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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  
Simon gerbaud, x
Catalogue : 2015saVer | Vidéo | hdv | couleur | 5:0 | France | Mexique | 2014
Simon gerbaud , x
saVer
Vidéo | hdv | couleur | 5:0 | France | Mexique | 2014

Le projet saVer se compose de 10 vidéos, il se présente sous différentes formes (vidéos, installations interactives, sérigraphies et sculptures) qui sont aussi bien simultanées que discossiées. saVer commence avec la fabrication d`animations courtes dans lesquelles on peut voire des objets disparaître peu à peu (chaussure, ordinateur, chaise, réfrigérateur, crâne animal…). Pour réaliser les séquences animées, une photographie est prise à chaque étape de destruction de l`objet (entre 60 et 900 photographies) qui est découpé ou poncé afin de retirer de la matière. Chaque découpe est un tracé, une façon de dessiner et il en résulte une forme singulière, une invention par laquelle l`objet adopte une silhouette qui était potentiellement en lui: on dit d`ailleurs d`un archéologue qui découvre un site qu`il "l`invente", par la mise au jour d`une figure enfouie. Si ce travail de destruction ne respecte pas un schéma ou un mode d`emploi préétablie, il permet pourtant de voire les traces du mode de conception et de fabrication des objets (coutures, assemblages, solutions techniques et mécaniques, idées et gestes). Le verbe savoir (saVer en espagnol) est le titre de ce projet, verbe double (sa/voir) qui met en lumière le rapport de la connaissance et de la vue.


Simon Gerbaud ( Auxerre, France, 1976) est artiste visuel. 
Après des études théoriques en Arts Appliqués à la Sorbonne, il explore le dessin et l’animation de manière autodidacte en réalisant des courts métrages, des flipbooks et des installations interactives. Il a entre autres participé à des expositions et des festivals au Mexique, en Espagne, en France, en Hollande, en Russie, en Chine et en Iraq. Son court métrage LIBER a reçu plusieurs récompenses: Meilleure animation mexicaine au CutOut Fest (Querretaro, Mexique, 2014) et au festival Animasivo (Mexico DF, 2015); son projet saVer a reçu le Prix de l`oeuvre d`art numérique de l`année de la SCAM (Paris, France, 2015). Il vît et travaille à México depuis 2005.

Alex gerbaulet
Catalogue : 2017Schicht (Shift) | Documentaire | hdv | couleur et n&b | 28:30 | Allemagne | 2015
Alex gerbaulet
Schicht (Shift)
Documentaire | hdv | couleur et n&b | 28:30 | Allemagne | 2015

SCHICHT (SHIFT) unfolds the portrait of the filmmaker's family - brought to life by records from private archives - and embarks on a dizzying trip through the shrinking industrial city of Salzgitter, Germany. A city that is a cyborg with an iron skeleton and a heart beating 1000 metres deep under layers of soil and concrete. Mining, steel factory, model city. Upon the years 33 and 45, the first post-war generation projects itself into the future. Rudolf Gerbaulet completes his apprenticeship at the Reichswerke AG (formerly known as Hermann-Göring-Werk), works in the mine and at the Volkswagen plant. His wife Doris suffers from multiple sclerosis. Her diary is an expression of her slow disappearance. They name their first daughter after a singer: Alexandra. As a rebellious punk the daughter finds her own rhythm. Pulsating, sometimes breathless, the film follows the exposed stories. The filmed locations are attacked with archival material: propaganda, news, photos from family albums. Everything is subjected to the filmmaker's interpretation. A film between analysis and imagination, composed of the punk of the filmmaker's youth, accompanied by the roar of the steel mill and the noise of the highway. Interrupted by the cutting silence of abandoned mines, in which from 2020 nuclear waste will be dumped. Half-life of 24,000 years. 685 generations

Alex Gerbaulet, * 1977, artist, filmmaker and curator, lives and works in Berlin. Between 2000 and 2007 she studied Philosophy, Media Science and Fine Arts in Braunschweig (Germany) and Vienna. In 2008 she was awarded a scholarship from the Hans-Bückler-Foundation, in 2011 she was selected for Berlinale Talent Campus DOK Station, in 2012 she received a scholarship from the Mayor of Berlin (program for women artists) and in 2014 a grant from Art- und Culture-Foundation Stade (Germany). Between 2006 and 2011 she was a member of the Selection Committee of the Documentary Film- and Video-Festival in Kassel (Germany); 2012 and 2013 member of the Selection Committee of the European Media Art Festival (EMAF) in Osnabrück (Germany). From 2007-2011 she was staff member at the University of Arts in Braunschweig, 2012-2014 she tought at the University of Arts in Kassel. Since 2014 she works as a producer with Pong Film GmbH in Berlin. For her artwork the notion of documentarism gives an important impact. She has made several video-art projects among them BY LAND (2002), DATTERODE (2006), TATTOOED PRISONERS (2007) and ALREADY AFTERNOON (2009) in the art context. SCHICHT (SHIFT, 2015) is her first film specially for the cinema space. It was awarded with the prize for the best contribution to the German Competition at the International Short Film Fest Oberhausen, the First Film Award at FID Marseille, the German Film Critics Award 2015, the Award for Best Female Director at the Vienna Independent Shorts Festival 2016, the Jury Award of the German Competition at the International Short Film Festival Hamburg and was awarded 'Best Documentary Film' at the Moscow International EXperimental Film Festival 2016.

Werther germondari
Catalogue : 2005Per versum | Fiction | 35mm | noir et blanc | 2:30 | Italie | 2005
Werther germondari
Per versum
Fiction | 35mm | noir et blanc | 2:30 | Italie | 2005

Un homme essaye de rouler une cigarette.


WERTHER GERMONDARI Né à Rimini (Italie) en 1963. Diplômé en cinéma au Centro Sperimentale di Cinematografia à Rome et en réalisation à l'Université de Bologne ; plasticien et artiste, il a réalisé plusieurs expositions et participe à de nombreuses expositions collectives. Ses oeuvres filmiques et vidéo ont été sélectionnées dans des centaines de festivals (Cannes, Rotterdam, Venise,...) et ont reçu de nombreuses récompenses.

Akos gerstner
Catalogue : 2010Die Liebenden und die Toten | Fiction expérimentale | | couleur | 16:0 | Allemagne | 2009
Akos gerstner
Die Liebenden und die Toten
Fiction expérimentale | | couleur | 16:0 | Allemagne | 2009

Sci-Fi Liebesessay über drei Menschen, die sich in der Utopie Crystal Palace begegnen und ineinander verlieben. Aber wer in Crystal Palace lebt, muß seine Erinnerungen aufgeben, oder die Stadt wieder verlassen. So geht auf dem Weg zur Hoffnung das Glück verloren.

1979 geboren in Budapest 2001/2008 Studium der Soziologie Fernuni Hagen seit 1999 Studium an der HFF München, Abteilung Dokumentarfilm und Fernsehpublizistik

Thomas gerwin
Catalogue : 2006Weit und breit | Création sonore | 0 | | 16:21 | Allemagne | 2006
Thomas gerwin
Weit und breit
Création sonore | 0 | | 16:21 | Allemagne | 2006

weit und breit (2006) Musique concrète pour saxophone alto, accordéon et harpe Cette pièce musicale provient exclusivement de "résidus" non utilisés de différentes musiques pour pièces radiophoniques. Dans les enregistrements pour les différentes productions, il y avait toujours des angles sonores extrêmes où le micro était par exemple adapté au corps d'un instrument, et dans lesquels des microphones de contact ou à tête artificielle pouvaient être utilisés, ou encore des Jacklin ou des microphones de tête originaux. Souvent, des expérimentations qui utilisaient abondamment des méthodes inhabituelles de création sonore ont été menées, sous la direction du compositeur. Ces produits sonores sont, en partie, presque uniquement du bruit, mais comme ils proviennent d'instruments de musique traditionnels, ils ont toujours en eux un "accord intérieur". Même dans des sons très percutants et très courts, ou dans un son presque blanc, il oscille toujours une sorte d'ambiance musicale qui permet, après l'avoir travaillée par ordinateur, d'obtenir une composition presque tonale. Il en résulte une sorte de "composition tonale de bruits". Les sons sont étudiés en 5 mouvements en partant d'une perspective purement musicale, et différentes possibilités de bruit-son harmonisé sont explorées, du son purement instrumental au bruit, en partant aussi des transitions et des transformations. Dans les espaces intermédiaires naissent toujours des petits fragments narratifs.


