2021 Paris Programme
Live, here / Immersive space, here
12h00 14h00 16h00 18h00 21h00
Saturday

Feb. 27
12h00

Online screening
Live from Louvre auditorium
Live streaming, from 12pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"How Long is Now"

Michael busch: How Long is Now | Doc. expérimental | 4k | couleur | 84:32 | Allemagne | 2020 see more
Michael busch
How Long is Now
Doc. expérimental | 4k | couleur | 84:32 | Allemagne | 2020

The human being in the net, an image that is paradigmatic for the entire work: Laocoon, the warner in front of the Trojan horse, as a sculpture he is already constricted by the snake, the snake connects him with his sons, together they form an ensemble of powerlessness. The warner in front of the poisoned gift of the future repeats what Pandora’s box has brought over mankind. The future that points out from this present holds dangers and hopes in equal measure. In HOW LONG IS NOW the spider’s web appears in a variety of ways. It is the imperial railway network that spreads colonialism, it is the data cables that lie in the sea between the continents, it is the algorithms that dominate trade and stock exchange, it is the gps system, the face recognition software, the distorted maps of the world. The human being in it struggles with his mortality, struggles with language, the concepts that shape thought and action, struggles with morality and struggles with its expansion in the technosphere. The film makes shameless use of the image reservoir of the twentieth century, casually quoting the history of the moving image and the history of its progressive virtualization. The image plane sometimes nestles close to the spoken narrative of the lectures, then again it expands the space of discourse, adds associations and situations, and networks itself with the heritage of the expanded present. For four years I have been participating in these events and produced a series of short cinema trailers to promote them. The clips are 30 second long experimental films in a stream of consciousness manner. With the visual archive that was created along these productions and the possibility to use the HKW archive, the idea arose to develop a long, full-length work from it. I wanted to create a space of possibilities in which questions about our present can be articulated, beyond the quickly googled answer

studied applied theatre science at Universitiy Gießen and fine arts and experimental film at University of Fine Arts, Berlin. Makes films and film performances. Worked as a film curator for Volksbühne Berlin theatre between 2003 and 2017, held a professorship for experimental film at University of Art, Berlin from 2007 to 2013. his works have been shown at International Film Festivals like Berlinale Forum Expanded, at Centre Pompidou, Paris, at Reina Sophia, Madrid, at Art Biennale Sao Paulo, at Torino International Film Festival, San Francisco, Edinburgh.


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Saturday

Feb. 27
14h00

Online screening
Live from Louvre auditorium
Live streaming, from 12pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"Double cinema"

Lei lei: A Bright Summer Diary | Doc. expérimental | dcp | couleur | 27:14 | USA | 2020 see more
Simon ripoll-hurier: Age of Heroes | Documentaire | hdv | couleur | 18:30 | France | 2020 see more
Eneos carka: The First Few Moments of the First of January | Film expérimental | mov | couleur | 12:39 | Hongrie / Czech Republic | 2020 see more
John menick: Haunting | Vidéo expérimentale | mov | couleur et n&b | 32:0 | USA | 2020 see more
Lei lei
A Bright Summer Diary
Doc. expérimental | dcp | couleur | 27:14 | USA | 2020

SYNOPSIS “The photo was taken using a painted board in Kuling Park on Lushan…” A woman is reminiscing about the story behind a photograph: it was a bright summer day in the 1980s. Her family traveled to Lushan to escape the heat. As her memory unfolds, we gradually come to see the forgotten history and that very photograph being damaged by water stain.

Lei Lei ???? ???? Artist / Filmmaker _______________________ 1985 Born in Nanchang, Jiangxi Province, An experimental animation artist with his hands on video arts, painting, installation, music and VJ performance also. In 2009 He got a master's degree in animation from Tsinghua University. In 2010, his film This is LOVE was shown at Ottawa International Animation Festival and awarded The 2010 Best Narrative Short. In 2013 his film Recycled was the Winner Grand Prix shorts - non-narrative at Holland International Animation Film Festival. In 2014 he is the Jury of Zagreb / Holland International Animation Film Festival. and he was the winner of 2014 asian cultural council grant. In 2017 he works in CalArts Experimental Animation program as Faculty. In 2018 he invited for New Academy Member for the Short Films and Feature Animation branch. In 2019 his first feature film Breathless Animals has been selected by Berlinale Forum.

