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Armando lulaj
Catalogue : 2011IT WEARS AS IT GROWS | Film expérimental | hdcam | couleur et n&b | 18:23 | Albanie | 2011
Armando lulaj
IT WEARS AS IT GROWS
Film expérimental | hdcam | couleur et n&b | 18:23 | Albanie | 2011

It Wears as it Grows is a story about paranoia, dictatorship and nowadays corruption. All begins on 25th May 1959, at the height of the Cold War, when Nikita Khrushchev visited Albania. Soviet plans to arm Enver Hoxha`s state with submarines and warships, positioning long and medium-range missiles along the Albanian coast, were devised to counter the U.S. missile bases installed in Italy in order to control the Mediterranean. A large number of young Albanian sailors took part in military training under the Soviet army. In 1963, after the break in relations with the USSR, the Albanian navy, in paranoiac fear of enemy attacks, sighted an object that repeatedly appeared and vanished in the sea off the coast at Patok. Believing it to be a submarine, they fired. The object was in fact a Cachalot (Physeter catodon L), the Mediterranean sperm whale. After being recovered, its remains were displayed in the Museum of Natural History in Tirana, where it can still be found. After all, in 2011 the object reappears in the streets of Tirana and like a ghost it wonders around the city, then to be enclosed inside the "Piramida", Hoxha?s mausoleum in Tirana, that was built in 1987. This pyramid-shaped structure was designed by the daughter and son-in-law of the late Albanian communist leader Enver Hoxha to glorify his figure and create an eternal monument like the pyramids of the Egyptian pharaohs. The museum was closed with the ending of communist regime in 1992. Among other activities during the 1999 Kosovo War, the mausoleum was used as a base by NATO and a number of international humanitarian organisations. Gradually stripped of its marble cladding and now abandoned, the 17,000 square metre complex will be destroyed so that the new Albanian parliament can be built on the site.

Born in 1980 in Tirana, Albania. He lives and works in Tirana. ?Writer of plays, texts on risk territory and film author, producer of conflict images, Armando Lulaj is a lucid and disrespectful analyst of the dispositive and mechanisms of power hidden backstage of the international claimed forms. He has no desire to rivendicate the context of local belonging; rather, he is orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context?. In 2003 he founded the Debatikcenter of Contemporary Art. Debatikcenter is a debate centre who wants to analyze the recent changes in contemporary society. Recently, Debatikcenter has become more of a centre for film production run by Armando and his sister Anola Lulaj. Armando Lulaj has participated in exhibitions such as: The Prague Biennial (2003, 2007), Tirana Biennial (2005), the Albanian Pavilion in the 52 Venice Biennial (2007), the 4th Gothenburg Biennale (2007), the 8th Baltic Biennial of Contemporary Art, Szczecin, Poland (2009), the 6th Berlin Biennial (2010). Among other residency programs we can mention IASPIS (2010). (Marco Scotini)

Catalogue : 2013NEVER | Documentaire | hdv | | 22:0 | Albanie | 2013
Armando lulaj
NEVER
Documentaire | hdv | | 22:0 | Albanie | 2013

44 years after the name of Albania?s dictator was painted on the Shpirag mountain, a group of villagers take the effort to climb the mountain and change the letters by overwriting a new word, referring to the past dictatorship and the current government.

Born in Tirana Albania, 1980. Writer of plays, texts on risk territory, film author and producer of conflict images, Armando Lulaj is a lucid and disrespectful analyst of the dispositive and mechanisms of power hidden backstage of the international claimed forms. He has no desire to rivendicate the context of local belonging; rather, he is orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context?. In 2003 he founded the Debatikcenter of Contemporary Art (DCCA) to analyze the recent changes in contemporary society. Recently, Debatikcenter (DCPD) has become more of a centre for film production. Armando Lulaj has participated in exhibitions such as: The Prague Biennial (2003, 2007), Tirana Biennial (2005), the Albanian Pavilion in the 52 Venice Biennial (2007), the 4th Gothenburg Biennale (2007), the 8th Baltic Biennial of Contemporary Art, Szczecin, Poland (2009), the 6th Berlin Biennial (2010) and the 63` Berlinale Film Festival (2013). His work is present in important public and private collections.

Catalogue : 2015Recapitulation | Film expérimental | hdv | couleur et n&b | 13:0 | Albanie | Italie | 2015
Armando lulaj
Recapitulation
Film expérimental | hdv | couleur et n&b | 13:0 | Albanie | Italie | 2015

On December 23, 1957, at 11:10 AM, a US Lockheed T-33 Shooting Star aircraft flown by Major Howard J. Curran left Chateauroux, France, heading for Naples, Italy. Above Turin, the aircraft radio failed and after hitting bad weather with strong winds, the plane veered off its flight path to end up, by mistake, in the sovereign airspace of the People`s Republic of Albania. At 1:28 PM, the intruder was intercepted by the Albanian Air Force Command, which instantly ordered two MiG-15 fighter jets to take off and identify it. By 3:50 PM, the fighters reported that they had spotted the intruder in the area around Rinas Airport, flying at 500-650 km/hr at an altitude of 150-200 m. Prompt countermeasures were taken. The airplane was forced to land and, to keep it from taking off again, the airport was locked down.

Born in 1980 in Tirana, Albania, Armando Lulaj is a writer of plays, texts on risk territory, film author, and producer of conflict images, orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context. Exhibitions include the Prague Biennial (2003; 2007), Tirana Biennial (2005), 4th Gothenburg Biennale (2007), the 6th Berlin Biennial (2010), the 63rd Berlinale International Film Festival (2013) and the 56th Venice Biennale - Albanian Pavilion (2015).

Henrik lund jÖrgensen
Catalogue : 2015The Recruitment (And Escape) Of A Plastic Soldier | Vidéo | 4k | couleur | 10:15 | Danemark | Suède | 2015
Henrik lund jÖrgensen
The Recruitment (And Escape) Of A Plastic Soldier
Vidéo | 4k | couleur | 10:15 | Danemark | Suède | 2015

With references to landscape painting from the Romantic era and to silent film Henrik Lund Jørgensen draws inspiration from the works of the Danish film maker Carl Th. Dreyer in the making of his new video The Recruitment (And Escape) Of A Plastic Soldier (2015). In a cinematic language a narrative arises that exchange concepts as recruitment and flight and for whom it concerns. 

Henrik Lund Jørgensen received his Master’s degree in Fine Arts in 2005 at the Malmö Art Academy, where he also lives and works today. In addition, he has a Bachelor’s degree in photography and a Master’s degree in film. In recent years, he has taught in the Master’s Programme Cinematic processes at Valand Academy of Film at Gothenburg University. Lund Jørgensen has exhibited both in Sweden and internationally, including at the Kunstmuseum Bonn, Kunsthalle Rostock, Museum Kunst der Westküste (DE), Kiasma (Helsinki), Norrtälje Konsthall, Scandinavia House (New York), The Hirschsprungske Collection (Copenhagen) and at the Atelier Nord ANX (Oslo) and was recently a grant holder at the Iaspis program in Stockholm.

Cecilia lundqvist
Catalogue : 2013The Quiet Game Starts Now | Vidéo | hdv | couleur | 5:47 | Suède | 2012
Cecilia lundqvist
The Quiet Game Starts Now
Vidéo | hdv | couleur | 5:47 | Suède | 2012

The animated video The Quiet Game Starts Now (Tysta leken börjar nu) is a satire about the current escalation of self-absorption. Two women meet in a conversation, which from the start is a one-way communication, with one dominating party. After a while there is a shift in power and the silence grows stronger and starts to speak.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm, Sweden. Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. Over 30 videoworks have been created between 1994 and 2014, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Catalogue : 2015Tilt | Animation | hdv | couleur | 5:6 | Suède | 2014
Cecilia lundqvist
Tilt
Animation | hdv | couleur | 5:6 | Suède | 2014

The animated video "Tilt" describes a deep relation that is abruptly broken up and as a result, the existing life is turned into ruin. The video is a contemplation of a human being’s inability to comprehend its own transience.

Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours.
My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Catalogue : 2017En av dem (One of them) | Animation | hdv | couleur | 1:53 | Suède | 2017
Cecilia lundqvist
En av dem (One of them)
Animation | hdv | couleur | 1:53 | Suède | 2017

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Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Catalogue : 2010Eternal Start | Art vidéo | | couleur | 3:16 | Suède | 2010
Cecilia lundqvist
Eternal Start
Art vidéo | | couleur | 3:16 | Suède | 2010

The video is a description of two people who are situated in an constant state of present, where the past is continuously fading and the future seems unreachable. It appears as if the woman and the man are unaware of their situation, which amplifies the sense of meaninglessness. "Eternal Start" illustrates a relationship where everything is routine, and every day is the same. Eternity becomes a reflection of a life without meaning, in which they are unable to change their accustomed behaviour. They converse like a record that is stuck, and never gets the chance to develop. The video highlights and gives insight to the importance of having the ability to make new memories, so that life can go on.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm, Sweden. Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. Around 30 videoworks have been created between 1994 and 2010, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Catalogue : 2005Power Play | Art vidéo | dv | noir et blanc | 10:55 | Suède | 2004
Cecilia lundqvist
Power Play
Art vidéo | dv | noir et blanc | 10:55 | Suède | 2004

Power Play est une vidéo d'animation, comprenant dix différentes scènes dans lesquelles deux hommes se font compétition, à travers leur virilité, qu'ils exagèrent, et l'utilisation de différents attributs, dans une série d'actes sans queue ni tête.La vidéo commente et ridiculise clairement les stéréotypes que les deux personnages emploent dans leur conversation d'homme à homme, les coutumes qui sont généralement établies dans la culture occidentale. Le film s'intéresse à ce jeu d'actes, pour montrer clairement au spectateur à quel point ce comportement est dépourvu de sens.Quand l'?uvre est présentée en galerie, un contrepied, spectateur de la vidéo, est installé. Dans cette autre vidéo, qui contient seulement une scène, une femme complètement, qui s'ennuie profondément, regarde les hommes dans leur performance.


Cecilia Lundqvist est née à Eskilstuna en Suède. À la base ingénieur, elle a changé de carrière en 1991 pour s?orienter dans les arts et depuis 1994, elle travaille sur des vidéos animées qui furent projetées à plusieurs occasion partout dans le monde. Elle est représentée, par exemple, au Museum of Art de Stockholm et au Centre G?rges Pompidou de Paris avec de ses ?uvres vidéos. Sa formation artistique commence dès 1991, où elle va à la Gotland Art School jusqu?en 1993. L?année suivante elle suivra des cours au Birkag?rden Art Department de Stockholm. Pendant cinq ans, jusqu?en 99, Cecilia Lundqvist étudie au University College off Arts, dans le département de Crafts and Design et Art à Stockholm. Elle parachève ensuite da formation au Royal College of Art, dans le département vidéo. Aujourd?hui, elle travaille et vit à Stockholm et à Londres.

Catalogue : 2006Making Pancakes | Animation | dv | noir et blanc | 4:58 | Suède | 2005
Cecilia lundqvist
Making Pancakes
Animation | dv | noir et blanc | 4:58 | Suède | 2005

Making Pancakes est une vidéo d'animation qui montre un homme et une femme engagés dans une relation totalement déséquilibrée. Parfois, on assiste à ce qui ressemble à des événements ordiaires, et d'autres fois ils sont dans des situations plus menaçantes. L'homme se complaît dans l'autosatisfaction et pourtant il émane de lui une incertitude et un désir de reconnaissance. La femme est comme engourdie par la routine et fait tout ce qu'elle peut pour maintenir les apparences. En renversant la situation et en transposant les violences domestiques à l'extérieur du domicile, où elles sont visibles, alors qu'à l'intérieur du domicile il s'agit de maintenir une apparence parfaite, on montre l'absurdité de ce comportement. Les erreurs insignifiantes que la femme commet en préparant le dîner agissent comme un catalyseur des actes de violence, elles sont les gouttes d'eau qui font déborder le vase.


Catalogue : 2008Oh, I'm So Happy | Art vidéo | dv | noir et blanc | 3:7 | Suède | 2008
Cecilia lundqvist
Oh, I'm So Happy
Art vidéo | dv | noir et blanc | 3:7 | Suède | 2008

« Oh, I'm So Happy » est une vidéo d?animation où nous rencontrons une femme d'âge moyen qui vit dans un isolement total et, par conséquent, dans une extrême solitude. La femme récite un monologue, dans lequel elle fait de son mieux pour nous convaincre qu?elle est heureuse et contente de sa situation actuelle. Cependant, sa tentative est totalement superficielle et transparente.


Cecilia Lundqvist est née en 1971 à Eskilstuna (Suède) ; elle vit et travaille actuellement à Stockholm (Suède). Durant son éducation artistique, elle a fréquenté l'Université des Arts de Stockholm (Département de l?Artisanat, du Design et de l?Art, 1994-99) et l?Université Royale des Arts de Stockholm (troisième cycle, 1999/00). Elle se spécialise aujourd?hui dans l'animation et, depuis 1994, elle a travaillé presque exclusivement avec la vidéo. Ses ?uvres vidéo ont été projetées dans de nombreux musées et galeries, ainsi que dans des festivals du monde entier comme le Centre Pompidou ou le Moderna Museet de Stockholm.

Catalogue : 2009Area of Use | Animation | dv | noir et blanc | 5:12 | Suède | 2009
Cecilia lundqvist
Area of Use
Animation | dv | noir et blanc | 5:12 | Suède | 2009

The video Area of Use is an illustration of a housewife?s inner thoughts about alternative ways of using her most common working tools. It is also a manifestation of a sealed existence that exposes a mind which gives a sense of being trapped in a treadmill.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm, Sweden. Artistic education: 1999-00 Royal University Collage of Art, Postgraduate, Stockholm, Sweden 1994-99 University Collage of Arts, Crafts and Design, Art Department, Stockholm, Sweden Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. Around 25 videoworks have been created between 1994 and 2009, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Johann lurf
Catalogue : 2013RECONNAISSANCE | | | | 5:0 | Autriche | 2012
Johann lurf
RECONNAISSANCE
| | | 5:0 | Autriche | 2012

In silent shots, Lurf offers a clip-like depiction of the Morris Reservoir near the Californian city of Azusa?a huge reservoir, which long served as a testing site for torpedoes , or rather, underwater warfare. RECONNAISSANCE targets details of the terrain in a seemingly motionless way, to unfold a subtle play with light and movement within this ?framing.? First is a stone wall on which the incidence of light begins to oscillate almost imperceptibly. Then come parts of the dam, ramp-like concrete colossi, obstructed sections of road, underground shafts; and also medium shots of the surroundings?all sublimely alienated. One alienating effect is the partially abrupt, and partially barely perceptible change of light. The other, much more ghostly, is the sliding movement of individual areas of the landscape or the building.

Born in Vienna in 1982. Since 2002 he has studied at Vienna´s Academy of Fine Arts. 2009 diploma at Harun Farocki´s filmclass.

Johann lurf
Catalogue : 2015Embargo | Vidéo | hdv | | 10:0 | Autriche | 2014
Johann lurf
Embargo
Vidéo | hdv | | 10:0 | Autriche | 2014


Born in 1982 in Vienna Johann Lurf has studied at the Academy of Fine Arts in Vienna and the Slade School of Art in London. He graduated from Harun Farocki’s film class in 2009. He received the State Grant of Austria for Video- and Media Art and participated in the Artist-in-Residence Programs at the MAK Center for Arts and Architecture in Los Angeles 2011 and at the SAIC in Chicago 2015. His works have been internationally shown and awarded in numerous exhibitions and festivals.

Dimitri lurie
Catalogue : 2012Refraction | | | couleur | 3:40 | Norvège | 2011
Dimitri lurie
Refraction
| | couleur | 3:40 | Norvège | 2011

"The work is a study on Refraction of light and sensations in a prism of the artist memories imprinted on Super8-mm film. Here black and white urban dreamlike scenes refract into restraint colors of the pristine northern landscape and pulsate in the rhythms and prophetic mutterings of a reggae guru."

Film and video artist, director and photographer. Head of the DodoFilm production company. Curator of the international art project ?Cultural Transit?. Member of the Norwegian film workers association - Norsk Filmforbund. Dimitri Lurie is a representative of the European art film community and has a particular poetic voice. His credo is to experiment with the visual nature of film and its atmosphere rather then direct storytelling. Dimitri has made more than twenty documentaries, short and experimental films along with various video art projects. Lurie?s photographs, video and film works are shown internationally at various film festivals and art exhibitions and have been marked with various prizes and awards.