Thomas Gerwin Compositeur de formation classique et artiste dans le domaine du son. Il est venu très tôt à la musique électroacoustique et travaille en outre depuis 1990 de façon intensive dans le domaine de la composition d'"environnement sonore" et dans l'art radiophonique. Actuellement il compose principalement pour des concerts et des performances dans son studio à Berlin, et crée des installations sonores et vidéo. Il intègre toujours les nouveaux médias, le théâtre, la danse, le cinéma et la sculpture comme moyens d'expression dans son espace artistique. Il a reçu différents prix internationaux et bourses, ses oeuvres font l'objet d'expositions et de présentations dans le monde entier. Gerwin dirige le ?Berliner Lautsprecher-Orchester? et supervise la série de concerts ?KlangWelten? ainsi que les festivals ?klanglaborX? (Berlin) et ?KLAK!? (Kassel)

gethan&myles
Catalogue : 2012L'Arrêt | Doc. expérimental | hdv | noir et blanc | 15:26 | Irlande | France | 2012
gethan&myles
L'Arrêt
Doc. expérimental | hdv | noir et blanc | 15:26 | Irlande | France | 2012

L?arrêt est un documentaire expérimental sur le suspense et le (dés)équilibre, l?indécision et la chorégraphie de la peur. Tourné dans les Calanques à Marseille avec un groupe de jeunes adultes de La Bricarde, une cité d?habitat social des quartiers nords de la ville réputés sensibles, L?arrêt explore l?incertitude à laquelle nous sommes tous confrontés dans ce no-man?s-land que constitue la période entre l?enfance et l?âge adulte. L?arrêt montre cinq jeunes adultes s?élançant du haut de falaises vertigineuses dans la mer méditerranée vingt mètres en dessous d?eux. Mais le spectacle n?est pas le scénario ou le drame de la chute. Ce sont les moments avant qui sont célébrés : ce mélange de bravoure et de gêne, ce passage entre un regard dur et un sourire un peu trop décontracté, ces vagues de tension et de doute et le combat mené pour les dépasser qui unifie leurs corps en un étrange et beau langage de crainte partagé. Au centre social, le responsable du service jeunesse nous a dit : ?A la Bricarde, les jeunes ont du mal à se projeter?? mais ici au moins, lentement, difficilement mais joyeusement, ils le font.


gethan&myles are a creative partnership lving and working in Marseille since 2011. As an artistic double-act, collaboration is at the heart of everything they do: not only with each other, but also with the spaces in which they work and the people who occupy them. Giving a voice to communities who are misunderstood or ignored, and expressing the richness of their experience underpins many of gethan&myles? projects. Whether working in film, photography, text, sculpture or performance, ?the sublime? is of little interest to them - what inspires them is the real world and the human beings they share it with.

Sukanya ghosh
Catalogue : 2015ANOTHER LAND | Vidéo | hdv | couleur et n&b | 3:0 | Inde | 2015
Sukanya ghosh
ANOTHER LAND
Vidéo | hdv | couleur et n&b | 3:0 | Inde | 2015

Another Land is an optical collage of memories, snatches of conversation, verses of a poem, creating a dreamlike journey. This work has been built around found materials like photographs, slides, camera footage, scribbles and drawings. The sum of this memorabilia is collected to evoke an intensely personal trancelike journey, which transports you through various vistas. I have interpreted the material to create almost a mythical space, an imaginary fable, where all that is recognizable assumes another quality altogether. This is my re-imagining of nostalgia and memory and what it means to individuals. Just as we augment and embellish memory with time; so too, this work takes fragments of remembrance and imparts another quality to them. So that, what is remembered changes and recreates new stories, new trajectories in a way that creates a fantasy - a mythopoeic fable.

Sukanya Ghosh is an artist, animation filmmaker and designer. She is an independent practitioner and enjoys working with popular imagery, poetry and the moving image. Born in Calcutta, she has a BFA in Painting from the Faculty of Fine Arts, M.S. University of Baroda and an AEPEP in Animation Film Design from the National Institute of Design, Ahmedabad. She has been the recipient of the Charles Wallace India Trust Award, the Sarai Independent Fellowship, commissions from the Royal Commonwealth Society and Motiroti, UK. She has been Artist-in-Residence at Khoj, New Delhi; Spike Island, Bristol; and AIR Vallauris, France. Her works have been part of several shows both nationally and internationally. She managed arts programming at the Seagull Arts and Media Resource Centre, Calcutta for several years and has also been involved in various design projects including publicity design for film, book, exhibition and theatre design over the years.

Riccardo giacconi
Catalogue : 2017Due (Two) | Doc. expérimental | 16mm | couleur | 16:55 | Italie | France | 2017
Riccardo giacconi
Due (Two)
Doc. expérimental | 16mm | couleur | 16:55 | Italie | France | 2017

"Due" was shot in Milano 2, a residential neighbourhood located just outside Milano. Built as a utopian city between 1970 and 1979, Milano 2 was Silvio Berlusconi`s first ambitious project. It was in Milano 2 that TeleMilano, the first private Italian TV channel, started to broadcast, which made the area the bridgehead of the media and, later, political empire of Berlusconi. Milano 2, which nowadays may seem an ordinary suburban area, has functioned as a laboratory for a form-of-life which, in the decades of the Berlusconismo’s, spread nationally and left a long-lasting mark on Italian culture. The film includes an interview with Enrico Hoffer, the architect that designed the landscaping of the neighbourhood, as well as fragments from a 1974 publicity brochure advertising the real estate project.

Riccardo Giacconi has studied fine arts at the University IUAV of Venezia, at UWE in Bristol and at New York University. His work has been exhibited in various institutions, such as ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), MAXXI (Rome), Fondazione Sandretto Re Rebaudengo (Turin). He was artist-in-residence at: Centre international d`art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome and La Box (Bourges). In 2016 he was awarded the ArteVisione video production prize, curated by Sky Arte and Careof. He presented his films at several festivals, including the New York Film Festival, the Venice International Film Festival, the International Film Festival Rotterdam, the Rome Film Festival, the Torino Film Festival, Visions du Réel and the FID Marseille International Film Festival, where he won the Grand Prix of the international competition in 2015. In 2007 he co-founded the collective Blauer Hase, with which he curates the periodical publication “Paesaggio” and the “Helicotrema” festival.

Giovanni giaretta
Catalogue : 2016The Sailor | Vidéo | hdv | couleur | 8:0 | Italie | Pays-Bas | 2017
Giovanni giaretta
The Sailor
Vidéo | hdv | couleur | 8:0 | Italie | Pays-Bas | 2017

A voice-over tells the story of a sailor that dreams of a homeland he has never had; day after day the sailor constructs his new native land shaping it to his imagination. Inspired by Fernado Pessoa`s static drama "The Mariner" the video deals with the notion of what each of us addresses as home and foreign and at the same time with issues related to language and its translation. Playing with the perception of who is watching, confusing it and mixing it, whilst images of landscapes trick the eyes of the viewer creating shadow play illusions, the female voice speaks Na`vi, an invented language artificially created upon commission for the movie Avatar. Like a second voice, the subtitles suggest a relation established among words, images and imagination.

Giovanni Giaretta (Padua 1983) currently lives and works in Amsterdam. After graduating in Design and Production of Visual Arts at the University IUAV of Venice, he took part in a number of residency programs including: Dena Foundation for Contemporary Art in Paris in 2010; and most recently De Ateliers in Amsterdam. Giaretta’s work has been featured in exhibitions in Italy and abroad at diverse institutions and galleries such as: La Criée (Rennes, FR); Tegenboschvanvreden, (Amsterdam, NL); Foundation Botin (Santander, SP); Musée Départemental d’Art Contemporain de Rochechouart, (Rochechouart, FR); Fondazione Sandretto Re Rebaudengo, (Torino, IT); and Motive Gallery (Amsterdam, NL). His films have been shown at the International Film Festival of Rotterdam (Rotterdam, NL) and the T-Mobile New Horizons International Film Festival (Wroclaw, PL), among other festivals and screenings. His actual research is focusing on the relationship between perception and alteration during the night time. For the last year, to carry on such research Giaretta has been working as night porter in an hotel in Amsterdam. From 2015, he is also working as co-teacher at the Salzburg International Summer Academy.

Mike gibisser
Catalogue : 2017Travel Stop | Film expérimental | 16mm | couleur | 19:0 | USA | 2017
Mike gibisser
Travel Stop
Film expérimental | 16mm | couleur | 19:0 | USA | 2017

Shot at the World’s Largest Truckstop in Walcott, Iowa, the film contemplates the interiors of a Midwestern highway rest stop, creating an essayistic portrait of a familiar site of travel and transience. With fixed attention toward the ideological overtones pressed to the surface in the objects for sale, Travel Stop examines how identity is called upon, regressed, emptied, overburdened, or parceled when traversing the non-places along the US interstate. “ That the world of things can open itself to reveal a secret life ” indeed to reveal a set of actions and hence a narrativity and history outside the given field of perceptionis a constant daydream that the miniature presents. This is the daydream of the microscope: the daydream of life inside life, of significance multiplied infinitely within significance.

