply to the next scene, also in black and white and taken from a fixed position but unmistakably contemporary. Reflected in a polished, slightly distorting surface, cars are seen entering a gated parking lot. That image is overlaid on the lower left by the film's title, printed in black, and is accompanied by a burst of ambient sound: the dull rumble of traffic. Cut abruptly to a silent close-up in color -- a kind of industrial interior still-life-- then cut again to black and white: a steel door opens vertically onto a cavernous corridor where mini-forklifts scurry about. The rest of the film, which zig-zags between exterior and interior views, is in black and white. Two more jarring spurts of ambient sound are heard and a second word, LA, appears, in white and preceded by a closed bracket, just before the final fade-out and credits. The reflected scene over which ]LA is superimposed is much like the one seen in the film's title image. ET[- has all the characteristics of a signature piece by Peter Downsbrough. The mostly silent, almost entirely black-and-white film is a visual exploration of constructed form, in this case, a modern factory building, a sprawling reflective box situated next to a busy road in a semi-rural setting. The blind facade of pleated, polished stainless-steel mirrors the constant flux of its surroundings and seems to dissolve into them. Inside is a different story: a universe of crisp, hard-edged geometries, gleaming surfaces and clinical precision. Giant spools, looms and bolts of material are stacked, aligned and otherwise arranged in perfect order. Fully automated machines revolve, throb, swivel and tick, each in its own rhythm and speed in the film's eerie silence. Eerie too is the absence of humans. Except for the two forklift operators, whose tiny vehicles occasionally career by like wind-up toys in a madcap adventure, there isn't a soul in sight. The camera surveys the factory's outside features and inner workings with slow pans, and it fixes on details with a steady gaze, shifting its focus constantly from interior to exterior, and its pacing from smooth, stately pans to rapidly cut fixed shots -- a visual interweaving that mimics the manufacturing processes taking place in the factory itself. If the final product is shown wrapped up and ready to go, we don't necessarily recognize it as such. However, we do witness its departure in trailer trucks as they pull out from the factory's loading docks, bound for the highway. That part of the drama, too, is seen reflected in the building's skin. - Sarah McFadden -

Catalogue : 2010I, Y, AND | | dv | couleur et n&b | 6:30 | USA | Espagne | 2010
Peter downsbrough
I, Y, AND
| dv | couleur et n&b | 6:30 | USA | Espagne | 2010

Peter Downsbrough (1940, New Brunswick, N.J.) studied architecture and art. Around the mid-1960?s, after several years of work and exploring materials, including cardboard, wood, steel, lead, neon tubing, an evolution took place which resulted, in 1970, in the work with the Two Pipes (outside), Two Dowels (inside) and Two Lines (on paper). At the same time, he also started taking photographs to document these pieces. By taking photographs from different angles and distances, he gradually started taking photographs of ?cuts? that already existed in the urban landscape. Some of these photographs were used in books, some appeared in magazines, but it wasn?t until 1980 that they showed up in exhibitions. From 1977 on, Downsbrough realized several videos as well as audiotapes. A record was made in 1978 and released in 1982. Looking to expand the vocabulary, he developed a series of works using dice. In 1980, on the Spectacolor Board on Times Square, New York, he realized a piece, a 30 second spot shown once every hour for four days, and documented it in a short film, ?7 come 11?. Around 1980, he also started using regular postcards, initially by applying two lines, later to be followed by the use of words. The work with maquettes as a means of exploring space and structure started around 1983. The first commissioned public work was a wall piece realized in Rennes, France, 1990. The film ?Occupied? was produced in 2000, ten years after it was conceived. Since then, several films, shot with a digital camera, have been published as dvd?s. Today, all these disciplines occupy the field of his activities. An overview exhibition, curated by Marie-Thérèse Champesme, opened on June 24, 2003, at the Paleis van Schone Kunsten, Brussels. It was accompanied by an extensive catalogue and traveled to two other venues.