Jaime lutzo
Catalogue : 2007THE LAST GIFT | Art vidéo | dv | couleur | 14:0 | USA | 2007
Jaime lutzo
THE LAST GIFT
Art vidéo | dv | couleur | 14:0 | USA | 2007

"The Last Gift" est un ensemble très construit de divers récits biographiques. Huit textes écrits par l'artiste décrivent les souvenirs intimes d'amis et d'étrangers. A travers des moyens à la fois voyeuristes et expérimentaux, les vidéos ouvrent les textes à de nouvelles interprétations. On demande à des volontaires de jouer les habitudes des personnages de chaque histoire, tandis que les narrateurs se font les voix d'expériences sans cesse racontées. Couvrant différents lieux, de Motor City à la capital européenne imaginée par Hitler, les actions se répètent.


Jaime Lutzo est né en 1981 à Los Angeles. Depuis dix ans, il réalise des courts- métrages et des installations vidéos dans lesquelles la représentation est subvertie pour révéler des niveaux plus denses de sens métaphorique et philosophique. Dans ses vidéos, des paysages mélancoliques et des performances gestuelles se mêlent à une partition électronique conceptuelle pour former un cinéma visuellement riche et novateur. Cet artiste multimédia basé à Brooklyn, qui fut un résident au Palais de Tokyo, à Paris, de 2006 à 2007, a montré son oeuvre aux Etats-Unis, en France et en Inde.

Bernd lÜtzeler
Mikhail lylov, elke marhöfer
Catalogue : 2011Pass The Time | Fiction | hdv | couleur | 13:51 | Russie | Lituanie | 2011
Mikhail lylov , elke marhöfer
Pass The Time
Fiction | hdv | couleur | 13:51 | Russie | Lituanie | 2011

Since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past. ... Time consists of this split. G. Deleuze when we first met I was 20 years old... 00:07:29,752 --> 00:07:32,027 Vittoria from "L`eclisse" by M. Antonioni Nida is a small place situated at the Baltic`s coast of Lithuania, a former resort for soviet nomenklatura with peaceful sceneries and beautiful sand beaches. Despite the fact that nomenklatura has disappeared with the break of Soviet Union, idyll images of leisure still could be captured there. Post-soviet conditions, with it`s visually obvious overlapping of past and present, create a temporal paradox of constant deja vu. Probably this makes the local `actual` to become a glimmering instantiation of the most fundamental operation of time: a persistence of past which makes each present pass on. Images of past (modernist architecture of the rest house) and images of present (shots from the city center area) are juxtaposed to each other like virtuality and actuality, documenting and staging, acting for a camera and mundane activity. The 70`s architecture of anticipation of the future meets present in a figure of a video camera.

Mikhail Lylov Born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow and was developing personal artistic practice as well as participating in collaborative projects. In 2010 moved to Goteborg, Sweden to finish MA in arts. Live and work in Goteborg. Paul Hage Boutros Born in 1982 in Lebanon, Beirut. Studied Mechanical Engineer in American University of Beirut. Worked and developed own practice with video and mixed media; since 2006 I?ve been  producing several art works in collaboration with other artists. In 2010 moved to Goteborg, Sweden to finish MFA. Participated in sdifferent group exhibition between Sweden and Lebanon. Lives and works in Goteborg.

Catalogue : 2014Shape Shifting | Doc. expérimental | 16mm | couleur | 18:26 | Russie | Japon | 2014
Mikhail lylov , elke marhöfer
Shape Shifting
Doc. expérimental | 16mm | couleur | 18:26 | Russie | Japon | 2014

Granting culture to the nonhuman world, the film “Shape Shifting” outlines a cartography of a particular landscape. A landscape, which can be found in many parts of Asia and in Japan is called “satoyama”, literally meaning “space between village and mountain”. This landscape is a membrane constructed by exchanges and encounters between non-human and human life. The agricultural and forestry productivity of this landscape is based on the increase of biodiversity of the ecosystem. The more collaborations between the species and the cycles of materials are created—the more stable ecosystem can be formed.

Mikhail Lylov was born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow, where developed interdisciplinary approach to his films, installations and performances which deconstruct traditional figures of knowledge and subject. In 2010 moved to Goteborg, Sweden to finish MA in arts. In 2013-14 participated in the Le Pavillon programme at Palais De Tokyo. Lives and works in Berlin. Elke Marhöfer was born in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from courtisane film festival, Ghent (Belgium) and Images Film Festival, Toronto (Canada), IASPIS Residency (Sweden), Akademie Schloss Solitude (Germany), Whitney Independent Study Program (US), Cité des Art International Paris (France). Art exhibitions include the FCAC Shanghai (China), Houston Museum of Fine Arts (US), Röda Sten Gothenburg (Sweden), Guangzhou Triennial (China) and in Germany the Museum für Gegenwartskunst Siegen, Sprengel Museum Hannover, Halle 14 Leipzig, Museum Morsbroich Leverkusen.

Catalogue : 2015Primate Colors | Doc. expérimental | 16mm | couleur | 30:57 | Russie | Hong Kong | 2015
Mikhail lylov , elke marhöfer
Primate Colors
Doc. expérimental | 16mm | couleur | 30:57 | Russie | Hong Kong | 2015

Primate Colors traces humans and nonhumans joined in the flows of capital. It inquires into the life of Chungking Mansions, shuttle traders and commerce objects, which connect Hong Kong and the Pearl River Delta with Nairobi, Djibouti, Rotterdam and Elba. The film pursues and accelerates certain methods of ethnographic and anthropological filmmaking, although not explaining people’s actions, beliefs or norms. Instead it chooses to focus on affective components of events and actions. No claims are made about the life of others. To film and to follow affects does not mean to represent an idea or a subject in a narrative of contradictions, it rather asks to be mesmerized by materiality, by the forces of the running camera and the movement of things. When recording the capitalist reality of hyper-exploitation of human and nonhuman resources, one finds one’s own conditions not in the relations of production, but in disgraced facts, neglected aspects and ridiculed signs. Therefrom reality is understood as fundamentally strange, and filming becomes a form of assembling the bewildering and the obscure. Such a mode of filmmaking follows different grades of speed, light, temperature, rotation, friction, fall-off. The approach brings forth perceptions that emerge in relation to an environment, a territory or a color. In turn, images cannot be understood as exclusively belonging to human life, or culture, but are seen as produced and perceived constantly and everywhere by nonhumans and humans alike. Akin to crystals or snowflakes, which produce geometric configurations in response and in connection to their surroundings, images have their own experiences.

Elke Marhöfer: Born in the year of the goat in Baracoa/Cuba, Elke Marhöfer lives and works in Berlin. Via the potentialities of moving image and suppositious writing she works with notions of self-admitted foreignness and radical othering, revising notions of animals, vegetables and matter. Linking for example, the nonhuman with the postcolonial she discusses how nature cuts across notions of ‘history’ or ‘context,’ being simultaneously situated and at the same time continuously surpassing and escaping somewhat formatting. Her films tests inhuman perspectives, transducing a technology like the camera, from a human cultural and technical device into an extension of the intensive forces within the environment. Avoiding the enticements of a voice-over commentary or interviews, mastering or fracturing a subject, her films give space to a splintered narrative, and a disunited audiovisuality. They suggest rather a mode of place; an unfolding of what anyhow expresses itself, so that to film is to find form immanent to the situated action. She studied Fine Art at the University of the Arts in Berlin and spent a year at the School of the Art Institute in Chicago and at the Whitney Independent Study Program in New York City. Currently she pursues a PhD at the University of Gothenburg. Her films have been screened at the Berlinale Internationale Filmfestspiele Berlin, International Film Festival Rotterdam, Courtisane Festival Ghent and Images Film Festival Toronto. She received fellowships, grants, and generous support from IASPIS Residency Sweden, Akademie Schloss Solitude Stuttgart, Cité Internationale des Arts, Paris. Her art exhibitions include the Palais de Tokyo Paris, Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, NGBK Berlin, Kunstverein Hannover, Museum für Gegenwartskunst Siegen and The Showroom, London. Mikhail Lylov: Born 1989 in Voronezh/Russia, Mikhail Lylov is an independent artist and curator, he lives in Berlin. He worked in Moscow until 2010, where he developed non-disciplinary methods in his films, installations, performances and writings. His works establish or discuss the situations in which economic and knowledge models are questioned, renegotiated or rendered useless. Lylov’s work investigates a genealogy of the divide between mental and material in different contexts, especially labor and anthropology. On the affirmative side, his work looks for situations in which concepts become sensually available forms, or knowledge becomes a matter of perception. Mikhail Lylov’s projects were supported by Le Pavillon program at Palais De Tokyo in Paris, Cité Internationale des Arts, Paris, Berlinale Internationale Filmfestspiele Berlin and Houston Museum of Fine Arts.