Mike Gibisser is a filmmaker and artist interested in navigating the indefinite lines between essay, narrative, experimental, and documentary work, often drawing together disparate subjects or time periods. In the past 10 years, he has completed two narrative features (Finally, Lillian and Dan and World of Facts), a feature film essay (The Day of Two Noons), as well as several experimental and non-fiction shorts. He has presented work at numerous galleries and festivals around the world, including the International Oberhausen Film Festival, the Harvard Film Archive, Tony Wight Gallery, Block Cinema, the AFI Film Festival, the Images Film Festival, the European Media Arts Festival, threewalls gallery, and the New York Film Festival. His work has been featured in Artforum, Variety, and Cinemascope, amongst other publications. He currently teaches at the University of Iowa and runs the Headroom Screening Series dedicated to bringing filmmakers to local audiences to present challenging and experimental new work.

Hannes gieseler
Catalogue : 2005Afghanistan salaam | Documentaire | dv | couleur | 18:30 | Allemagne | Afghanistan | 2005
Hannes gieseler
Afghanistan salaam
Documentaire | dv | couleur | 18:30 | Allemagne | Afghanistan | 2005

Une carte postale en mouvement de l'Afghanistan d'après guerre.


Hannes Gieseler est né en 1978, il a étudié les médias audiovisuels à la Hoschule Anhalt à Dessau et s'est vu décerner plusieurs récompenses grâce à ses films.

Bernard gigounon
Karlos gil
Catalogue : 2011The Neverending Story (Chapter one) | Fiction expérimentale | 16mm | noir et blanc | 5:33 | Espagne | 2011
Karlos gil
The Neverending Story (Chapter one)
Fiction expérimentale | 16mm | noir et blanc | 5:33 | Espagne | 2011

Cette vidéo a été filmée à Talavera, une petite ville dans la région de «La Mancha» (Espagne). Tourné en 16mm et emprunter quelques plans sémantique et visuel de Chris Marker La Jetée (1962), le film atteint un point culminant en permanence, mais jamais d`une résolution, dans laquelle les endroits que je suis familier avec sont transformées en intemporel et irréel. Le film est conçu en tenant compte des codes visuels et linguistiques de 60 films de science fiction. Toutes les photos ont été prises en 2011 par des personnes réelles (amis, familiers, etc) et des lieux réels (tous à Talavera), sauf les cadres final de l`expérience de la NASA (en fonction de la confrontation même entre réalité et fiction). C`est le premier chapitre d`un film continu, sans fin. En fait, le deuxième chapitre est filmé à Coney Island (New York), avec les mêmes caractéristiques techniques (une Bolex 16 mm H16 REX-5 caméra et d`un vieux film des années soixante).


Karlos Gil (Tolède 1984) vit et travaille entre Madrid et New York. Parmi les expositions de groupe dans laquelle il a pris part, ses ?uvres notables incluent Experimental Station, researching and artistic phenomena. CA2M, Madrid and LABoral, Gijón; Storytellers, West Side Gallery, New York; Far from Home, Galería MASART, Barcelona; (In)visivilidad y (Des)control, Fernado Pradilla Gallery, Madrid; Fresh, Ulf Saupe Galerie, Berlin; Against Egocentry. Brotfabrik Gallerie, Berlin; Zeppelin Festival 08, CCCB, Barcelona; Intransit, c Arte c, Madrid; IKAS-ART, Bilbao Exhibition Centre, BEC, Bilbao; Codified, Vibe Gallery, London; Beyond the abyect, Collision 08, London; The mean and the meaning, Puente sonoro, FI, Bogotá; Sci-Fi Tags. CaixaForum. Madrid. Il est actuellement artiste en résidence d`été à la School of Visual Arts de New York.

gil & moti
Catalogue : 2009Nasser | Vidéo | dv | couleur | 7:8 | Israel | 2009
gil & moti
Nasser
Vidéo | dv | couleur | 7:8 | Israel | 2009

Gil & Moti / `Nasser` / 2008-2009 / 7`:08`` In 2008 the Israeli?Dutch artist duo Gil & Moti started their project Available for You. They offered their services free of charge to immigrants from Arab countries in Copenhagen and Rotterdam and documented their encounters in diary entries, photos and videos. Gil & Moti bridge the barriers of miscom-munication in an intelligent manner. At the same time, they raise themes from an artistic perspective that apply globally: themes such as sociability, integration and exclusion. On the border of the public and private domain and of the art institution and the street, they have created their project as a fascinating vision of an artistic and humanitarian practice in a changing world beset by conflict.

We Gil & Moti, are duo artists living and working together since 1994. Our work moves freely between life, the visual arts and performance. The decision to live life as a performance and to make art a way of living creates a tension, which motivates the work and is presented in the form of: installation, video, painting, writing and performance. With our work we engage in the appropriation of public space and its effect on human relationships. Our projects involve the rehabilitation of the network of associations in a given community. An analytic critique of the relationship of private life and public space constitutes an important facet of our practice. Jewish Israelis by birth, gay and immigrants in Holland we contribute with our work to the contemporary debates about being different and the rules of social coexistence. We express these concerns with vulnerable poetic narratives, suspended between reality and fantasy visualized in a range of images from mundane to highly theatrical.

Catalogue : 2008Fiddler on the Roof | Vidéo | dv | couleur | 2:30 | Israel | Pays-Bas | 2008
gil & moti
Fiddler on the Roof
Vidéo | dv | couleur | 2:30 | Israel | Pays-Bas | 2008

Au cours d'une après-midi ensoleillée, négligeant la silhouette de Tel-Aviv qui se détache à l?horizon, un violoniste joue avec expression une composition hybride, reconstruite à partir d?hymnes tant israéliens que palestiniens. Les heures de dur travail, ainsi que de la douleur mentale, laissent leurs traces sur le cou du violoniste, comme le montre la toute dernière scène de la vidéo. Cette blessure est une métaphore de la longue et douloureuse lutte entre les deux peuples et les deux cultures. Prenant comme point de départ la nationalité des auteurs et la situation actuelle en Israël, des concepts tels que l'humanité, l'expiation et de pardon acquièrent une importance accrue, et ce sont précisément les thèmes récurrents de cette ?uvre en duo. Dans la vidéo, les artistes formulent le souhait utopique que les deux ennemis réussissent à vivre en paix côte à côte.


Gil Nader est né à Rishon LeZion (Israël), en 1968, Moti Porat à Ganey Yehuda (Israël) en 1971. Ils vivent et travaillent ensemble en duo depuis 1994, sous le nom de « Gil & Moti », et sont basés à Rotterdam (Pays-Bas) depuis 1998. Ils se sont tous deux diplômés de l'Académie Bezalel d'Art et de Design de Jérusalem (Israël) en 1997, puis ont poursuivi leurs études, en 1998-2000, au Master des Beaux-Arts de l'Institut Piet Zwart, de Rotterdam et à l'Université de Plymouth (Royaume-Uni). Parmi leurs récentes expositions individuelles, signalons notamment « Sleeping With the Enemy à Jack the Pelican Presents » à New York (USA) en 2005, « Love Grows Free » à la galerie Eric Dupont de Paris (France) en 2006, « Dating Gil & Moti » à la Mucsarnok Kunsthalle de Budapest (Hongrie) en 2006, et « Available for You » à la Kunsthallen Nikolaj de Copenhagen (Danemark) en 2008. Le gouvernement israélien et néerlandais ont soutenu financièrement leurs projets. Leurs ?uvres sont exposées dans des collections privées et publiques, telles que le Musée d?Art de Tel-Aviv (Israël), le Musée d?Art d?Haifa (Israël) ou le Mumok de Vienne (Autriche). En 2008, ils ont reçu une bourse de deux ans de la part de la Fondation Néerlandaise pour les Arts Visuels, le Design et l?Architecture.

Catalogue : 2015Betty €233 | Vidéo | hdv | couleur | 10:0 | Israel | Pays-Bas | 2014
gil & moti
Betty €233
Vidéo | hdv | couleur | 10:0 | Israel | Pays-Bas | 2014

Betty €233, 2014, Full HD,10’ Questioning social and economical status and the opportunity given to immigrants we joined VB Dutch Cleaning company where we met cleaning lady: Betty Lalaram from Suriname. Three times a week she polishes the offices and exhibition space of TENT, Rotterdam Art Center. We gave Betty our video camera and we got instead her mop. The most physical jobs earn too little, we realized then, and that is why we tried to arrange a salary increase for Betty while confronting her boss.