Catalogue : 2009A]PART | Vidéo | dv | noir et blanc | 11:50 | USA | Belgique | 2009
Peter downsbrough
A]PART
Vidéo | dv | noir et blanc | 11:50 | USA | Belgique | 2009

A]PART is the first publication in the brand new CKA _ EDITIONS series, run by Christian Kieckens. It constitutes the third collaboration between Brussels-based American artist Peter Downsbrough and Brussels architect Christian Kieckens. Sharing the same sensibilty for both industrial architectural heritage and public space in general, former joint-ventures involved the industrial `Amylum` site in the centre of Aalst (culminating in the 1996 exhibition and photo/text publication Densities) and Brussels? city centre, where Kieckens took on the technical and logistical side of the public commissioned work AND /MAAR, OP AND /POUR, ET (2000-03). Downsbrough?s passion for industrial architecture takes many forms. More often than not, ?preservation? means survival in the form of a film or photo series. His films and photos always capture an industrial or (sub)urban reality that will sooner or later vanish or be subject to redevelopment ? be it late Seventies Manhattan or the industrial zones around Kent, UK. For now, and for the foreseeable future, this seems not to be the fate of Citroën`s impressive, prototypical modernist interbellum garage at Place d?Yser in Brussels ? the subject of Downsbrough`s latest film. The building, once threatened with demolition, will hopefully be there for some time to come, and Downsbrough pays homage to the building and its architects, Belgians Alexis Dumont and Marcel Van Goethem, who cooperated with French architect Maurice Ravazé. By publishing this work, architect Kieckens pays tribute to them as well. The black-and-white film underscores the building`s basic logic and rhythm. The garage consists of two parts, garage and showroom, and Peter Downsbrough films both in a playful yet formally precise way. This includes trade-mark Downsbrough idiosyncrasies, like suddenly letting in short diegetic environmental sounds, or superimposing words, e.g. IN TIME, at the beginning of the film. Typical `car movements` are alternated with proper cinematic movements like pannings; sometimes, an image freezes, and film becomes film still, photo. Shot from the passenger seat of a car driving down the distended corkscrew ramp, the film shows the garage?s interior and views through its windows onto the urban setting below. Downsbrough In a way, the building is filmically taken apart by Downsbrough: from top to bottom (including close-ups of the stained garage floor) it is visually analysed and scrutinised. Yet the physicality of the building also imposes its framing rules on the film; `rules` the artist evidently plays with ? as before. Towards the end of the film, we witness a gay, somewhat absurd dance of cars at the roundabout in front of the building, a picture reminiscent of the famous last scene of Jacques Tati`s fillm Trafic. Still, A]PART ? elegant, heedful and spare ? has a darker side too: it is both ode and elegy. A part. In time. Apart in time. In paying attention to all the minute details of the space and its immediate surroundings, the work symbolically preserves the Citroën building-as-film. However, it also shows how space itself (every space, not just a filmed one) is formed as well by an `attention`. Created by circumstances of history, society and perception, it will in the end always be subjected to the workings of time. (Steven Tallon)

Peter Downsbrough (1940, New Brunswick, N.J.) studied architecture and art. Around the mid-1960?s, after several years of work and exploring materials, including cardboard, wood, steel, lead, neon tubing, an evolution took place which resulted, in 1970, in the work with the Two Pipes (outside), Two Dowels (inside) and Two Lines (on paper). At the same time, he also started taking photographs to document these pieces. By taking photographs from different angles and distances, he gradually started taking photographs of ?cuts? that already existed in the urban landscape. Some of these photographs were used in books, some appeared in magazines, but it wasn?t until 1980 that they showed up in exhibitions. From 1977 on, Downsbrough realized several videos as well as audiotapes. A record was made in 1978 and released in 1982. Looking to expand the vocabulary, he developed a series of works using dice. In 1980, on the Spectacolor Board on Times Square, New York, he realized a piece, a 30 second spot shown once every hour for four days, and documented it in a short film, ?7 come 11?. Around 1980, he also started using regular postcards, initially by applying two lines, later to be followed by the use of words. The work with maquettes as a means of exploring space and structure started around 1983. The first commissioned public work was a wall piece realized in Rennes, France, 1990. The film ?Occupied? was produced in 2000, ten years after it was conceived. Since then, several films, shot with a digital camera, have been published as dvd?s. Today, all these disciplines occupy the field of his activities. An overview exhibition, curated by Marie-Thérèse Champesme, opened on June 24, 2003, at the Paleis van Schone Kunsten, Brussels. It was accompanied by an extensive catalogue and traveled to two other venues.