Mikhail lylov, marhoefer elke
Catalogue : 2011Pass The Time | Fiction | hdv | couleur | 13:51 | Russie | Lituanie | 2011
Mikhail lylov , marhoefer elke
Pass The Time
Fiction | hdv | couleur | 13:51 | Russie | Lituanie | 2011

Since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past. ... Time consists of this split. G. Deleuze when we first met I was 20 years old... 00:07:29,752 --> 00:07:32,027 Vittoria from "L`eclisse" by M. Antonioni Nida is a small place situated at the Baltic`s coast of Lithuania, a former resort for soviet nomenklatura with peaceful sceneries and beautiful sand beaches. Despite the fact that nomenklatura has disappeared with the break of Soviet Union, idyll images of leisure still could be captured there. Post-soviet conditions, with it`s visually obvious overlapping of past and present, create a temporal paradox of constant deja vu. Probably this makes the local `actual` to become a glimmering instantiation of the most fundamental operation of time: a persistence of past which makes each present pass on. Images of past (modernist architecture of the rest house) and images of present (shots from the city center area) are juxtaposed to each other like virtuality and actuality, documenting and staging, acting for a camera and mundane activity. The 70`s architecture of anticipation of the future meets present in a figure of a video camera.

Mikhail Lylov Born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow and was developing personal artistic practice as well as participating in collaborative projects. In 2010 moved to Goteborg, Sweden to finish MA in arts. Live and work in Goteborg. Paul Hage Boutros Born in 1982 in Lebanon, Beirut. Studied Mechanical Engineer in American University of Beirut. Worked and developed own practice with video and mixed media; since 2006 I?ve been  producing several art works in collaboration with other artists. In 2010 moved to Goteborg, Sweden to finish MFA. Participated in sdifferent group exhibition between Sweden and Lebanon. Lives and works in Goteborg.

Catalogue : 2014Shape Shifting | Doc. expérimental | 16mm | couleur | 18:26 | Russie | Japon | 2014
Mikhail lylov , marhoefer elke
Shape Shifting
Doc. expérimental | 16mm | couleur | 18:26 | Russie | Japon | 2014

Granting culture to the nonhuman world, the film “Shape Shifting” outlines a cartography of a particular landscape. A landscape, which can be found in many parts of Asia and in Japan is called “satoyama”, literally meaning “space between village and mountain”. This landscape is a membrane constructed by exchanges and encounters between non-human and human life. The agricultural and forestry productivity of this landscape is based on the increase of biodiversity of the ecosystem. The more collaborations between the species and the cycles of materials are created—the more stable ecosystem can be formed.

Mikhail Lylov was born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow, where developed interdisciplinary approach to his films, installations and performances which deconstruct traditional figures of knowledge and subject. In 2010 moved to Goteborg, Sweden to finish MA in arts. In 2013-14 participated in the Le Pavillon programme at Palais De Tokyo. Lives and works in Berlin. Elke Marhöfer was born in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from courtisane film festival, Ghent (Belgium) and Images Film Festival, Toronto (Canada), IASPIS Residency (Sweden), Akademie Schloss Solitude (Germany), Whitney Independent Study Program (US), Cité des Art International Paris (France). Art exhibitions include the FCAC Shanghai (China), Houston Museum of Fine Arts (US), Röda Sten Gothenburg (Sweden), Guangzhou Triennial (China) and in Germany the Museum für Gegenwartskunst Siegen, Sprengel Museum Hannover, Halle 14 Leipzig, Museum Morsbroich Leverkusen.

Catalogue : 2015Primate Colors | Doc. expérimental | 16mm | couleur | 30:57 | Russie | Hong Kong | 2015
Mikhail lylov , marhoefer elke
Primate Colors
Doc. expérimental | 16mm | couleur | 30:57 | Russie | Hong Kong | 2015

Primate Colors traces humans and nonhumans joined in the flows of capital. It inquires into the life of Chungking Mansions, shuttle traders and commerce objects, which connect Hong Kong and the Pearl River Delta with Nairobi, Djibouti, Rotterdam and Elba. The film pursues and accelerates certain methods of ethnographic and anthropological filmmaking, although not explaining people’s actions, beliefs or norms. Instead it chooses to focus on affective components of events and actions. No claims are made about the life of others. To film and to follow affects does not mean to represent an idea or a subject in a narrative of contradictions, it rather asks to be mesmerized by materiality, by the forces of the running camera and the movement of things. When recording the capitalist reality of hyper-exploitation of human and nonhuman resources, one finds one’s own conditions not in the relations of production, but in disgraced facts, neglected aspects and ridiculed signs. Therefrom reality is understood as fundamentally strange, and filming becomes a form of assembling the bewildering and the obscure. Such a mode of filmmaking follows different grades of speed, light, temperature, rotation, friction, fall-off. The approach brings forth perceptions that emerge in relation to an environment, a territory or a color. In turn, images cannot be understood as exclusively belonging to human life, or culture, but are seen as produced and perceived constantly and everywhere by nonhumans and humans alike. Akin to crystals or snowflakes, which produce geometric configurations in response and in connection to their surroundings, images have their own experiences.

Elke Marhöfer: Born in the year of the goat in Baracoa/Cuba, Elke Marhöfer lives and works in Berlin. Via the potentialities of moving image and suppositious writing she works with notions of self-admitted foreignness and radical othering, revising notions of animals, vegetables and matter. Linking for example, the nonhuman with the postcolonial she discusses how nature cuts across notions of ‘history’ or ‘context,’ being simultaneously situated and at the same time continuously surpassing and escaping somewhat formatting. Her films tests inhuman perspectives, transducing a technology like the camera, from a human cultural and technical device into an extension of the intensive forces within the environment. Avoiding the enticements of a voice-over commentary or interviews, mastering or fracturing a subject, her films give space to a splintered narrative, and a disunited audiovisuality. They suggest rather a mode of place; an unfolding of what anyhow expresses itself, so that to film is to find form immanent to the situated action. She studied Fine Art at the University of the Arts in Berlin and spent a year at the School of the Art Institute in Chicago and at the Whitney Independent Study Program in New York City. Currently she pursues a PhD at the University of Gothenburg. Her films have been screened at the Berlinale Internationale Filmfestspiele Berlin, International Film Festival Rotterdam, Courtisane Festival Ghent and Images Film Festival Toronto. She received fellowships, grants, and generous support from IASPIS Residency Sweden, Akademie Schloss Solitude Stuttgart, Cité Internationale des Arts, Paris. Her art exhibitions include the Palais de Tokyo Paris, Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, NGBK Berlin, Kunstverein Hannover, Museum für Gegenwartskunst Siegen and The Showroom, London. Mikhail Lylov: Born 1989 in Voronezh/Russia, Mikhail Lylov is an independent artist and curator, he lives in Berlin. He worked in Moscow until 2010, where he developed non-disciplinary methods in his films, installations, performances and writings. His works establish or discuss the situations in which economic and knowledge models are questioned, renegotiated or rendered useless. Lylov’s work investigates a genealogy of the divide between mental and material in different contexts, especially labor and anthropology. On the affirmative side, his work looks for situations in which concepts become sensually available forms, or knowledge becomes a matter of perception. Mikhail Lylov’s projects were supported by Le Pavillon program at Palais De Tokyo in Paris, Cité Internationale des Arts, Paris, Berlinale Internationale Filmfestspiele Berlin and Houston Museum of Fine Arts.