From the moment we created the duo Gil & Moti, in 1998, we have explored the notion of individuality and questioned forms and norms of identity. Sharing is an ongoing experiment on a visual, mental and physical level, which includes: always dressing identically, never going apart, owning one wallet, one phone and one pair of keys. The denial of the boundaries between private and public, performance and social intervention is central in our work, which often starts small, close to ourselves and rooted in our personal life, but soon extends to a variety of important socio-political themes, such as discriminated minorities, racism, otherness and social and economical status. As artists, a gay couple, Jewish born (ex)Israelis and immigrants living in Europe, we contribute to the critical cultural discourse about human relationships, being different, and about sets of rules that are supposed to regulate social existence. Switching effortlessly between classical and contemporary artistic mediums of expression, we continuously challenge ourselves and our audience by introducing creative and refreshing perspectives. Gil & Moti are the winners of MK Award 2015. They have been showing internationally in museums and galleries. The recent major overview exhibition Totally Devoted to You, accompanied by an extensive monograph (publishing house: Hatje Cantz), was traveling through five important European art centers and museums: Lentos Kunstmuseum, Linz, Austria (2012)/ Stavanger Kunstmuseum, Norway / Tensta Konsthall, Stockholm, Sweden / Kunstmuseum Bochum, Germany / Nikolaj Kunsthal, Copenhagen, Denemark (2011). 

gil & moti, gil & moti
Catalogue : 2009Nasser | Vidéo | dv | couleur | 7:8 | Israel | 2009
gil & moti , gil & moti
Nasser
Vidéo | dv | couleur | 7:8 | Israel | 2009

Gil & Moti / `Nasser` / 2008-2009 / 7`:08`` In 2008 the Israeli?Dutch artist duo Gil & Moti started their project Available for You. They offered their services free of charge to immigrants from Arab countries in Copenhagen and Rotterdam and documented their encounters in diary entries, photos and videos. Gil & Moti bridge the barriers of miscom-munication in an intelligent manner. At the same time, they raise themes from an artistic perspective that apply globally: themes such as sociability, integration and exclusion. On the border of the public and private domain and of the art institution and the street, they have created their project as a fascinating vision of an artistic and humanitarian practice in a changing world beset by conflict.

We Gil & Moti, are duo artists living and working together since 1994. Our work moves freely between life, the visual arts and performance. The decision to live life as a performance and to make art a way of living creates a tension, which motivates the work and is presented in the form of: installation, video, painting, writing and performance. With our work we engage in the appropriation of public space and its effect on human relationships. Our projects involve the rehabilitation of the network of associations in a given community. An analytic critique of the relationship of private life and public space constitutes an important facet of our practice. Jewish Israelis by birth, gay and immigrants in Holland we contribute with our work to the contemporary debates about being different and the rules of social coexistence. We express these concerns with vulnerable poetic narratives, suspended between reality and fantasy visualized in a range of images from mundane to highly theatrical.

Catalogue : 2008Fiddler on the Roof | Vidéo | dv | couleur | 2:30 | Israel | Pays-Bas | 2008
gil & moti , gil & moti
Fiddler on the Roof
Vidéo | dv | couleur | 2:30 | Israel | Pays-Bas | 2008

Au cours d'une après-midi ensoleillée, négligeant la silhouette de Tel-Aviv qui se détache à l?horizon, un violoniste joue avec expression une composition hybride, reconstruite à partir d?hymnes tant israéliens que palestiniens. Les heures de dur travail, ainsi que de la douleur mentale, laissent leurs traces sur le cou du violoniste, comme le montre la toute dernière scène de la vidéo. Cette blessure est une métaphore de la longue et douloureuse lutte entre les deux peuples et les deux cultures. Prenant comme point de départ la nationalité des auteurs et la situation actuelle en Israël, des concepts tels que l'humanité, l'expiation et de pardon acquièrent une importance accrue, et ce sont précisément les thèmes récurrents de cette ?uvre en duo. Dans la vidéo, les artistes formulent le souhait utopique que les deux ennemis réussissent à vivre en paix côte à côte.


Gil Nader est né à Rishon LeZion (Israël), en 1968, Moti Porat à Ganey Yehuda (Israël) en 1971. Ils vivent et travaillent ensemble en duo depuis 1994, sous le nom de « Gil & Moti », et sont basés à Rotterdam (Pays-Bas) depuis 1998. Ils se sont tous deux diplômés de l'Académie Bezalel d'Art et de Design de Jérusalem (Israël) en 1997, puis ont poursuivi leurs études, en 1998-2000, au Master des Beaux-Arts de l'Institut Piet Zwart, de Rotterdam et à l'Université de Plymouth (Royaume-Uni). Parmi leurs récentes expositions individuelles, signalons notamment « Sleeping With the Enemy à Jack the Pelican Presents » à New York (USA) en 2005, « Love Grows Free » à la galerie Eric Dupont de Paris (France) en 2006, « Dating Gil & Moti » à la Mucsarnok Kunsthalle de Budapest (Hongrie) en 2006, et « Available for You » à la Kunsthallen Nikolaj de Copenhagen (Danemark) en 2008. Le gouvernement israélien et néerlandais ont soutenu financièrement leurs projets. Leurs ?uvres sont exposées dans des collections privées et publiques, telles que le Musée d?Art de Tel-Aviv (Israël), le Musée d?Art d?Haifa (Israël) ou le Mumok de Vienne (Autriche). En 2008, ils ont reçu une bourse de deux ans de la part de la Fondation Néerlandaise pour les Arts Visuels, le Design et l?Architecture.

Catalogue : 2015Betty €233 | Vidéo | hdv | couleur | 10:0 | Israel | Pays-Bas | 2014
gil & moti , gil & moti
Betty €233
Vidéo | hdv | couleur | 10:0 | Israel | Pays-Bas | 2014

Betty €233, 2014, Full HD,10’ Questioning social and economical status and the opportunity given to immigrants we joined VB Dutch Cleaning company where we met cleaning lady: Betty Lalaram from Suriname. Three times a week she polishes the offices and exhibition space of TENT, Rotterdam Art Center. We gave Betty our video camera and we got instead her mop. The most physical jobs earn too little, we realized then, and that is why we tried to arrange a salary increase for Betty while confronting her boss.

From the moment we created the duo Gil & Moti, in 1998, we have explored the notion of individuality and questioned forms and norms of identity. Sharing is an ongoing experiment on a visual, mental and physical level, which includes: always dressing identically, never going apart, owning one wallet, one phone and one pair of keys. The denial of the boundaries between private and public, performance and social intervention is central in our work, which often starts small, close to ourselves and rooted in our personal life, but soon extends to a variety of important socio-political themes, such as discriminated minorities, racism, otherness and social and economical status. As artists, a gay couple, Jewish born (ex)Israelis and immigrants living in Europe, we contribute to the critical cultural discourse about human relationships, being different, and about sets of rules that are supposed to regulate social existence. Switching effortlessly between classical and contemporary artistic mediums of expression, we continuously challenge ourselves and our audience by introducing creative and refreshing perspectives. Gil & Moti are the winners of MK Award 2015. They have been showing internationally in museums and galleries. The recent major overview exhibition Totally Devoted to You, accompanied by an extensive monograph (publishing house: Hatje Cantz), was traveling through five important European art centers and museums: Lentos Kunstmuseum, Linz, Austria (2012)/ Stavanger Kunstmuseum, Norway / Tensta Konsthall, Stockholm, Sweden / Kunstmuseum Bochum, Germany / Nikolaj Kunsthal, Copenhagen, Denemark (2011). 

Wojciech gilewicz
Catalogue : 2010Intrude | Art vidéo | dv | couleur | 6:5 | Pologne | Chine | 2008
Wojciech gilewicz
Intrude
Art vidéo | dv | couleur | 6:5 | Pologne | Chine | 2008

When I was invited to China at the end of 2008, in my contract with Zendai MoMA in Shanghai, I was bounded to realize 6 to 8 oil paintings there. While painting, I am often using my video camera as well, which is kind of registering in a cold eye the process of the ?emergence? of my urban-based paintings. I did so also when working for the museum on this series of paintings. However, in this very project the camera is slightly drifting away from the actual paintings and is showing fragments of reality as if they were autonomous paintings themselves. The reality appears in this video quite neurotic and nervous as well as a bit hectic. It is mysterious, very much fragmented and somehow jagged. The paintings coming off the reality leave a strange tear to it or maybe rather quite a philosophic dilemma.