Simon ripoll-hurier
Age of Heroes
Documentaire | hdv | couleur | 18:30 | France | 2020

East of Skopje there is a small quiet square where you can sometimes hear the trace of orchestral music. If you follow these sounds, they lead you into a large studio. The "Film & Music Ensemble" (FAME's project) in Skopje specialises in music for film. The hundred or so musicians, sound engineers, etc., who're part of it come every day to record scores from all over the world. The composers usually attend the sessions by teleconference. On the same day, you can move from a French TV drama to a Bollywood production. Following a smooth-running mechanism, the orchestra continuously produces music to support images and to give them their emotional tones. On the small square next to this large studio, life follows its course in a quiet indifference.

Coming from visual arts and developing a practice on the edge of music, radio and cinema, Simon Ripoll-Hurier (born 1985) tracks down situations of listening. Between 2014 and 2017, he developed Diana, a research project that includes film, video, performance and radio. He is now working on a film connecting today’s Silicon Valley with old CIA parapsychological experiments. His work has been presented in festivals, biennials, museums, galleries, and broadcasted on the radio. He also plays with Les Agamemnonz, an instrumental surf band, and co-founded *DUUU, an artist-run webradio.

Eneos carka
The First Few Moments of the First of January
Film expérimental | mov | couleur | 12:39 | Hongrie | 2020

A film is being projected in a bedroom where a woman sleeps. The character of the film speaks of the future of humanity and his words penetrate the woman's head invading her subconsciousness.

Eneos Çarka (1996, Albania) began his film education at University of Arts of Albania graduating in Film Directing. As a recipient of the Government Fund of Excellence Scholarship, he was awarded an MA degree in Film Studies with Distinction from University College London. He is currently part of the 8th generation of DocNomads, an Erasmus Mundus Conjoint Masters on Creative Documentary. His short documentaries focus on character studies and often deal with the themes of identity, migration and family relations. He pays particular attention to issues of representations experimenting with various approaches to documentary cinema. His first feature-length documentary is currently in post-production.

John menick
Haunting
Vidéo expérimentale | mov | couleur et n&b | 32:0 | USA | 2020

By John Menick 2020; 32 min; two-channel 2K HD video; color and black and white; in English, Japanese, and Italian. Made during the New York lockdown, “Haunting” is a two-channel film assembling footage from several decades of supernatural domestic horror films. These are films in which domestic and residential spaces—suburban houses, decaying mansions, off-season hotels—are haunted by the spectral or the paranormal. Drawing on horror’s highly organized genre conventions, “Haunting” creates an imaginary architecture in which the repressed always returns and the past is never dead. The film’s protagonists—often played by actors now forgotten—appear not unlike ghosts themselves, their wanderings twinned across the film’s two screens in a strange, apparitional choreography. “Haunting” is a study in the spectral, as it is a response to the ghostly world that emerged from the pandemic—a world that became, for many, both uncanny and terrifying.