Mikhail lylov
Catalogue : 2011Pass The Time | Fiction | hdv | couleur | 13:51 | Russie | Lituanie | 2011
Mikhail lylov
Pass The Time
Fiction | hdv | couleur | 13:51 | Russie | Lituanie | 2011

Since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past. ... Time consists of this split. G. Deleuze when we first met I was 20 years old... 00:07:29,752 --> 00:07:32,027 Vittoria from "L`eclisse" by M. Antonioni Nida is a small place situated at the Baltic`s coast of Lithuania, a former resort for soviet nomenklatura with peaceful sceneries and beautiful sand beaches. Despite the fact that nomenklatura has disappeared with the break of Soviet Union, idyll images of leisure still could be captured there. Post-soviet conditions, with it`s visually obvious overlapping of past and present, create a temporal paradox of constant deja vu. Probably this makes the local `actual` to become a glimmering instantiation of the most fundamental operation of time: a persistence of past which makes each present pass on. Images of past (modernist architecture of the rest house) and images of present (shots from the city center area) are juxtaposed to each other like virtuality and actuality, documenting and staging, acting for a camera and mundane activity. The 70`s architecture of anticipation of the future meets present in a figure of a video camera.

Mikhail Lylov Born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow and was developing personal artistic practice as well as participating in collaborative projects. In 2010 moved to Goteborg, Sweden to finish MA in arts. Live and work in Goteborg. Paul Hage Boutros Born in 1982 in Lebanon, Beirut. Studied Mechanical Engineer in American University of Beirut. Worked and developed own practice with video and mixed media; since 2006 I?ve been  producing several art works in collaboration with other artists. In 2010 moved to Goteborg, Sweden to finish MFA. Participated in sdifferent group exhibition between Sweden and Lebanon. Lives and works in Goteborg.

Catalogue : 2014Shape Shifting | Doc. expérimental | 16mm | couleur | 18:26 | Russie | Japon | 2014
Mikhail lylov
Shape Shifting
Doc. expérimental | 16mm | couleur | 18:26 | Russie | Japon | 2014

Granting culture to the nonhuman world, the film “Shape Shifting” outlines a cartography of a particular landscape. A landscape, which can be found in many parts of Asia and in Japan is called “satoyama”, literally meaning “space between village and mountain”. This landscape is a membrane constructed by exchanges and encounters between non-human and human life. The agricultural and forestry productivity of this landscape is based on the increase of biodiversity of the ecosystem. The more collaborations between the species and the cycles of materials are created—the more stable ecosystem can be formed.

Mikhail Lylov was born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow, where developed interdisciplinary approach to his films, installations and performances which deconstruct traditional figures of knowledge and subject. In 2010 moved to Goteborg, Sweden to finish MA in arts. In 2013-14 participated in the Le Pavillon programme at Palais De Tokyo. Lives and works in Berlin. Elke Marhöfer was born in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from courtisane film festival, Ghent (Belgium) and Images Film Festival, Toronto (Canada), IASPIS Residency (Sweden), Akademie Schloss Solitude (Germany), Whitney Independent Study Program (US), Cité des Art International Paris (France). Art exhibitions include the FCAC Shanghai (China), Houston Museum of Fine Arts (US), Röda Sten Gothenburg (Sweden), Guangzhou Triennial (China) and in Germany the Museum für Gegenwartskunst Siegen, Sprengel Museum Hannover, Halle 14 Leipzig, Museum Morsbroich Leverkusen.

Catalogue : 2015Primate Colors | Doc. expérimental | 16mm | couleur | 30:57 | Russie | Hong Kong | 2015
Mikhail lylov
Primate Colors
Doc. expérimental | 16mm | couleur | 30:57 | Russie | Hong Kong | 2015

Primate Colors traces humans and nonhumans joined in the flows of capital. It inquires into the life of Chungking Mansions, shuttle traders and commerce objects, which connect Hong Kong and the Pearl River Delta with Nairobi, Djibouti, Rotterdam and Elba. The film pursues and accelerates certain methods of ethnographic and anthropological filmmaking, although not explaining people’s actions, beliefs or norms. Instead it chooses to focus on affective components of events and actions. No claims are made about the life of others. To film and to follow affects does not mean to represent an idea or a subject in a narrative of contradictions, it rather asks to be mesmerized by materiality, by the forces of the running camera and the movement of things. When recording the capitalist reality of hyper-exploitation of human and nonhuman resources, one finds one’s own conditions not in the relations of production, but in disgraced facts, neglected aspects and ridiculed signs. Therefrom reality is understood as fundamentally strange, and filming becomes a form of assembling the bewildering and the obscure. Such a mode of filmmaking follows different grades of speed, light, temperature, rotation, friction, fall-off. The approach brings forth perceptions that emerge in relation to an environment, a territory or a color. In turn, images cannot be understood as exclusively belonging to human life, or culture, but are seen as produced and perceived constantly and everywhere by nonhumans and humans alike. Akin to crystals or snowflakes, which produce geometric configurations in response and in connection to their surroundings, images have their own experiences.

Elke Marhöfer: Born in the year of the goat in Baracoa/Cuba, Elke Marhöfer lives and works in Berlin. Via the potentialities of moving image and suppositious writing she works with notions of self-admitted foreignness and radical othering, revising notions of animals, vegetables and matter. Linking for example, the nonhuman with the postcolonial she discusses how nature cuts across notions of ‘history’ or ‘context,’ being simultaneously situated and at the same time continuously surpassing and escaping somewhat formatting. Her films tests inhuman perspectives, transducing a technology like the camera, from a human cultural and technical device into an extension of the intensive forces within the environment. Avoiding the enticements of a voice-over commentary or interviews, mastering or fracturing a subject, her films give space to a splintered narrative, and a disunited audiovisuality. They suggest rather a mode of place; an unfolding of what anyhow expresses itself, so that to film is to find form immanent to the situated action. She studied Fine Art at the University of the Arts in Berlin and spent a year at the School of the Art Institute in Chicago and at the Whitney Independent Study Program in New York City. Currently she pursues a PhD at the University of Gothenburg. Her films have been screened at the Berlinale Internationale Filmfestspiele Berlin, International Film Festival Rotterdam, Courtisane Festival Ghent and Images Film Festival Toronto. She received fellowships, grants, and generous support from IASPIS Residency Sweden, Akademie Schloss Solitude Stuttgart, Cité Internationale des Arts, Paris. Her art exhibitions include the Palais de Tokyo Paris, Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, NGBK Berlin, Kunstverein Hannover, Museum für Gegenwartskunst Siegen and The Showroom, London. Mikhail Lylov: Born 1989 in Voronezh/Russia, Mikhail Lylov is an independent artist and curator, he lives in Berlin. He worked in Moscow until 2010, where he developed non-disciplinary methods in his films, installations, performances and writings. His works establish or discuss the situations in which economic and knowledge models are questioned, renegotiated or rendered useless. Lylov’s work investigates a genealogy of the divide between mental and material in different contexts, especially labor and anthropology. On the affirmative side, his work looks for situations in which concepts become sensually available forms, or knowledge becomes a matter of perception. Mikhail Lylov’s projects were supported by Le Pavillon program at Palais De Tokyo in Paris, Cité Internationale des Arts, Paris, Berlinale Internationale Filmfestspiele Berlin and Houston Museum of Fine Arts.

m+m
Catalogue : 2016Dienstag + Donnerstag | Installation vidéo | 16mm | couleur | 6:39 | Allemagne | 2015
m+m
Dienstag + Donnerstag
Installation vidéo | 16mm | couleur | 6:39 | Allemagne | 2015

M+M steht für die künstlerische Zusammenarbeit von Marc Weis, geb. 1965, und Martin De Mattia, geb. 1963. Das deutsch-luxembourgische Künstlerduo überschreitet in seinen Arbeiten die klassischen Gattungsgrenzen zwischen Film und Rauminstallation. Sie erhielten u.a. den Villa Massimo Preis Rom, das Stipendium Villa Aurora L.A oder den ADC Award. Einzelausstellungen fanden in den letzten Jahren statt u.a. im Museum für Fotografie, Berlin, im MAMBo - Museo d’Arte Moderna, Bologna, im Casino - Forum d’art Contemporain, Luxembourg, in der Galerie im Taxispalais, Innsbruck oder im Musée d’Art Contemporain, Montreal/Canada. Zudem waren sie in zahlreichen Gruppenausstellungen vertreten: u.a. Museum Folkwang, Essen, Biennale Venedig, Emscherkunst, Kunstmuseum Bonn, Neue Galerie, Graz, Haus der Kunst, München, Hamburger Kunsthalle.