Wojciech Gilewicz (1974) Polish American painter, photographer, author of installations and videos. In his works, which usually combine all these disciplines, Gilewicz explores the phenomenon of illusion and the blurring of distinctions between reality and its artistic representation. He also shows how relative and changeable our perception of the surrounding world is. Gilewicz?s practice invites a reflexion on the mechanisms governing our perception and on the cultural determinants of the way we see things. www.gilewicz.net

Catalogue : 2009In Practice | Vidéo | dv | couleur | 3:15 | Pologne | USA | 2009
Wojciech gilewicz
In Practice
Vidéo | dv | couleur | 3:15 | Pologne | USA | 2009

Wojciech Gilewicz: In Practice, 2009 (video) A series of oil paintings were installed outside the SculptureCenter building. The surfaces and forms of the canvases were designed to make them appear completely invisible while they were on site. A video documentating the process of placing the works in their environment encouraged visitors to explore the periphery of the building. Using a map I prepared, visitors were invited to search for the hidden paintings in the surrounding city space. I was primarily interested in challenging visitors` perception of space, reality and their surroundings. (by Wojciech Gilewicz) -------------- fragment of InPractice review by Lori Cole (ArtForum, 02.15.2009) "(...)While artists such as Peter Simensky, Carey Ascenzo, and Amy Patton struggle to reinvent site specificity, Wojciech Gilewicz defies its logic entirely in his deadpan installations-painted imitations of everyday surfaces, intended to go unnoticed in public space. In the video documentation of his project, Gilewicz nonchalantly installs the work in broad daylight, thereby performing the slight visual shifts between the trash on the surface of a garbage can and its painted replica, between a construction panel and its crafted double, and drawing attention to the way art can undermine even its own subversive rhetoric to make site both more and less noticeable." http://www.sculpture-center.org/pressSpecific.htm?id=61697

CV (narrative) Wojciech Gilewicz (1974) Polish American painter, photographer, author of installations and videos graduated from Academy of Fine Arts in Warsaw, Poland (1999) obtaining a Master?s Degree in Painting (Minor in Photography). In his works, which usually combine all these disciplines, Gilewicz explores the phenomenon of illusion and the blurring of distinctions between reality and its artistic representation. He shows also how relative and changeable our perception of the surrounding world is. Gilewicz?s practice invites a reflexion on the mechanisms governing our perception and on the cultural determinants of the way we see things. Selected soloexhibitions: Foksal Gallery Warsaw, Poland (2009); Contemporary Art Museum Saint Louis (2008); Museum of Fine Arts Ivano-Frankivsk, Ukraine (2007); Foksal Gallery Warsaw, Poland (2005), Fondation Deutsch de la Meurthe Paris, France (2004), CCA Ujazdowski Castle Warsaw, Poland (2001) Selected groupshows: MoCA Belgrade, Serbia (2009); MoBY Bat Yam, Israel (2009); CoCA, Torun, Poland (2009); Zendai MoMA Shanghai, China (2009); SculptureCenter New York (2009); Pianissimo Milan, Italy (2008); Museum of Art Lodz, Poland (2007); Zacheta National Gallery of Art Warsaw, Poland (2007) Selected artisticresidencies: TAV Taipei, Taiwan (2009); Zendai MoMA Shanghai, China (2008); ISCP New York (2008); Galichnik Macedonia (2005); Fundation Deutsch de la Meurthe Paris, France (2004) --------------- CV (detailed) Wojciech Gilewicz (www.gilewicz.net) EDUCATION 1999 Master?s Degree in Painting, Minor in Photography 1996 - 1999 Academy of Fine Arts Painting Department Warsaw, Poland 1994 - 1996 Academy of Fine Arts Painting Department Poznan, Poland SOLO EXHIBITIONS (selected) 2009 Lubelskie Towarzystwo Zachety Sztuk Pieknych, Lublin, Poland 2009 Foksal Gallery, Warsaw, Poland 2008 Contemporary Art Museum Saint Louis, USA 2007 Biala Gallery, Lublin, Poland 2007 Museum of Fine Arts, Iwano-Frankiwsk, Ukraine 2007 BWA Gallery Revitalisations, Sanok, Poland 2006 / 2007 Entropia Gallery The Aporia of Painting, Wroclaw, Poland 2005 TR Warszawa, Warsaw, Poland 2005 Foksal Gallery, Warsaw, Poland 2005 WAA (Warsaw Artists? Action) Them, Warsaw, Poland 2004 Fondation Deutsch de la Meurthe, Paris, France 2002 Arsenal Gallery, Bialystok, Poland 2001 Centre for Contemporary Art Ujazdowski Castle / Laboratorium Gallery City ? Estate ? Studio ? Apartment, Warsaw, Poland 2000 Biala Gallery Lublin, Poland 1999 Academy of Fine Arts, Warsaw, Poland GROUP EXHIBITIONS (selected) 2009 castillo/corrales Hello Goodbye Thank You Again, Paris, France 2009 Museum of Contemporary Art BELGRADE: NONPLACES. Art in public space, Belgrade, Serbia 2009 Aspen Art Museum Monitaur, Aspen, USA 2009 MoBY (Museum of Bat Yam) Factory, Bat Yam, Israel 2009 Centre of Contemporary Art Znaki Czasu Lucim żyje, Torun, Poland 2009 Zendai Museum of Modern Art Starting Point: Intrude Art & Life 366, Shanghai, China 2009 SculptureCenter In Practice, New York, USA 2008 Istituto Polacco di Roma Transfert Gallerie Polacche a Roma #6, Roma, Italy 2008 BWA Gallery External artists. OUT OF STH, Wroclaw, Poland 2008 Biala Gallery Remont generalny, Lublin, Poland 2008 White Box Gallery DiVA (Digital & Video Art), New York, USA 2008 Pianissimo Distortion of an Unendurable Reality, Milan, Italy 2008 Istituto Polacco di Roma Transfert Gallerie Polacche a Roma #2, Roma, Italy 2007 appendix2 Artyści polecają się nawzajem, Warsaw, Poland 2007 Museum of Art in Lodz Multi-way Street annex to the exhibition Beautiful Losers, Lodz, Poland 2007 Paul Robeson Galery Imago: The Drama of Self-Portraiture In Recent Photography, Newark, USA 2007 Zacheta National Gallery of Art / Kordegarda Gallery Here a Change Occurs, Warsaw, Poland 2006 Real Art Ways POZA, Hartford, USA 2006 Centre for Contemporary Art Laznia Love and Democracy, Gdansk, Poland 2006 LiveBox at Ravenswood, Chicago, USA 2006 Zacheta National Gallery of Art On Their Own, Warsaw, Poland 2003 National Museum / Krolikarnia, Warsaw, Poland 2002 Bunkier Sztuki, ZPAP Festival of Young Art novart.pl, Cracow, Poland 2001 BWA Galery Goscinna Pracownia Malarstwa Leona Tarasewicza goscinnie w Galerii BWA w Zielonej Gorze, Zielona Gora, Poland

Wojciech gilewicz, -
Catalogue : 2010Intrude | Art vidéo | dv | couleur | 6:5 | Pologne | Chine | 2008
Wojciech gilewicz , -
Intrude
Art vidéo | dv | couleur | 6:5 | Pologne | Chine | 2008

When I was invited to China at the end of 2008, in my contract with Zendai MoMA in Shanghai, I was bounded to realize 6 to 8 oil paintings there. While painting, I am often using my video camera as well, which is kind of registering in a cold eye the process of the ?emergence? of my urban-based paintings. I did so also when working for the museum on this series of paintings. However, in this very project the camera is slightly drifting away from the actual paintings and is showing fragments of reality as if they were autonomous paintings themselves. The reality appears in this video quite neurotic and nervous as well as a bit hectic. It is mysterious, very much fragmented and somehow jagged. The paintings coming off the reality leave a strange tear to it or maybe rather quite a philosophic dilemma.