John Menick’s visual art and writings investigate how the fictive troubles the real. Working with cinematic history, hearsay, pseudoscience, and genre, Menick has created a diverse artistic practice that operates between fiction and critique. His earliest film, The Disappearance (2002), took the form of a fictional location scouting in Nuremberg, Germany, in order to tell the postwar history of the city. Menick’s Starring Sigmund Freud (2012) was a video memento for Sigmund Freud’s life as a fictional character in film. His most recent project, Haunting (2020), is an evocation of the long history of ghosts in cinematic horror, and how film itself can be understood as a spectral medium. Born in White Plains, New York, Menick studied fine art at the Cooper Union for the Advancement of Science and Art. After graduation, he was an early member of several seminal New York art collectives including Nomads + Residents and 16 Beaver Group. His visual art and films have been exhibited and screened at dOCUMENTA (13), Kassel; the International Film Festival, Rotterdam; MoMA PS1, New York; Palais de Tokyo, Paris; CCA Wattis, San Francisco; and Artists Space, New York. Menick’s essays and stories have appeared in Frieze, The Believer, Mousse Magazine, BOMB, Spike Art Quarterly, Art in America, and Witte de With Review, among other publications. His first book of collected prose, A Report on the City, was published in 2012 by Walther König and was listed by Frieze magazine as one of the highlights of the year. Menick received grants from the Jerome Foundation and the New York Foundation for the Arts, and has received several commissions, including from Les Laboratoires d’Aubervilliers in France. Menick currently lives in New York City where he is also a visiting professor of film at the Cooper Union.


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Saturday

Feb. 27
16h00

Online screening
Live from Louvre auditorium
Live streaming, from 12pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"The machine man and ecstasy"

Freja Sofie kirk, Kjær Esben Weile: Industries of Freedom | Doc. expérimental | mov | couleur | 13:36 | Danemark | 2020 see more
Pilvi takala: If Your Heart Wants It (Remix) | Vidéo | hdv | couleur | 15:21 | USA | 2002 see more
Thomas taube: Occident | Film expérimental | 4k | couleur | 30:48 | Allemagne | 2020 see more
Beny wagner: Coal Mine in the Canary | Doc. expérimental | mp4 | couleur | 18:34 | Royaume-Uni | 2020 see more
Jan locus: Masters of the Land | Vidéo expérimentale | 4k | couleur | 14:0 | Belgique | 2020 see more
Freja Sofie kirk, Kjær Esben Weile
Industries of Freedom
Doc. expérimental | mov | couleur | 13:36 | Danemark | 2020

Industries of Freedom portrays a group of dancers who work at the biggest EDM night club in the world - Privilege. The dancers are being lifted up in cranes, carried over a beach in the mouth of an inflatable shark, or are hovering under the ceiling in the club. We experience how their bodies transform into scenographic objects, that merge with the rest of the stage construction. In Industries of Freedom, the night club is presented both as a workplace with strictly defined roles and as a space wherein one can live out notions of freedom and ecstasy, which is nonetheless strictly choreographed by the commercial logics of the entertainment industry.

Esben Weile Kjær and Freja Sofie Kirk both work in visual arts with various medias including film, photography, sculpture and performance. For the past five years, they have collaborated on several film projects, exploring identity, pop culture and image production. Their work have been represented in The National Gallery of Denmark, ARoS Museum of Modern Art, Kunsthal Aarhus, Den Frie Centre of Contemporary Art, The Factory for Art and Design and featured on platforms such as i-D, Tissue Magazine, Indechs and Out Magazine. FREJA SOFIE KIRK BIO Freja Sofie Kirk (born 1990) is an artist based in Copenhagen. Working with video, photography and sculpture, and often in combination with each other, her work explores narratives, popular culture and how images generate meaning in contemporary society. Freja Sofie Kirk has a background in film and photography and through the work with two-dimensional representations of the world, she has attained a sincere interest in the meaning of images and also an urge to dissolve or transform them into material qualities. Her works contain a constant interplay, between materiality and the mechanic, the sensuous and its absence, reality and the unreal. They are simultaneously both visually seductive and disturbing, but none the less, are they an image of the symptoms that our present reality leaves us with. ESBEN WEILE KJÆR BIO Esben Weile Kjær (born 1992) is an artist based in Copenhagen. Spanning sculpture, video and performance, his work draws on the history of pop culture and pop music to investigate themes of nostalgia, authenticity, and generational anxiety. In an attentive though reckless visual language, he investigates today’s event economy, often focusing on marketing tactics and the aesthetics of the entertainment industry. Mainly to consider art’s relationship to its surrounding culture industries. As such, his work attempts to not only mimic other cultural modes of performance (such as those found in raves, protests, press conferences, and ballets), but become performative pop culture in its own right—often through interventions in public and commercial space, using props such as podiums, confetti canons, fences, and party lasers.