Michael macgarry
Catalogue : 2016Excuse Me, While I Disappear | Fiction | hdv | couleur | 19:10 | Afrique du sud | Angola | 2015
Michael macgarry
Excuse Me, While I Disappear
Fiction | hdv | couleur | 19:10 | Afrique du sud | Angola | 2015

The film was shot on location in Kilamba Kiaxi, a new underpopulated city outside Luanda, Angola built by Chinese construction company CITIC and financed by Hong Kong-based China International Fund. The film follows a young municipal worker who lives by night in the old city centre of Luanda and works by day as a groundskeeper at the new city of Kilamba Kiaxi far away.

Michael MacGarry is a multi-award winning visual artist and filmmaker, having exhibited internationally for ten years including TATE Modern, Guggenheim Bilbao, 19th VideoBrasil, 62nd Short Film Festival Oberhausen, International Film Festival Rotterdam and Les Rencontres Internationales. He holds an MFA from the University of the Witwatersrand (2004). MacGarry has been researching narratives and histories of socio-economics, politics, forms and objects within the context of contemporary Africa for over a decade. Frequently focused on marking key registers of modernism – MacGarry creates sculptures, films, installations and photographs which look at the contextual specifics of things and their place; how they are simultaneously distributed both as ideas and as objects in the world. His sculptural work is formed through processes of grafting and mutation, to produce fictional hybrids principally designed to question systemic paradigms: sovereign nationality; logics of making and meaning; power relations; notions of value, equity and progress as well as the relationship between industrial technology and African resources. In his filmmaking and photographic work these macro concerns often take the form of micro narratives, personal memory and subtle identity politics in spaces where contemporary life is in a state of invention and flux.

Michael macgarry, -
Catalogue : 2015Sea of Ash | Fiction | hdv | couleur | 11:57 | Afrique du sud | Italie | 2015
Michael macgarry , -
Sea of Ash
Fiction | hdv | couleur | 11:57 | Afrique du sud | Italie | 2015

LOGLINE
A poetic re-imagining of Death in Venice, featuring a West African immigrant to Italy who embarks on a journey from the Alpine mountains to the seaside and ultimately, on a doomed voyage home. SYNOPSIS
The form of the film is one of a fable, that grafts Thomas Mann’s 1925 novella, Death in Venice, to the contemporary issue of African refugees and immigrants in Italy. The film takes Mann’s book as a nexus point and expands upon a number of themes inherent in it. In Sea of Ash, Mann’s character Tadzio is an immigrant to Italy from West Africa (Senegal) who has survived the treacherous and often fatal journey by sea. While the lead character of the original – von Aschenbach – is embodied in the unseen filmmaker himself. The narrative of the film follows Tadzio on a short journey from the remarkable Brion Cemetery at San Vito in the mountains of Northern Italy to the coastal area of the Venetian lagoon. On Lido Island he visits the famous Hotel dés Bains as featured in Luchino Visconti’s 1971 film version of Death in Venice. The film concludes on the dés Baines beach, with Tadzio embarking on a doomed attempt to return home.

Michael MacGarry is a visual artist and filmmaker based in Johannesburg, South Africa. He holds a Masters Degree in Fine Art from the University of the Witwatersrand. MacGarry is a fellow of the Gordon Institute of Performing and Creative Arts (GIPCA) at the University of Cape Town and recipient of the Standard Bank Young Artist Award 2010 (Visual Art). As a filmmaker he has written and directed five narrative short films, and five feature-length video artworks, and is a recipient of an El Ray Award - Excellence in Narrative Short Filmmaking, Barcelona Film Festival 2015 as well as a nominee for the Huysmans Young African Filmmaker Award 2015. As a visual artist Michael has exhibited internationally for more than ten years including TATE Modern, Guggenheim Bilbao, Kiasma Museum - and has published four monographs on his work.

Gwen macgregor
Catalogue : 20063 months, Toronto/New York | Création numérique | dv | couleur | 1:0 | Canada | 2006
Gwen macgregor
3 months, Toronto/New York
Création numérique | dv | couleur | 1:0 | Canada | 2006

"3 Months New York/Toronto" est la première oeuvre d'une série en cours qui utilise l'information GPS (Global Positioning System). Durant trois mois passés à New York et à Toronto, Gwen MacGregor a enregistré tous ses déplacements à l'aide d'un appareil GPS. On peut voir l'accumulation de trois mois de déplacements à New York (à gauche de l'écran) et à Toronto (à droite). Les lieux où l'artiste s'est rendue chaque jour font l'objet de dessins, puis ils s'effacent pour permettre en quelque sorte à chaque jour d'être considéré dans son unité avant de faire partie d'une accumulation. La strucure d'une telle accumulation, avec ses répétitions et ses changements au quotidien, est déterminée par les mouvements de l'artiste, eux-mêmes dictés par les rues des villes. Résultat de cette démarche, la vidéo condense trois mois d'activité à New York et à Toronto en trois minutes d'animation.


Gwen MacGregor, artiste établie à Toronto, évolue dans le domaine de la vidéo et de l'installation. Son travail reflète une observation précise du temps, dont l'écoulement fait naître de petits drames ou assombrit des situations familières. En 1998, son travail a été l'objet d'une exposition en solo à la Southern Alberta Art Gallery, puis en 2001 il a été présenté à travers la série 'Present Tense Project' à la Art Gallery of Ontario à Toronto. Gwen MacGregor a également pris part à de nombreuses expositions de groupe au Canada, à Mexico City, Londres, Prague, Venise, Shangai et Los Angeles. En 2003, elle a reçu le prix 'Friends of the Visual Arts' à Toronto, et l'année suivante, le prix 'Canada Council New York Studio'. Gwen MacGregor est représentée par Jessica Bradley Art et Projets à Toronto.

Aleksandra maciuszek
Catalogue : 2015Escenas Previas | Documentaire | hdv | couleur | 28:22 | Pologne | Cuba | 2012
Aleksandra maciuszek
Escenas Previas
Documentaire | hdv | couleur | 28:22 | Pologne | Cuba | 2012

In a ramshackle house full of memories, a grandfather cares for his grandson and must care for himself. One week passes and nothing is going to be the same again. With a esthetic inspired by the litheographs from Ars Moriendi - medieval manuals for a good dying, this documentry proposes disturbing, sometimes grotesque, sometimes harsh, vision of death, which aways - and in the most unexpected ways - nurtures life.

Aleksandra Maciuszek Born in Poland in 1984. Graduated in Social Sciences specialising in Latin American Studies, International Migration and Ethnic Minorities. She has worked in cultural institutions and NGOs in the area of Human Rights and Cultural Diversity in Poland, Spain, Mexico and Palastine. She has published articles for the commercial and academic press on issues concerinig Latin America and International Migration. In 2012 she graduated in Documentary Direction from The International School of Film and Television (EICTV) in San Antonio de Los Baños, Cuba, where she made various documentary and fiction short films. Among those is Eco Grafia (Scanning), which has screened at several international festivals and her thesis film, a documentary filmed in Cuba, titled Previous Scenes. Her documentary Opera Prima "Casablanca" premiered in 2015 received very good reviews from the critics and the public.

Sheena macrae
Catalogue : 2008Set | | dv | couleur | 10:15 | Canada | Royaume-Uni | 2008
Sheena macrae
Set
| dv | couleur | 10:15 | Canada | Royaume-Uni | 2008

En exploitant des techniques de films mainstream, ce travail constitue un paysage cinématographique qui induit un récit. Telle une série de plans sans fin, la séquence illumine richement l'éclat vert de tables de billard et des ombres noires et profondes, comme la surface saturée d?un verni. Les longs travellings hypnotisent la dérive entre les joueurs. Les scènes apparaissent comme des décors sur-articulés, qui correspondent en réalité au déroulement de la vie réelle, donnant une aisance inhabituellement naturaliste, mais convaincante, aux habitants de cette enceinte crépusculaire et à leur monde cinématographique hermétiquement clos.