Wojciech Gilewicz (1974) Polish American painter, photographer, author of installations and videos. In his works, which usually combine all these disciplines, Gilewicz explores the phenomenon of illusion and the blurring of distinctions between reality and its artistic representation. He also shows how relative and changeable our perception of the surrounding world is. Gilewicz?s practice invites a reflexion on the mechanisms governing our perception and on the cultural determinants of the way we see things. www.gilewicz.net

Catalogue : 2009In Practice | Vidéo | dv | couleur | 3:15 | Pologne | USA | 2009
Wojciech gilewicz , -
In Practice
Vidéo | dv | couleur | 3:15 | Pologne | USA | 2009

Wojciech Gilewicz: In Practice, 2009 (video) A series of oil paintings were installed outside the SculptureCenter building. The surfaces and forms of the canvases were designed to make them appear completely invisible while they were on site. A video documentating the process of placing the works in their environment encouraged visitors to explore the periphery of the building. Using a map I prepared, visitors were invited to search for the hidden paintings in the surrounding city space. I was primarily interested in challenging visitors` perception of space, reality and their surroundings. (by Wojciech Gilewicz) -------------- fragment of InPractice review by Lori Cole (ArtForum, 02.15.2009) "(...)While artists such as Peter Simensky, Carey Ascenzo, and Amy Patton struggle to reinvent site specificity, Wojciech Gilewicz defies its logic entirely in his deadpan installations-painted imitations of everyday surfaces, intended to go unnoticed in public space. In the video documentation of his project, Gilewicz nonchalantly installs the work in broad daylight, thereby performing the slight visual shifts between the trash on the surface of a garbage can and its painted replica, between a construction panel and its crafted double, and drawing attention to the way art can undermine even its own subversive rhetoric to make site both more and less noticeable." http://www.sculpture-center.org/pressSpecific.htm?id=61697

CV (narrative) Wojciech Gilewicz (1974) Polish American painter, photographer, author of installations and videos graduated from Academy of Fine Arts in Warsaw, Poland (1999) obtaining a Master?s Degree in Painting (Minor in Photography). In his works, which usually combine all these disciplines, Gilewicz explores the phenomenon of illusion and the blurring of distinctions between reality and its artistic representation. He shows also how relative and changeable our perception of the surrounding world is. Gilewicz?s practice invites a reflexion on the mechanisms governing our perception and on the cultural determinants of the way we see things. Selected soloexhibitions: Foksal Gallery Warsaw, Poland (2009); Contemporary Art Museum Saint Louis (2008); Museum of Fine Arts Ivano-Frankivsk, Ukraine (2007); Foksal Gallery Warsaw, Poland (2005), Fondation Deutsch de la Meurthe Paris, France (2004), CCA Ujazdowski Castle Warsaw, Poland (2001) Selected groupshows: MoCA Belgrade, Serbia (2009); MoBY Bat Yam, Israel (2009); CoCA, Torun, Poland (2009); Zendai MoMA Shanghai, China (2009); SculptureCenter New York (2009); Pianissimo Milan, Italy (2008); Museum of Art Lodz, Poland (2007); Zacheta National Gallery of Art Warsaw, Poland (2007) Selected artisticresidencies: TAV Taipei, Taiwan (2009); Zendai MoMA Shanghai, China (2008); ISCP New York (2008); Galichnik Macedonia (2005); Fundation Deutsch de la Meurthe Paris, France (2004) --------------- CV (detailed) Wojciech Gilewicz (www.gilewicz.net) EDUCATION 1999 Master?s Degree in Painting, Minor in Photography 1996 - 1999 Academy of Fine Arts Painting Department Warsaw, Poland 1994 - 1996 Academy of Fine Arts Painting Department Poznan, Poland SOLO EXHIBITIONS (selected) 2009 Lubelskie Towarzystwo Zachety Sztuk Pieknych, Lublin, Poland 2009 Foksal Gallery, Warsaw, Poland 2008 Contemporary Art Museum Saint Louis, USA 2007 Biala Gallery, Lublin, Poland 2007 Museum of Fine Arts, Iwano-Frankiwsk, Ukraine 2007 BWA Gallery Revitalisations, Sanok, Poland 2006 / 2007 Entropia Gallery The Aporia of Painting, Wroclaw, Poland 2005 TR Warszawa, Warsaw, Poland 2005 Foksal Gallery, Warsaw, Poland 2005 WAA (Warsaw Artists? Action) Them, Warsaw, Poland 2004 Fondation Deutsch de la Meurthe, Paris, France 2002 Arsenal Gallery, Bialystok, Poland 2001 Centre for Contemporary Art Ujazdowski Castle / Laboratorium Gallery City ? Estate ? Studio ? Apartment, Warsaw, Poland 2000 Biala Gallery Lublin, Poland 1999 Academy of Fine Arts, Warsaw, Poland GROUP EXHIBITIONS (selected) 2009 castillo/corrales Hello Goodbye Thank You Again, Paris, France 2009 Museum of Contemporary Art BELGRADE: NONPLACES. Art in public space, Belgrade, Serbia 2009 Aspen Art Museum Monitaur, Aspen, USA 2009 MoBY (Museum of Bat Yam) Factory, Bat Yam, Israel 2009 Centre of Contemporary Art Znaki Czasu Lucim żyje, Torun, Poland 2009 Zendai Museum of Modern Art Starting Point: Intrude Art & Life 366, Shanghai, China 2009 SculptureCenter In Practice, New York, USA 2008 Istituto Polacco di Roma Transfert Gallerie Polacche a Roma #6, Roma, Italy 2008 BWA Gallery External artists. OUT OF STH, Wroclaw, Poland 2008 Biala Gallery Remont generalny, Lublin, Poland 2008 White Box Gallery DiVA (Digital & Video Art), New York, USA 2008 Pianissimo Distortion of an Unendurable Reality, Milan, Italy 2008 Istituto Polacco di Roma Transfert Gallerie Polacche a Roma #2, Roma, Italy 2007 appendix2 Artyści polecają się nawzajem, Warsaw, Poland 2007 Museum of Art in Lodz Multi-way Street annex to the exhibition Beautiful Losers, Lodz, Poland 2007 Paul Robeson Galery Imago: The Drama of Self-Portraiture In Recent Photography, Newark, USA 2007 Zacheta National Gallery of Art / Kordegarda Gallery Here a Change Occurs, Warsaw, Poland 2006 Real Art Ways POZA, Hartford, USA 2006 Centre for Contemporary Art Laznia Love and Democracy, Gdansk, Poland 2006 LiveBox at Ravenswood, Chicago, USA 2006 Zacheta National Gallery of Art On Their Own, Warsaw, Poland 2003 National Museum / Krolikarnia, Warsaw, Poland 2002 Bunkier Sztuki, ZPAP Festival of Young Art novart.pl, Cracow, Poland 2001 BWA Galery Goscinna Pracownia Malarstwa Leona Tarasewicza goscinnie w Galerii BWA w Zielonej Gorze, Zielona Gora, Poland

Pierre-jean giloux
Catalogue : 2015Metabolism | Fiction | hdv | couleur | 11:0 | France | Japon | 2015
Pierre-jean giloux
Metabolism
Fiction | hdv | couleur | 11:0 | France | Japon | 2015

Metabolism : “Le point de départ est la découverte d’un photomontage de Arata Isozaki intitulé “Re-ruined Hiroshima”. Cette image est une énigme : dans ce paysage dévasté, deux grandes formes architecturées se dessinent : ces structures constituées (on le suppose) par des débris récupérés dans les alentours, surplombent une ville mise à terre. Les métabolistes (un groupe d’urbanistes et d’architectes japonais autour d’une même vision : la ville du futur ) ont projeté de reconstruire ce pays, de (lui) façonner une nouvelle identité. Ce fut une sorte d’élan tendu vers l’avenir, vers un futur développement de l’espace urbain qui devait répondre aux flux des populations vers les centres urbains. Ils s’inscrivirent néanmoins dans une continuité idéoloqique ‘traditionnelle’ faisant référence à l’image iconique du temple d’Ise . Le métabolisme fût la dernière utopie moderniste du XXème siècle, cette découverte m’a passionné et a suscité le désir de faire ce film. Certains de leurs projets non réalisés sont introduits dans ce film par le truchement des techniques numériques, dans le Tokyo de 2015. Jalons historiques et présences fantomatiques inscrites dans les strates urbaines de la mégapole japonaise.


Qu’il soit filmique ou photographique, le travail de Pierre Jean Giloux débute par le stade préparatoire du dessin, phases de recherches où la pensée s’organise par strates, avant de passer à la réalisation. Ses installations photographiques composées de suites d’images peuvent être qualifiées de « storyboards agrandis ». Ces dernières -le plus souvent exposées en milieux urbains- se confrontent aux rapports d’échelles et questionnent le statut de l’image au sein même de la cité. Ses travaux vidéo sont les résultats d’associations et hybridations d’images. Il développe par le biais des techniques numériques un travail de collage, montage, de compositions visuelles et sonores qui incluent des séquences animées en 2 et 3 d. Il aime à faire cohabiter le virtuel et le réel dans le dessein d’établir un dialogue et de questionner notre rapport au réel et vice versa. En 2015, Pierre-Jean Giloux à la Villa Kujoyama (Kyoto, Japon) où il réalise le quatrième et dernier volet de “Invisible Cities” intitulé “Station to Station”. Ses installations vidéos et ses films ont été exposés dans de nombreuses institutions et festivals, notamment le Centre Pompidou, le MAC VAL, le CREDAC, Comix Home Base de Hong Kong, au Kyoto Art Center, au Pavillon de l’Arsenal à Paris.