Catalogue : 2008And [ Back | Vidéo | dv | noir et blanc | 4:37 | USA | Belgique | 2006
Peter downsbrough
And [ Back
Vidéo | dv | noir et blanc | 4:37 | USA | Belgique | 2006

« And  Back » « joue » un « jeu » complexe avec les mots « and » (« et ») et « back » (« arrière »), dans lequel le mot « back » fonctionne parfois comme indicateur, parfois comme déclencheur, parfois comme commentaire sur ce qui se passe à l'écran. Il s?agit en particulier de mouvements gauche/droite et droite/gauche (« back » signifie également « à reculons » ) de choses représentées ? en majorité des véhicules ? mais ceux des interventions cinématographiques ont aussi leur importance. Ce mouvement de « back » est parfois répété dans la typographie ; enfin, il pénètre et, en un sens, organise le film dans son intégralité : comme une « histoire » qui se déroule, comme une « structure » avec ses symétries et ses qualités morphologiques.


eter Downsbrough est né en 1940 aux Etats-Unis. Son oeuvre - sculpure, graphisme, photographie, vidéo, film, livre - est née d'un intérêt pour l'architecture et explore la relation complexe entre architecture, langage et typographie pour ne garder que l'essentiel. La forme est réduite à des lignes, les couleurs sont presque inexistantes. Dans ses vidéos, le mouvement et le langage sont envisagés dans leur rapport au temps et à l'espace : tous deux représentent et déconstruisent l'architecture moderne urbaine et industrielle. Il se produit en parallèle un détournement linguistique : en insérant et en interposant des blocs de mots comme AND, AS ou IN, Downsbrough fait de sa vidéo une sorte de "phrase" qui fonctionne également comme un "lieu" pouvant accueillir le spectateur. Les oeuvres de Peter Downsbrough ont notamment été présentées au Reina Sofia (Madrid), au SMAK (Ghent), au Paleis voor Schone Kunsten/Palais des Beaux-Arts (Bruxelles) et au Musée Sztuki (Lodz).

Catalogue : 2007And Here | Vidéo expérimentale | dv | couleur | 24:0 | USA | Belgique | 2007
Peter downsbrough
And Here
Vidéo expérimentale | dv | couleur | 24:0 | USA | Belgique | 2007

"] AND HERE" est un projet vidéo filmé dans l'environnement urbain et industriel du North Kent. Il se compose d'images de centres villes, de la plate forme de transport de containers de l'île de Grain, des caravanes de l'île de Sheppey, etc. Ce projet est une commande de la Faversham Society en réponse aux changements rapides entraînés par le Thames Gateway North Kent Development, un programme de rénovation s'étendant Dartford à Teynham dans le Sud de la région. Contrairement aux précédents films de Downsbrough, l'espace est ici clairement identifié : les endroits visités par l'artiste peuvent théoriquement être reportés sur une carte. Cette oeuvre souligne avant tout un aspect du travail de Downsbrough (que l'on retrouve également dans d'autres films) qui consiste à offrir un témoignage matériel de l'histoire et de lieux qui sont en train de disparaître. Une autre différence vient du fait que ce film est en noir et blanc et en couleur : les spectateurs concentrés pourront à certains moments distinguer deux secondes en couleur ! Il s'agit de son plus long film (24 min.) depuis "The Other Side" en 1979. Dans les oeuvres de Downsbrough, le spectateur est en général confronté à un même type de "mondes". Comme auparavant, ce film est fait d'espace ? un espace représenté concrètement et mentalement ? de typographie et de blocs de mots : le titre "]AND HERE" ou des mots comme AS, qui découlent des précédents films de Downsbrough. Le film alterne plans fixes, travelling et images tournées depuis l'intérieur d'une voiture, auxquelles on peut facilement rattacher des scènes de "AND[BACK " tournées depuis une voiture et inversement. Ici, Downsbrough ne filme pas que des sites industriels mais aussi des villes et des villages du Kent. Avec leurs bâtiments en briques typiques et leurs pubs, ces lieux et ces habitations ? contrairement à la force de déplacement formellement et géo-économiquement uniformisante de l'espace industriel ? sont identifiables comme appartenant au Sud-Est de l'Angleterre et, plus particulièrement, au Kent. Mais la principale différence par rapport à ses précédents projets, qui pourrait être annonciatrice d'une nouvelle tendance chez Downsbrough, réside non pas dans l'utilisation de texte et d'images (ou d'images textuelles) mais dans celle du son. Pour "] AND HERE", Downsbrough utilise une musique spécialement commandée pour l'occasion et jouée par Xavier Garcia Bardon et Benjamin Franklin, deux membres du groupe bruxellois Buffle. Downsbrough avait déjà utilisé la musique dans ses premières vidéos avec des groupes comme The Spinners ou Talking Heads mais ici, outre le fait de créer un certain atmosphère, la musique joue le rôle d'un élément structurel et structurant. Tout comme les images, la musique est souvent interrompue soudainement ? le morceau le plus long ne dure qu'une minute. Comme dans la plupart des cinémas narratifs, il y là aussi une confrontation et un dialogue entre le son/la musique et l'image/la typographie. La musique, similaire aux images structuralistes du cinéma de Downsbrough, se situe entre shoegaze, post-rock et improvisation et insiste fortement sur la texture, notamment à travers des effets obtenus avec la pédale de la guitare et l'utilisation du traitement numérique. On note également un côté industriel dans cette musique qui reflète et renforce les paysages industriels filmés par Downsbrough.