Pilvi takala
If Your Heart Wants It (Remix)
Vidéo | hdv | couleur | 15:21 | USA | 2002

Taking place annually in Helsinki, SLUSH is a three-day super event that aims to invigorate the tech-startup community by bringing together entrepreneurs with venture capitalists in a party-like environment. If your heart wants it (remix) is grounded in research Takala conducted at the 2018 edition of SLUSH. Together with an interdisciplinary team and camera crew, they fabricated a startup in order to gain entry.?

Pilvi Takala (b. 1981) lives and works between Berlin and Helsinki. Her video works are based on performative interventions in which she researches specific communities in order to process social structures and question the normative rules and truths of our behaviour in different contexts. Her works show that it is often possible to learn about the implicit rules of a social situation only by its disruption. Her work has been shown in MoMA PS1 and New Museum, Kiasma, Palais de Tokyo, Kunsthalle Basel, Manifesta 11, Witte de With, and the 9th Istanbul Biennial. Takala won the Dutch Prix de Rome in 2011 and the Emdash Award and Finnish State Prize for Visual Arts in 2013.

Thomas taube
Occident
Film expérimental | 4k | couleur | 30:48 | Allemagne | 2020

The world as we know it began in California in the last quarter of the century. The development of the high-speed motion photography becomes a lens for a larger story about the transformation of time and space. It is the base for what becomes later Hollywood and Silicon Valley both that most powerfully defined contemporary life says Rebecca Solnit. However, the world as we know it was also shaped by the European colonialism at the end of the 15th century. It defines our contemporary perspective on our so called norm and the relation amongst each other. It is also the origin of the cause why we are able to live how we live. It is the base for the division between the privileged and the others. Occident was the name of a horse, which motions became famous. Occident is also the definition of how the west differentiate itself from the rest of the world. It is the spine of what seems to be the normative and leads to the reason why it is not us, who drowns in the sea, who fabric our textiles, who dig for our ressources or who work in zones to extract toxic materials which are seemingly gone for long, but in reality are still around us as the people who are in touch with it. We live in a reality of present absent materials which are around us and defines the relation between a system’s different extensions.

Thomas Taube is a video artist living and working in Jena. He studied with Clemens von Wedemeyer and Candice Breitz. In his works, Thomas Taube detaches the medium of film from its linear and stringent narrative structures. With multi-channel installations, associative, reflective and surreal sequences Taube works against conventional cinematographic codes. Abolishing the immediacy of the medium through epic elements and discontinuous montage, his works aim to distinguish between seeing, observing, experiencing, and reflecting. His works are shown nationally and internationally in institutions such as the Museum der bildenden Künste Leipzig or the Center for Contemporary Photography Melbourne, in galleries and festivals, for example in the German Competition of the Internationale Kurzfilmtage Oberhausen or at Les Rencontres Internationales Paris/Berlin. He won the prize of the Leipziger Jahresausstellung 2015, the Marion Ermer Prize 2016 and received various scholarships such as the KDFS residency scholarship at the ISCP New York. His work can be found in various collections, including the Staatliche Kunstsammlung Dresden. He published "The Whirr of the Image Machine" in 2015 with Spector Books. Taube is currently represented by Reiter Galleries (Berlin/Leipzig).

Beny wagner
Coal Mine in the Canary
Doc. expérimental | mp4 | couleur | 18:34 | Royaume-Uni | 2020

An essay film told through the body, 'Coal Mine in the Canary' explores the work of John Scott Haldane, the late 19th century physiologist whose experiments with respiration in atmospheric extremes led him to put canaries in coal mines as early indicators of air toxicity. The film explores this historical technique as a form of environmental control, one that would ultimately shape the possibilities of exchange between organisms and their surroundings, determined as a series of regulated variables. In the canary, Haldane developed a new paradigm: to modify an organism is a form of environmental control because there is no border at which the organism begins and the environment ends.