Macrae a obtenu son Bechelor of Fine Arts à l?Emily Carr Institute en 1999 et son MA au Goldsmiths College en 2002. Elle a été exposée dans tout le monde, et a remporté des prix à une échelle internationale. Elle a récemment eu des expositions monographiques au Musée d?Art Contemporain du Val-de-Marne de Paris, au Center for Contemporary Photography de Melbourne et à la Fieldgate Gallery de Londres. Elle a été en résidence artistique à l'Université Monash de Melbourne. Elle travaille actuellement sur un projet de livre et présentera prochainement ses ?uvres au Festival Haip de Ljubljana et au Musée d'Art Moderne et Contemporain de Rijeka (Croatie).

Sheena macrae
Catalogue : 2005Dallas | Art vidéo | dv | couleur | 2:30 | Canada | Royaume-Uni | 2005
Sheena macrae
Dallas
Art vidéo | dv | couleur | 2:30 | Canada | Royaume-Uni | 2005

Dallas joue avec la nature éponyme de la série TV, diffuse dans de nombreux pays, qui st devenu un image pour le glamour et la corruption aux Etats-Unis, attirant et séduisant les publiques dans le jeu et le cliché de cette série infinie. Macrae déconstruit cette fantaisie en remixant les épisode de 1980. En synchronisant les gros titres des séquences, les images translucides sont superposées et mélangées en utilisant des techniques habituellement associées au DJ. Les évènements notoires sont référencés et les lignes délivrées dans un collage d?images, créant une qualité hantante de disjonction. C?est une culture qui fut à un moment familière et désorientante, Dallas apparaît comme la vision d?un rêve do?rdre différent, plus un cauchemar qu?une échappatoire.


Sheena Macrae est née dans les Caraïbes et elle excelle dans la compression, la vitesse et la nostalgie. Elle a commencé à étudier à Vancouver, au Canada où elle a été diplômée d?un BFA en film. Tout en continuant à faire des films, elle a travailler en post production pour des studios comme la Warner Bros, la 21th Century Fox, Disney et Cartoon Network. Elle a déménagé à Londres pour étudier à Goldsmith College, diplômée d?un master en beaux-arts en 2002. Elle a exposé et fait des discours dans toute l?Europe, l?Amérique du Nord, l?Australie et la Nouvelle Zélande. Cet été, ses films ont été montrés au Moscow International Film Festival et au Imaginaria Internazionale di Cinema Libero, Conversaro en Italie, où son ?uvre à emporté le Best Video Art Prize. Elle travaille pour le moment pour un des spectacles collectifs et solo à Londres, Amsterdam Helsinki et Brisbane.

Asa mader
Catalogue : 2005La maladie de la mort | Fiction expérimentale | super8 | couleur et n&b | 38:0 | USA | France | 2003
Asa mader
La maladie de la mort
Fiction expérimentale | super8 | couleur et n&b | 38:0 | USA | France | 2003

Inspirée et adaptée de la nouvelle de Marguerite Duras "La maladie de la mort" examine le parcours d?un homme dans sa quête d?amour. Il trouve une femme, dans un hôtel, dans une rue, dans un bar, dans un train. Elle viendrait avec lui. Peut-être pour plusieurs jours, peut être pour plusieurs semaines. Elle serait jeune et belle. Elle pourrait être n?importe quelle femme. Et ce sera elle qui découvrira qu?il est atteint d'une maladie incurable, cette maladie que l?on nomme la mort.


ASA MADER, (USA 1975) fut diplômé de la Brown University, où il a crée un diplôme indépendant d?études des Médias Visuels et Numériques. En 1997, il co-fonde un studio de design spécialisé dans les médias interactifs et numériques. Depuis 2002, Mader, a travaillé indépendamment comme réalisateur, partageant son temps entre New York et Paris. L?un de ses premiers films fut primé au Roberta Joslin Award for Excellence in Art. En septembre 2004, Mader a dirigé Anna Mouglalis dans ses débuts comme metteuse en scène au théâtre : "Héroïne" et Marguerite Youcenar ("Feux"). Programmé à l'ouverture du Festival d'Ortigia, à Siracuse dans le Castello Maniace, la performance se compose d'un film original et d'une vidéo de Mader avec une musique originale d?Emmanuel Deruty. La mise en scène et la lumière ont été pensé par A.J. Weissbard. En 2005, Mader a dirigé un docu-fiction de 52 minutes pour la télévision française ??Little Italy : Wiseguys, Bullets, Backrooms" sur la mythique disparition du voisinnage à New York, ce qui lui a donné l'occasion d'effectuer une seconde commande pour Paris Première, sur le voisinnage de Pigalle. ?La maladie de la mort? (2003) était le premier film présenté au Venice Film Festival . Mader prépare en ce moment son premier long métrage qui doit être tourné en 2006.

Basim magdy
Catalogue : 2011My Father Looks For An Honest City | Film expérimental | super8 | couleur | 5:28 | Egypte | 2010
Basim magdy
My Father Looks For An Honest City
Film expérimental | super8 | couleur | 5:28 | Egypte | 2010

Shot in an arid landscape of extremes on the outskirts of Cairo, My Father Looks For An Honest City is a film about cynicism and a persistent search for a seemingly essential unknown. In a reenactment of Diogenes of Sinope?s philosophical statement of carrying a lamp in daytime, Magdy filmed his own father while walking through what seems like a no man?s land where human existence seems seldom, other players like petrified wood, doves, fake palm trees, stray dogs, abandoned glass buildings and a flashlight evolve as protagonists. Diogenese, a contemporary of Plato, was one of the founders of the Philosophy of Cynicism. Although considered by many as one of the greatest Greek philosophers, none of his writings were found. Only his philosophical stunt of carrying a lamp in daylight remains as evidence to his beliefs. When asked why he did that, he explained that ?he was looking for an honest man?.

Born in Assiut, Egypt in 1977, currently lives and works in Basel and Cairo. Magdy works with different media including drawing, painting, film, video, animation, installation, sculpture, sound and printed matter to investigate the broad space between fiction and reality in the construction, distribution and assimilation of media-based knowledge and global culture. His work appeared recently in solo and group shows at Kunsthalle Wien, Vienna, Kunsthaus Baselland, Basel; Newman Popiashvili Gallery, New York; Argos Art Center, Brussels; Beirut Art Center, Beirut, Lebanon; Museum of Contemporary Art (MASS MoCa), North Adams; Institut Mathildenhöhe, Darmstadt; 1st D-O ARK Underground Biennial, Konjic/Sarajevo; 2nd Ateliers de Rennes Biennale d?art contemporain, Rennes; Neue Kunst Halle St. Gallen, St. Gallen; DEPO, Istanbul, MUSAC, Museo de Arte Contemporáneo de Castilla y León; MARCO - Museo de Arte Contemporáneo, Vigo, Spain; ACAF ? Alexandria Contemporary Arts Forum, Alexandria; Zendai Museum of Modern Art, Shanghai; SAW Gallery, Ottawa; Le Fresnoy, Tourcoing; Sala Rekalde, Bilbao; Townhouse Gallery, Cairo and Art in General, New York among others.

Michael Takeo magruder
Catalogue : 2008Endless wall | | | couleur | 0:0 | USA | 2007
Michael Takeo magruder
Endless wall
| | couleur | 0:0 | USA | 2007

(Endless Wall) est un champ virtuel construit en VRML. Il peut être exposé simultanément comme une installation en espace d?exposition et comme pièce de net art. Quand on entre dans ce monde, on se trouve dans une vaste surface qui est contenue par un mur qui s?étend dans une distance aussi loin que l?on puisse voir. Au-dessus du mur, une belle et douce lumière grise émane du ciel et s?étire dans l?horizon. Le mur est infranchissable, et l?on peut marcher à sa base sans jamais trouver une faille ou moyen de le passer. Nous sommes (et nous avons toujours été) une société divisée. Nous avons construit depuis des millénaires, des barrières et des divisions qui ont segmenté la population du monde entre ceux « qui ont » et ceux « qui n?ont pas ». Depuis la terre et les richesses, jusqu?à la technologie et la liberté, nous avons socialement généré des déséquilibres entre les nations, les familles et les individus. Actuellement, alors que les technologies ont permis un potentiel énorme dans nos vies (à la fois physique et dans les mondes virtuels émergents), les mêmes technologies sont utilisées dans un renversement pour restreindre et contenir. Avec le mur de Berlin ou les firewall du DEC (En 1988 des ingénieurs du Digital Equipment Corporation (DEC) ont développé le premier système de flitrage connu, comme « packet filter firewall »), les gouvernements et les entreprises nous ont entourés de barrières infranchissables, présentées comme des protections, ou des sécurités.