Peter Downsbrough est né en 1940 aux Etats-Unis. Son oeuvre - sculpures, graphismes, photographies, vidéos, films, livres - est née d'un intérêt pour l'architecture et explore la relation complexe entre architecture, langage et typographie pour ne garder que l'essentiel. La forme est réduite à des lignes, les couleurs sont presque inexistantes. Dans ses vidéos, le mouvement et le langage sont envisagées dans leur rapport au temps et à l'espace : tous deux représentent et déconstruisent l'architecture moderne urbaine et industrielle. Il se produit en parallèle un détournement linguistique : in insérant et en interposant des blocs de mots comme AND, AS ou IN, Downsbrough fait de sa vidéo une sorte de "phrase" qui fonctionne également comme un "lieu" pouvant accueillir le spectateur. Les oeuvres de Peter Downsbrough ont notamment été présentées au Reina Sofia (Madrid), au SMAK (Ghent), au Paleis voor Schone Kunsten/Palais des Beaux-Arts (Bruxelles) et au Musée Sztuki (Lodz).

Catalogue : 2018AND TO | Vidéo | hdv | noir et blanc | 3:1 | USA | Belgique | 2018
Peter downsbrough
AND TO
Vidéo | hdv | noir et blanc | 3:1 | USA | Belgique | 2018

We don`t know where we are. We`re in a car, looking at other cars, roads, structures, tunnels – wasteland. Position? The Global Positioning System informs us, with its horde of satellites, orbiting Earth. Guiding us with its synthesised voice, transporting us, `translating` us. Telling us what to do. `After 250 meters, keep to the right on the Brudermühlstraße, then keep to the left.` (And so on, and so forth.)

Brussels-based Peter Downsbrough (born New Jersey, USA, 1940) has developed a highly distinctive, strongly cohesive body of work that includes sculpture, drawings, photographs, films, videos, books, wall pieces and room pieces, architectural maquettes, and sculptural interventions in public space. Frequently heightening his famously sparse visual vocabulary with an equally sparse linguistic component—often just a single word—Downsbrough calls attention to a vast landscape of structures both physical and social, cultural and political—that shape modern life.

Peter downsbrough
Catalogue : 2016THE [ AS | Vidéo | hdv | noir et blanc | 10:12 | USA | Belgique | 2016
Peter downsbrough
THE [ AS
Vidéo | hdv | noir et blanc | 10:12 | USA | Belgique | 2016