Catalogue : 2017Invisible Cities | Vidéo | hdv | couleur | 0:0 | France | Japon | 2017
Pierre-jean giloux
Invisible Cities
Vidéo | hdv | couleur | 0:0 | France | Japon | 2017

Comme dans le roman éponyme d’Italo Calvino, ces Invisible Cities ravivent un imaginaire utopique, qui entrelace les villes et leur mémoire, les villes et le désir, le regard, les signes. La part invisible révélée par l’artiste et qui instaure un lien de connivence entre les quatre volets de cette tétralogie évoque la vision d’une autre planification urbaine, intimement liée aux architectures prospectives des Métabolistes. À la fin des années 50, ce groupe tenta de redéfinir la ville durable, en combinant l’esthétique brutaliste et la modularité organique, en liant intimement le bâti au cycle biologique de la croissance, de la pourriture et de la régénération.


Le travail de Pierre Jean Giloux se situe à la convergence de plusieurs pratiques : l’espace / volume et les images. Ses vidéos sont les résultats d’associations et hybridations d’images. Il développe par le biais des techniques numériques un travail de collage, montage, de compositions visuelles et sonores qui incluent parfois des séquences animées en 2 et 3 d. Les interventions graphiques sur les images lui permettent ainsi de modifier la perception du réel et ainsi de créer des “ mondes reconstruits “. Il aime faire cohabiter le virtuel et le réel dans le dessein d’établir un dialogue et de les questionner.

Charlotte ginsborg, ginsborg
Catalogue : 2008The Mirroring Cure | Film expérimental | 16mm | couleur | 28:0 | Royaume-Uni | 2006
Charlotte ginsborg , ginsborg
The Mirroring Cure
Film expérimental | 16mm | couleur | 28:0 | Royaume-Uni | 2006

Tout en retraçant la vie d'un grand chantier de construction, de la démolition à la réalisation de nouveaux bureaux, « The Mirroring Cure » met l'accent sur la secrétaire de la société, qui décide d'interroger les personnes qui travaillent autour d'elle. Elle veut comprendre leur relation au travail, leurs espoirs, leurs craintes et angoisses. Nous sommes spectateur de sa fascination pour l'un des architectes qui, découvre-t-elle, souffre d'une perte de l?équilibre, exacerbée par les grandes dimensions du site. Apparaissant tout d'abord comme un documentaire sur la complexité de l'identité formée par le fait d?être « au travail », ainsi que sur les effets de l'architecture sur le comportement, le film commence à intégrer des éléments de fiction en laissant le spectateur indécis sur le moment où commence la réalité. Dans quelle mesure les personnages sont-ils vraiment en train de jouer, cette question reste ambiguë.


Charlotte Ginsborg est née en 1974 à Londres (Royaume-Uni), où elle vit et travaille. Après une licence en Beaux-Arts du Central Saint Martins College of Art and Design (1998) elle obtient une Maîtrise en Beaux-Arts du Goldsmith College de l'Université de Londres (2002). Elle réalise des films et des vidéos, et ses ?uvres ont été projetées au Royaume-Uni et à l'étranger.

Catalogue : 2009Over The Bones | Film expérimental | 16mm | couleur | 30:0 | Royaume-Uni | 2008
Charlotte ginsborg , ginsborg
Over The Bones
Film expérimental | 16mm | couleur | 30:0 | Royaume-Uni | 2008

The film interweaves documentary and fiction to depict two characters, a truck driver and a singer. Filmed in their separate working environments their stories converge until they meet through an accident at a swimming pool. The driver witnesses the singer crashing into the end of the pool and passing out. He performs mouth-to-mouth resuscitation. Waking the next day the driver discovers he has developed a desire to write music. For the next six months his singing career develops at a rapid pace. The singer temporarily looses her voice, on regaining it she discovers that it has dramatically altered in tone. Although the tale is told retrospectively no conclusion is reached. Is he continuing to sing, did she regain her career, have they permanently swapped voices? He continues on his journey. By combining voice over, interview footage and dramatic tableaux, questions arise as to whether the events are true and to what extent the cast are acting. The film investigates what happens to people once placed in front of a camera and subsequently how a filmmaker can attempt to capture individuals continually shifting performances in real life. How we adjust ?self? in relationship to ?other? and what role storytelling has in the everyday are developed into key questions. By combining voice over, interview footage and dramatic tableaux, questions arise as to whether the events unfolding are true and to what extent the cast are acting. Are the characters figments of each other?s imaginations? Or in fact each other?s alter egos? The film investigates what happens to people once placed in front of a camera and subsequently how a filmmaker can attempt to capture the subtlety of individuals continually shifting performances in real life. How and why we adjust ?self? in relationship to ?other? and what role storytelling has in the everyday are developed into key questions.

Charlotte Ginsborg graduated from MA Fine Art at Goldsmiths College, London in 2002 where she specialized in film and video. Her films interweave documentary and fictional elements to explore people?s psychological relationship to their architectural environments. She has exhibited her 16mm and digital films in galleries and festivals both nationally and internationally, including the Venice Biennale, the Serpentine Gallery and the ICA, London, the Pompidou Centre, Paris and the Walker Arts Centre, USA. She won the Oriel Mostyn Open 03 for her film ?Spade? and had a solo exhibition at the Jerwood Foundation, London. Her films are distributed by The Lux and she is currently artist in residence at The London Chest Hospital.

Charlotte ginsborg
Catalogue : 2008The Mirroring Cure | Film expérimental | 16mm | couleur | 28:0 | Royaume-Uni | 2006
Charlotte ginsborg
The Mirroring Cure
Film expérimental | 16mm | couleur | 28:0 | Royaume-Uni | 2006

Tout en retraçant la vie d'un grand chantier de construction, de la démolition à la réalisation de nouveaux bureaux, « The Mirroring Cure » met l'accent sur la secrétaire de la société, qui décide d'interroger les personnes qui travaillent autour d'elle. Elle veut comprendre leur relation au travail, leurs espoirs, leurs craintes et angoisses. Nous sommes spectateur de sa fascination pour l'un des architectes qui, découvre-t-elle, souffre d'une perte de l?équilibre, exacerbée par les grandes dimensions du site. Apparaissant tout d'abord comme un documentaire sur la complexité de l'identité formée par le fait d?être « au travail », ainsi que sur les effets de l'architecture sur le comportement, le film commence à intégrer des éléments de fiction en laissant le spectateur indécis sur le moment où commence la réalité. Dans quelle mesure les personnages sont-ils vraiment en train de jouer, cette question reste ambiguë.


Charlotte Ginsborg est née en 1974 à Londres (Royaume-Uni), où elle vit et travaille. Après une licence en Beaux-Arts du Central Saint Martins College of Art and Design (1998) elle obtient une Maîtrise en Beaux-Arts du Goldsmith College de l'Université de Londres (2002). Elle réalise des films et des vidéos, et ses ?uvres ont été projetées au Royaume-Uni et à l'étranger.

Catalogue : 2009Over The Bones | Film expérimental | 16mm | couleur | 30:0 | Royaume-Uni | 2008
Charlotte ginsborg
Over The Bones
Film expérimental | 16mm | couleur | 30:0 | Royaume-Uni | 2008

The film interweaves documentary and fiction to depict two characters, a truck driver and a singer. Filmed in their separate working environments their stories converge until they meet through an accident at a swimming pool. The driver witnesses the singer crashing into the end of the pool and passing out. He performs mouth-to-mouth resuscitation. Waking the next day the driver discovers he has developed a desire to write music. For the next six months his singing career develops at a rapid pace. The singer temporarily looses her voice, on regaining it she discovers that it has dramatically altered in tone. Although the tale is told retrospectively no conclusion is reached. Is he continuing to sing, did she regain her career, have they permanently swapped voices? He continues on his journey. By combining voice over, interview footage and dramatic tableaux, questions arise as to whether the events are true and to what extent the cast are acting. The film investigates what happens to people once placed in front of a camera and subsequently how a filmmaker can attempt to capture individuals continually shifting performances in real life. How we adjust ?self? in relationship to ?other? and what role storytelling has in the everyday are developed into key questions. By combining voice over, interview footage and dramatic tableaux, questions arise as to whether the events unfolding are true and to what extent the cast are acting. Are the characters figments of each other?s imaginations? Or in fact each other?s alter egos? The film investigates what happens to people once placed in front of a camera and subsequently how a filmmaker can attempt to capture the subtlety of individuals continually shifting performances in real life. How and why we adjust ?self? in relationship to ?other? and what role storytelling has in the everyday are developed into key questions.