Michael Takeo Magruder est né en 1974 aux Etats-Unis. Il a étudié la biologie à l?université de Virginie. Il vit et travaille actuellement à Londres. Il travaille dans le domaine des nouveaux médias et des médias technologiques. Il est également chercheur à l?Université de Londres, au King`s College dans le département nouvelles technologies et visualisation, où il travaille sur la capture de mouvement, les espaces immersifs et les environnements virtuels. Son travail artistique a déjà été présenté dans plus de 175 expositions, dans 30 pays, notamment au Courtauld Institute of Art, à Londres, à l?EAST International 2005, au centre Georges Pompidou, au Tokyo Metropolitan Museum of Photography et à la Trans-Media-Akademie Hellerau. Son travail est également présenté dans des festivals internationaux de nouveaux médias, comme Cybersonica, CYNETart, FILE, Filmwinter, SeNef, Siggraph à Split, ou VAD et WRO en Pologne. Il a été soutenu par la Fondation Esmée Fairbairn, le Arts Council England, le National Endowment for the Arts, USA, et par de nombreux musées publics au Royaume-Uni et à l?étranger. Il est également connu pour la création de pièces en ligne, avec la réalisation de commande pour des portails dédiés au net art, comme Turbulence.org et Soundtoys.net. Il travaille actuellement sur l?utilisation simultanée et l?analyse des nouvelles technologies, comme moyen d?exploration des structures formelles et des paradigmes conceptuels du champs numérique. Il cherche à créer des ?uvres d?art dans lesquelles il n?y a plus de divisions entre les technologies, l?esthétique et les concepts.

Catalogue : 2006Re_collection | Installation multimédia | | couleur | 0:0 | USA | Royaume-Uni | 2005
Michael Takeo magruder
Re_collection
Installation multimédia | | couleur | 0:0 | USA | Royaume-Uni | 2005

Le désir de laisser une trace a toujours fait partie de la condition humaine. Depuis toujours, la société a cherché à concevoir une forme de mémoire qui pourrait survivre à nos enveloppes corporelles. L'adaptation du binaire, le langage universel et la pierre angulaire du système numérique, nous a ouvert un nouveau chemin qui pourrait nous permettre de toucher du doigt ce rêve insaisissable. Les systèmes binaires et les technologies qui en découlent s'infiltrent aujourd'hui dans toutes nos couches sociales. Ils coexistent avec nous, dans nos mains, à tout moment et partout. On sélectionne, on organise et on archive, créant ainsi des lieux de stockage pour nos vies enregistrées. On ditribue nos souvenirs numérisés, on échange des fragements de nos expériences les plus intimes avec des inconnus. La mémoire humaine est stockée dans la mémoire d'une machine et accessible en un instant, alors que les réseaux facilitent la juxtaposition et le mélange de ces récits bien définis. Est-ce que les individus cherchent intrinséquement à placer leurs récits personnels, qui sont tous éphémères et subtilement uniques, dans un contexte universel ? Est-ce que les instruments que nous créons afin de permettre ce processus sont intrinséquement imprégnés de ces intentions sous-jacentes ? Re_collection est le produit d'une de nos technologies les plus omniprésentes :le téléphone portable. Le matériau principal de l'oeuvre est un moment capturé, précieux et plein de signifaction pour nous. La séquence enregistrée, dépouillée de la résolution et de la profondeur apparente, n'a plus rien de personnel, elle est réduite à une esthétique minimaliste qui révèle les formes archétypales et les émotions inhérentes qu'elles évoquent. En retirant intentionnellement les détails, l'artiste remet en question les divisions entre personnel et universel. Il cherche à révéler la 'vérité' sous-jacente de nos souvenirs les plus intimes, qui existent entre rêve et réminiscence.


Michael Takeo Magruder est un artiste américain qui travaille en Grande-Bretagne et qui développe les nouveaux media et les media technologiques dans le contexte des beaux-arts. En 1996, il a obtenu l'équivalent d'une licence (BA(Hons)) en sciences biologique à l'université de Virginie. Il est depuis longtemps un memebre du King's Visualisation Lab dans le Centre for Computing Humanities au King's College de Londres. Grâce à cette organisation, il se charge de la recherche, du développement et de la mise en oeuvre des nouvelles technologies ; parmi lesquelles la capture du mouvement, l'espace "immersif" et la réalité virtuelle, pour les utiliser dans la pratique créative et académique contemporaine. En ce qui concerne l'art, il s'intéresse actuellement à l'utilisation simultanée et la dissection des nouvelles technologies en tant que moyen d'explorer les structures formelles et les paradigmes conceptuels du domaine numérique. Il cherche à créer des oeuvres d'art dans lesquelles il n'y aurait pas de divisions entre les technologies, les esthétiques et les concepts. Pour plus d'informations www.takeo.org.

Catalogue : 2006data_cosm | Installation multimédia | 0 | couleur | 0:0 | USA | Royaume-Uni | 2005
Michael Takeo magruder
data_cosm
Installation multimédia | 0 | couleur | 0:0 | USA | Royaume-Uni | 2005

Data_cosm examine les archives chronologiquement produites par les médias et la dynamique des structures d'information qui transmettent ce procédé. Chaque jour, l´oeuvre déconstruit et remonte les informations du service de la BBC fourni par internet en un royaume 3D en continuelle évolution ( crée en VRML - Langage Virtuel Réel Modelable) peuplé de différents points de vue.


Michael Takeo Madruger est un artiste américain qui vit en Grande Bretagne. Ses oeuvres été montrées dans plus de 150 expositions et 25 pays. Ses intérêts artistiques actuels de portent sur l'utilisation simultanée et la dissection des nouvelles technologies, comme moyen pour explorer des structures formelles et des paradigmes conceptuels du royaume de la technologie numérique. Il cherche à créer des oeuvres dans lequelles technologies, esthétique et concepts ne seraient plus séparés. Pour plus d'informations : www.takeo.org

Catalogue : 2005Encoded Presence [auto-portrait of E. Puente] | | | couleur | 0:0 | USA | Royaume-Uni | 2005
Michael Takeo magruder
Encoded Presence [auto-portrait of E. Puente]
| | couleur | 0:0 | USA | Royaume-Uni | 2005

`Encoded Presence` concerne la redétermination du téléphone mobile, outil trivial de communication vers un instrument cinématique. On a demandé à un sujet de générer un contenu cinématique interprétant le thème de ?l?auto portait? en utilisant seulement un Smart phone SPV C500 comme mécanisme d?enregistrement.


Michael Takeo Magruder est un artiste américain basé au Royaume-Uni et qui travaille dans le domaine des Médias Nouveaux et Interactifs. Il a reçu une formation formelle à l?Université de Virginie, aux Etats-Unis et a été diplômé avec mention en Sciences Biologiques. Pendant les 8 dernières années, sa performance artistique a reflété une société dirigée par les données informatiques et une existence saturée par les renseignements en examinant les communications des informations internationales. En combinant à nouveau les notions de média et d?art, il a analysé les interconnections entre l?individu et le réseau médiatique omniprésent ; un questionnement du produit contre le processus, de la connaissance contre la stimulation, des faits contre les perspectives. Sa production artistique a été exposée sur toute la planète et englobe un mélange électrique de formes, s?étendant du vitrail futuriste, des écrans lumineux numériques et des sculptures de lumières modulaires jusqu?aux manipulations architecturales, aux projections vidéos éphémères et des installations de réseaux interactifs. Ses recherches et explorations actuelles rassemblent des projections stéréoscopiques 3D, des environnements d?immersions multisensoriels et des narrations non-linéaires interactives pour des mises en scènes de galeries ou de réseaux. Son travail dans ces domaines reçoit en ce moment le support de Turbulence.org, de King?s Visualisation Lab : King?s College et du London and Arts Concil England.