Peter Downsbrough (1940, New Brunswick, N.J.) fait des études d’achitecture et d’art. Au milieu des années 1960, après quelques années de travail et d’exploration de divers matériaux, notamment le carton, le bois, l’acier, le plomb et les tubes de néon, sa pratique a évolué et trouve une forme différente, en 1970, dans les oeuvres "Two Pipes" (outside), "Two Dowels" (inside) et "Two Lines" (on paper).A la même époque, il commence à prendre des photographies de ses pièces. En prenant en photo sous différents angles et avec différentes distances, il commence graduellement à se concentrer sur les "coupes" existantes du paysage urbain. Certaines de ses photographies ont été publiées dans des livres, d’autres apparaissent dans des magazines, mais elles n’ont pas été exposées avant 1980. A partir de 1977, Downsbrough réalise plusieurs vidéos et des cassettes audio. Il a fait un disque en 1978 qui est sorti en 1982. Cherchant à étendre son vocabulaire pictural, il développe une série d’oeuvres avec des dés. En 1980, sur le Spectacolor Board de Time Square à New York, il réalise une pièce, un spot de 30 secondes s’allumant une fois l’heure pendant quatre jours, une performance qu’il documente dans un court-métrage « 7 come 11 ». Autour de 1980, il commence également à utiliser des cartes postales, en y dessinant deux lignes, suivi ensuite par l’utilisation de mots. Le travail avec des maquettes comme un moyen d’explorer l’espace et la structure commence vers 1983. Downsbrough a réalisé sa première commande publique à Rennes (France) en 1983 pour un espace mural. Le film "Occupied" a été produit en 2000, dis ans après qu’il a été conçu. Depuis, plusieurs films, tournés avec une caméra numérique, ont été édités en DVD. Aujourd’hui toutes ces disciplines font partie de son champ d’activité. L’intérêt de Downsbrough pour l’architecture industrielle prend beaucoup de forme. Plus souvent, la "préservation" signifie la survie formelle d’un film ou d’une série photo. Ses films et ses photos capturent toujours une réalité industrielle ou (sub)urbaine qui disparaîtra un jour où l’autre ou sera sujet à des réaménagements ‘ comme c’est le cas dans le Manhattan de la fin des années 1970 ou dans les zones industrielles de Kent, en Angleterre.

Philipp dÖring
Catalogue : 2006Kalypso | Fiction | dv | couleur | 15:20 | Allemagne | 2006
Philipp dÖring
Kalypso
Fiction | dv | couleur | 15:20 | Allemagne | 2006

un court-métrage sur le thème de la séparation.


Philipp Döring est né le 28 Novembre 1977 à Freibourg, Allemagne. Après un baccalauréat à Bamberg il effectua un an de service civil à Hambourg, puis fit des études germaniques, slaves et de science cognitive à l´Université de Freibourg. Depuis 2004 il étudie la réalisation cinématographique à la Filmakademie Baden-Württemberg à Ludwigsburg, Allemagne.

Catalogue : 2007Deutschland im Sommer | Fiction | 16mm | couleur | 13:20 | Allemagne | 2006
Philipp dÖring
Deutschland im Sommer
Fiction | 16mm | couleur | 13:20 | Allemagne | 2006

Germany, in the summer 2006: a woman is roaming around, torn between images of her past in the Red Army Faction and the flood of pictures of the world football championship. Her loneliness grows between the huge "public viewing" places and the giant screens, when talking to officials, and finally standig in front of the grave of Baader, Ensslin and Raspe. By associative montage the film tries to portray from ?behind the mirror? what Germany looked like in the Summer 2006.

Philipp Doering was born November 28th, 1977, in Freiburg, Germany. After high school one year of civil services in Hamburg. He studied German, Slavistics and Cognitive Science at the University of Freiburg, Germany. Since 2004 he studies film directing at the Film Academy Baden-Wuerttemberg in Ludwigsburg, Germany.

Robert Aliaj dragot
Catalogue : 2007Spring & Stalin | Doc. expérimental | dv | couleur | 8:30 | Albanie | 2006
Robert Aliaj dragot
Spring & Stalin
Doc. expérimental | dv | couleur | 8:30 | Albanie | 2006

"Spring & Stalin" is based on 27,000 stills photographed from the archives of the National Television in Tirana. The movie is accompanied by a poem from the writer, Ismail Kadare, which was published in "The teacher and the Art", 1953, p. 49- 53. It is a reflection on the mentality and nature of the transition period in the artist's home country. Kadare's poem is intentionally recited by an anonymous fictional voice that has no clue about poetry, not even about language, and it reads in a mechanical and computer-like manner, with a low rhythm and almost sleepy voice, which later on generates a chaotic tension to an growing stressed babbling. All this pandemonium unfolds the idea of false propaganda and governmental elite hypocrisy that in fact displays doubt in these images, which are not believed and understood even from those who see them. Here, the goal is not to stigmatize Kadare's work, but the veiling of that happy and idyllic in disguise reality, after which was hidden the drama of the persecuted people, unable to have the freedom of speech and the freedom of individuality; a people who tried to survive in a oppressed and isolated society.