Charlotte Ginsborg graduated from MA Fine Art at Goldsmiths College, London in 2002 where she specialized in film and video. Her films interweave documentary and fictional elements to explore people?s psychological relationship to their architectural environments. She has exhibited her 16mm and digital films in galleries and festivals both nationally and internationally, including the Venice Biennale, the Serpentine Gallery and the ICA, London, the Pompidou Centre, Paris and the Walker Arts Centre, USA. She won the Oriel Mostyn Open 03 for her film ?Spade? and had a solo exhibition at the Jerwood Foundation, London. Her films are distributed by The Lux and she is currently artist in residence at The London Chest Hospital.

Anton ginzburg
Catalogue : 2012Hyperborea | Fiction expérimentale | hdv | couleur | 45:0 | USA | Russie | 2011
Anton ginzburg
Hyperborea
Fiction expérimentale | hdv | couleur | 45:0 | USA | Russie | 2011

Dans son film Hyperborea, Anton Ginsburg construit des points d?intersection entre la mémoire individuelle ou collective, et l?imagination. Parcourant les histoires nombreuses au sujet de la région mythique d?Hyperborea, il s?y est installé et a voyagé jusqu?aux territoires les plus lointains au Nord. Son expédition l?a conduit des des forêts du Nord Ouest Pacifique américain, aux palais abandonnés de Saint Petersburg, jusqu?aux Goulags de la Mer Blanche. Sur la trace d?anciens vestiges, forêts primaires, fossiles de mammouths et ruines, l?explorateur est accompagné par un mystérieux nuage de fumée rouge.


Anton Ginzburg is a New York?based artist and filmmaker who uses an array of historical and cultural references as starting points for his investigations into art?s capacity to penetrate layers of the past. Born in 1974 in Saint Petersburg, Russia, Ginzburg received a classical arts education before immigrating to the United States in 1990. He earned a BFA from Parsons The New School for Design in 1997 and is currently working on his MFA degree at Bard College. His art has been shown at the 54th Venice Biennale, Lille3000, Palais de Tokyo, the San Francisco Museum of Modern Art, White Columns, the first and second Moscow Biennales, and the Smithsonian Cooper-Hewitt, National Design Museum. His work is represented in the permanent collections of the San Francisco Museum of Modern Art and the Moscow Museum of Modern Art, as well as in private collections around the world.

Catalogue : 2014Pan | Film expérimental | 16mm | couleur | 5:45 | USA | 2014
Anton ginzburg
Pan
Film expérimental | 16mm | couleur | 5:45 | USA | 2014

The film Pan (2014) by Anton Ginzburg, explores the genealogy and interactions of reproduction technologies from 16mm film to video formats. It examines variations of the mechanical gaze and its disembodiment in relation to the architectural representation and historical context. The hybrid aura offers an interplay and reconsideration of temporal and spatial relationships.

Anton Ginzburg is a New York–based artist and filmmaker who uses an array of historical and cultural references as starting points for his investigations into art’s capacity to penetrate layers of the past and reflect on the contemporary experience. Born in 1974 in Saint Petersburg, Russia, Ginzburg received a classical arts education before immigrating to the United States in 1990. He earned a BFA from Parsons The New School for Design in 1997 and MFA degree from Bard College, Milton Avery Graduate School of Arts, Annandale-on-Hudson, New York. His art has been shown at the fifty-fourth Venice Biennale, Blaffer Art Museum at the University of Houston, Palais de Tokyo in Paris, the San Francisco Museum of Modern Art, White Columns in New York, Lille3000 in Euralille, France, the first and second Moscow Biennales, and the Cooper-Hewitt, Smithsonian Design Museum in New York. His work is represented in the permanent collections of the San Francisco Museum of Modern Art and the Moscow Museum of Modern Art, as well as in private collections around the world.

Catalogue : 2016Turo | Fiction expérimentale | hdv | couleur | 35:0 | USA | 2016
Anton ginzburg
Turo
Fiction expérimentale | hdv | couleur | 35:0 | USA | 2016

“Turo” is a film exploring post-Soviet geography and Constructivist architecture. It is made up four chapters and an introduction-index. Each chapter is exploring a different Constructivist building as a stage for past utopias. The buildings are landmarks of Soviet modernism: Melnikov House (architect Konstantin Melnikov), Narkomfin Building (architect Moisei Ginzburg), ZIL (Automobile factory designed by Vesnin brothers) and also recording of a “ghost mode” of a video game exploring ruins of Pripyat’ (Soviet town affected by Chernobyl catastrophe) featuring unrealized Tatlin’s Tower. Since a lot of Constructivist projects were never realized and existed as potential designs, they are placed into the virtual environments of the video game, positioning utopia within dystopia. It’s an atemporal collective territory, where past dreams coincide with current consumer culture. Modernity could be interpreted as an updated Babel Tower project where the universal tongue would have been imposed over the rest of the world. It still resonates deeply with contemporary culture, but today it exists as an archive of ruins, the record of fragmentation. Exploring various methods of representation the video’s structure combines cinematic approach with layering and digital abstraction. Each part of the film is a metaphorical tower that gets deconstructed throughout the duration of the chapter. Some parts are direct cinematic narratives, like an enormous blaze, while others show use projected images, deconstruction of an image and shaping its potential meanings on the basis of technological reproduction.

Anton Ginzburg is a New York–based artist and filmmaker who uses an array of historical and cultural references as starting points for his investigations into art’s capacity to penetrate layers of the past and reflect on the contemporary experience. Born in 1974 in Saint Petersburg, Russia, Ginzburg received a classical arts education before immigrating to the United States in 1990. He earned a BFA from Parsons The New School for Design and MFA degree from Bard College (Milton Avery Graduate School). His art has been shown at the 54th Venice Biennale, Blaffer Art Museum, Lille3000, Palais de Tokyo in Paris, the San Francisco Museum of Modern Art, White Columns, the first and second Moscow Biennales, and the Smithsonian Cooper-Hewitt, National Design Museum. Screenings included IFFR, NYFF/Projections, Les Rencontres Internationales Moscow International Film Festival, Arkipel/Jakarta, Exis/Korea and Images/Toronto.

Catalogue : 2017Birobidzhan Atlas | Film expérimental | hdv | couleur | 21:22 | USA | 2017
Anton ginzburg
Birobidzhan Atlas
Film expérimental | hdv | couleur | 21:22 | USA | 2017

"Birobidzhan Atlas" is a film exploring Jewish Autonomous Region, an area that is located in the Far East of the Russian Federation. Founded by the Soviet government in 1934, the Jewish Autonomous Region became an official self-determined Jewish entity long before the establishment of the State of Israel. The landscape had a harsh geography and climate: it was mountainous, covered with virgin forests of oak, pine and cedar, and also swamplands festering with mosquitoes, and any new settlers would have to build their lives from scratch in this underpopulated region on the border of contested Manchuria. Birobidzhan is a town and the administrative center of the Jewish Autonomous Region, Russia, located on the Trans-Siberian Railway, close to the border with China. It is named after the two rivers: the Bira and the Bidzhan, which are tributaries of the Amur. The city was planned by the second director of Bauhaus, Swiss architect Hannes Meyer, and established in 1931. Birobidzhan Atlas employs Aby Warburg’s method of “ montage-collision ”, to build a representation of the area through combination of historical archives and documentation of today’s landscape, the relationship between the utopian and the represented landscape.

Anton Ginzburg (b. 1974, St. Petersburg, Russia) is a New York-based artist and filmmaker, investigating historical narratives and poetic studies of place, representation, and post-Soviet identity. He earned a BFA from The New School for Social Research and MFA degree from Bard College, Milton Avery Graduate School of Arts, Annandale-on-Hudson, New York. His work has been shown at the 54th Venice Biennale, the Blaffer Art Museum at the University of Houston, Southern Alberta Art Gallery in Canada, Palais de Tokyo in Paris, the San Francisco Museum of Modern Art, White Columns in New York, Lille 3000 in Euralille, France, and the first and second Moscow Biennales. His films have been screened at the Whitechapel Gallery in London, Rotterdam International Film Festival (IFFR), Dallas Symphony Orchestra, Nasher Sculpture Center in Dallas, Les Rencontres Internationales in Paris, Haus der Kulturen der Welt in Berlin and New York Film Festival/Projections among others.