Robert Aliaj Dragot, not only began as a painter, but his painting was also the point of departure for all the other activities he has manifested. At the end of 90's, after a long career as a pop star singer, he nearly stopped music altogether to go back to his first career as an art painter. Now many years later in Brussels, he is focused especially on a multimedia research, experimenting with photography, moving images, animations, sounds, and painting without losing the picturesque quality. His attention is divided between a critical curiosity of the artistic scene in Europe and a renewed interest for the shockingly fast therapeutic change that the Albanian state underwent.

Fabian driehorst, frédéric schuld
Catalogue : 2013Hohenpeissenberg | Installation vidéo | 35mm | couleur | 0:0 | Allemagne | 2011
Fabian driehorst , frédéric schuld
Hohenpeissenberg
Installation vidéo | 35mm | couleur | 0:0 | Allemagne | 2011

A car is burning in front of the Alps and swallows it`s smoke. Two screens, one scene: one backwards, one forward. The impact on the ground of the car falling from the sky and flying back to it is the point of synchronization of both film- channels. The car is disappearing and exploding loop after loop. The sound channels of both projections forward and backwards access into each other creates a collage of sound.

SHORT BIO Fabian & Fred: Fabian Driehorst & Frédéric Schuld studied together at Academy of Media Arts, Cologne (KHM) till October 2011. Hohenpeissenberg is one of a couple of works they created together in and alongside their studies at Academy of Media Arts. Frédéric worked as a designer for multimedia and Fabian worked as cameraman, editor and director of film productions. They work together as creative duo called Fabian&Fred. Fabian Driehorst (born 17.02.1982, Gifhorn) 2004-2011 freelance cameraman, director, editor 2006-2011 studied Film and Art at the Academy of Media Arts (KHM), Cologne 2011 founded creative atelier Fabian&Fred 2012-2013 scholarship of AV-Gruenderzentrum for Fabian&Fred 2011 till now Director, Author, Producer of art- and film projects. Frédéric Schuld (born 20.06.1985, Dusseldorf) 2004-2011 freelance designer for multimedia and film 2006-2011 studied Film and Art at the Academy of Media Arts (KHM), Cologne 2011 founded creative atelier Fabian&Fred 2012-2013 scholarship of AV-Gruenderzentrum for Fabian&Fred 2011 till now creative director of art- and film projects.

driessens & verstappen
Catalogue : 2017Deep Dive | Création numérique | 0 | couleur | 7:35 | Pays-Bas | 2016
driessens & verstappen
Deep Dive
Création numérique | 0 | couleur | 7:35 | Pays-Bas | 2016

Deep Dive offers an endless zoom into a picture, revealing an infinitely detailed imaginary world that emerges from the original image. While zooming, the image is constantly being refined in real-time, and the viewer can steer this process by tracking points of interest with the cursor. Each new `dive` starts with a randomly downloaded picture from the online WikiMedia archive.

The artists couple Driessens & Verstappen have worked together since 1990. They attempt an art in which spontaneous phenomena are created systematically. Art that is not entirely determined by the subjective choices of a human being, but instead is generated by autonomously operating processes. In addition to working with natural processes, the couple develops computer programs for artificial growth and evolution. An important source of inspiration are the self-organising processes in nature which continuously create original forms. Works of Driessens & Verstappen are in collections a.o. Centre Pompidou Paris, Stedelijk Museum Amsterdam, Museum Boijmans van Beuningen Rotterdam. They exhibited at museums and galleries a.o. Kröller-Müller Museum Otterlo, IVAM Institute Valencia, Neue Pinakothek München, Eyebeam New York, Young Projects Los Angeles. The artists couple gave presentations at conferences such as Siggraph Los Angeles, Second Iteration Melbourne. In 1999 and 2001 they have won the VIDA award with their Tickle robot projects in an international competition for Art & Artificial Life. In 2013 the couple received the Witteveen+Bos Art+Technology Award for their entire oeuvre. Driessens & Verstappen are represented by DAM gallery Berlin.

George drivas
Catalogue : 2017Laboratory of Dilemmas | Vidéo | 4k | couleur | 10:38 | Grèce | 2017
George drivas
Laboratory of Dilemmas
Vidéo | 4k | couleur | 10:38 | Grèce | 2017

Laboratory of Dilemmas is a narrative video installation based on Aeschylus’ theatre play Iketides (Suppliant Women), which poses a dilemma between saving the Foreigner and maintaining the safety of the Native. Addressing current global sociopolitical issues, the work deals with the anguish, puzzlement, and confusion of individuals and social groups when called upon to address similar dilemmas. Aeschylus’ Iketides (Suppliant Women) is the first literary text in history that raises the issue of a persecuted group of people seeking for asylum. The Suppliants have left Egypt to avoid having to marry their first cousins and arrive at Argos seeking asylum from the King of the city. The King is then faced with a dilemma. If he helps the foreign women, he risks causing turmoil among his people and going to war with the Egyptians, who are after the Suppliants. But if he doesn’t help them, he will break the sacred laws of Hospitality and violate the principles of Law and Humanism, leaving the Suppliants to the mercy of their pursuers. Laboratory of Dilemmas focuses on the play’s dilemma through the excerpts of an unfinished documentary in the form of found footage about a scientific experiment. This experiment was never completed for unknown reasons, however the found excerpts of the unfinished documentary reveal today, after so many years, details of the experiment, as well as the hopes of the professor who envisioned it and the disagreements with his co-researchers.

George Drivas a étudié les sciences politiques et l’administration publique à l’Université Kapodistrian d’Athènes, avant de poursuivre sa formation avec un master en film et médias à l’université libre de Berlin. Il réside actuellement à Athènes. L’artiste réalise des vidéos combinant textes, vidéos et photographies. Il fait de la photographie un outil de surveillance, semblant toujours se cacher de ses sujets. A travers les thèmes qu’il aborde - l’aliénation, l’inclusion sociale, la promesse, ou la déception – il cherche à faire émerger les relations interpersonnelles d’une société sous surveillance. Il a été récompensé par de nombreux prix, dont celui du meilleur film expérimental au festival du film grec de Londres (2010), et une mention spéciale au festival de films et vidéos expérimentaux du Musée d’art contemporain de Macédoine (Grèce, 2009). Il a également obtenu un second prix au VIIème Media Art Forum, au XXVIIème festival international du film de Moscou en 2006, ainsi qu’au Zebra International Poetry Film Festival de Berlin (2002). Exposé notamment à « Antidoron – The EMST Collection » à Kassel en Allemagne (2017), son travail a été présenté par de nombreuses institutions, en Grèce (Musée national d’art contemporain d’Athènes en 2013 et 2009, Festival international du film d’Athènes en 2014, Biennale d’art contemporain de Thessalonique en 2013) ; au Festival du nouveau cinéma de Montréal (2015), à la Transmediale (Berlin, 2014) ; au Hong-Gah Museum de Taiwan (2012) ; au festival international Electronic Language FIESP au Cultural Center de Sao Paulo (2012), ou encore au Centre d’Art Contemporain de Seattle (2012).

George drivas
Catalogue : 2011SEQUENCE ERROR | Fiction expérimentale | hdv | couleur | 11:0 | Grèce | 2011
George drivas
SEQUENCE ERROR
Fiction expérimentale | hdv | couleur | 11:0 | Grèce | 2011

?Sequence Error? is inspired by the well known Karl Marx quote, ?History repeats itself first as tragedy and than as farce?, and re-uses parts of two famous speeches of the 20th century delivered by Che Guevara (1963) and George Marshal (1947). In a contemporary corporate environment and on the occasion of a sudden system crisis, two leaders of two different groups (workers vs. executives) deliver some parts of the two aforementioned speeches.

George Drivas is the recipient of numerous awards and distinctions namely, Best Experimental Film Award at London Greek Film Festival, London, UK (2010), Special Mention at the ?Strange Screen?, Experimental Film and Video Festival, Macedonian Museum of Contemporary Art, Thessaloniki, Greece (2009), 2nd Prize at VII Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006), 2nd Prize at the Zebra International Poetry Film Festival, Berlin, Germany (2002) and Jury Award for Experimental Short Film at the New York Expo, NY, NY (2002). George Drivas?s work has been featured as a Solo Show at the National Museum of Contemporary Art, Athens, Greece, (?un-documented?, 2009) and is part of the Athens?s MoCA permanent collection.

Zackary drucker
Catalogue : 2015Southern for Pussy | Fiction | hdv | couleur | 4:40 | USA | 2015
Zackary drucker
Southern for Pussy
Fiction | hdv | couleur | 4:40 | USA | 2015

Over a long weekend, a mother and daughter discuss thinning vaginal walls and humiliate a handsome stranger.

Zackary Drucker is an independent artist, cultural producer, and trans woman who breaks down the way we think about gender, sexuality, and seeing. She has performed and exhibited her work internationally in museums, galleries, and film festivals including the Whitney Biennial 2014, MoMA PS1, Hammer Museum, Art Gallery of Ontario, MCA San Diego, and SF MoMA, among others. Drucker is an Emmy-nominated Producer for the docu-series This Is Me, as well as a Co-Producer on Golden Globe and Emmy-winning Transparent. She is a cast member on the E! docu-series I Am Cait.

Zackary drucker
Catalogue : 2010Lost Lake | Vidéo | dv | couleur | 8:0 | USA | 2010
Zackary drucker
Lost Lake
Vidéo | dv | couleur | 8:0 | USA | 2010

Filmed at the peak of autumn foliage in a rural Midwestern US locale, this non-narrative short film posits beauty and fear as inextricable from the psyche of the American landscape. Contemplative moments and stunning vistas are jarringly punctuated with the vocabularies of witch-hunts, hate crimes and psychological violence.

Zackary Drucker born: Syracuse NY, 1983 lives and works in Los Angeles, CA

Catalogue : 2013At least you know you exist | Film expérimental | 16mm | couleur | 16:0 | USA | 2011
Zackary drucker
At least you know you exist
Film expérimental | 16mm | couleur | 16:0 | USA | 2011

Pranjal dua
Catalogue : 2014CHIDIYA UDH | Fiction | 35mm | couleur | 22:0 | Inde | 2013
Pranjal dua
CHIDIYA UDH
Fiction | 35mm | couleur | 22:0 | Inde | 2013

The giant wheels of the city grind thousands of lives. A young boy from a chicken farm and a maid at a luxury hotel give each other strength to try and escape their dismal reality. Meanwhile, nameless chicken continue to feed the city slaughterhouses. The film is a ballad through urban life and the lost voice of the people.

Pranjal Dua is an Indian filmmaker who studied at the Film & Television Institute of India (FTII). His films stem from an overwhelming sense of wonder at the absurdity of the world around him. Hailing from the capital city of New Delhi, Pranjal has been witness to a dynamic process of transformation – of his country and its people. With his films, he hopes to examine his own identity within the context of contemporary India. He is 30 years of age and currently resides in Mumbai.

Dominique dubosc, david roberts
Catalogue : 2006Croquis palestiniens (1838-2005) | Installation vidéo | dv | couleur | 21:0 | France | 2006
Dominique dubosc , david roberts
Croquis palestiniens (1838-2005)
Installation vidéo | dv | couleur | 21:0 | France | 2006

Installation sur 12 écrans de Dominique Dubosc Dans la Palestine occupée, les chiens aboient comme à la ferme quand rôde le renard, mais le rôdeur ici est venu chercher le fermier et ses grands fils. Et rien ne l?arrêtera. Dans la Palestine occupée, un mur de mille kilomètres sépare la maison du jardin, les oliviers ont été arrachés, la porte de l?enclos à moutons est restée ouverte. Dans la Palestine occupée, le temps même est confisqué. Entre les blocs de béton, entre les dents des tourniquets, devant le soldat qui joue au maître, défile un peuple patient qui ne sait jamais s?il pourra passer, quand il pourra revenir. Derrière les murs et les barbelés, un peuple aujourd?hui est enfermé, comme un autre peuple hier. Mais le soleil déjà balaye le Mur, les nuages passent comme des trains, les enfants jouent à l?ombre du vieux tourniquet, conservé comme un monument.


Cruauté de l?observation, mais tendresse du regard. Des lépreux paraguayens (Manojhara) aux Palestiniens (Palestine Palestine / Réminiscences d?un voyage en Palestine / La Mémoire / La Chambre d?écoute), en passant par les mineurs de Bolivie (Les jours de notre mort), les ouvriers français (L?Affaire LIP), le racisme ordinaire (Jean Rouch - Premier film), l?homosexualité (Duane Michals / L?Homosexuel ou la difficulté de s?exprimer), Dominique Dubosc a surtout filmé les exploités et les humiliés. Mais parce que le documentaire est un double mouvement, vers l?autre et vers soi-même, il a aussi réalisé Le Documentariste ou le Roman d?enfance / La Lettre jamais écrite / Célébrations.