Beny Wagner is an artist, filmmaker, researcher and writer. Working in moving image, text, installation and lectures, he constructs non-linear narratives situated within the ever shifting threshold of the human body. ? He has presented his work in festivals, exhibitions and conferences internationally including: Berlinale, International Film Festival Rotterdam, Eye Film Museum, Haus der Kulturen der Welt, Media Art Biennale WRO, 5th and 6th Moscow Biennale for Young Art, Moscow International Experimental Film Festival, Plato Ostrava, Künstlerhaus Bremen, Kunsthalle Amsterdam, Sonic Acts, Impakt Festival, Berlin Atonal, Venice Biennale, White Columns among many others. His work has been featured in Artforum, Spike Magazine Quarterly, Frieze Magazine, Kaleidoscope Press, Flash Art and Die Zeit. His writing has been published in Valiz and Sonic Acts Press among others.

Jan locus
Masters of the Land
Vidéo expérimentale | 4k | couleur | 14:0 | Belgique | 2020

Thanks to the rise of mining, post-communist Mongolia was the fastest growing economy in the world in 2012. However, the poor were not profiting from the booming industry, and climate change plus overgrazing were leading to vast desertification. According to Mongolian shamanistic belief, the earth and sky are connected. Violation of nature by men provokes the anger of the ruling spirits or the ‘masters of the land’ and leads to drought and pestilence. How does the population relate to its ancestors when desires threaten to upset the cosmic balance? The film opens with images shot in Baganuur and Nalaikh, once the largest coal mines in Mongolia. Fixed camera images of workers in the shadow of gigantic machines alternate with desolate landscapes and downtown Ulaanbaatar by day and by night. Intermediate texts cut the medium long shots. The first excerpt originates from the Hungarian poet Ferenc Juhasz. In 1957, under the influence of LSD, he experienced the painful initiation of a shaman. The second excerpt comes from a song by the shamaness Kyrgys Khurak. It deals with the evocation of lurking greed and inequality that might destroy nature – an aspect that implicitly refers to the climate crisis. (Ive Stevenheydens)

The long-term projects of photographer and filmmaker Jan Locus study the complexity of worldwide, socio-political issues. His books include Mongolia, De Bewegende Stad and Devoted. His films have been screened at IFFR Rotterdam (NL), DokFest Kassel (DE), Internationale Kurzfilmtage Oberhausen (DE), Rencontres Internationales Paris/Berlin (FR/DE), Asolo Art Film Festival (IT), Split International Festival of New Film (HR) and FIFA Montreal (CA) among others. He lives and works in Brussels.


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Saturday

Feb. 27
18h00

Special session
Live from Louvre auditorium
Live streaming, from 12pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

Carte blanche to Laurie Anderson

Details of the session will be announced soon.
The session will be followed by a discussion with the artist and a surprise guest.

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Saturday

Feb. 27
21h00

Online screening
Live from Louvre auditorium
Live streaming, from 12pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"Capital Cluster"

Lukas marxt: Imperial Irrigation | Vidéo | 4k | couleur | 20:4 | USA | 2020 see more
Kerstin honeit: [zi:lo]5 | Vidéo expérimentale | 4k | couleur | 17:17 | Canada | 2019 see more
Anna Ådahl: The Power of Flow. The Flow of Power | Vidéo expérimentale | hdv | couleur et n&b | 18:0 | Suède | 2020 see more
Gregory bennett: Edifice I | Animation | mp4 | couleur | 8:35 | Nouvelle-Zélande | 2020 see more
Lukas marxt
Imperial Irrigation
Vidéo | 4k | couleur | 20:4 | USA | 2020

Finding access to the deeper levels and truths of a stretch of land via the surreal, the digitally alienated. Thus is the aim behind Lukas Marxt’s Imperial Irrigation, whereby digital surrealism is anchored in an experimental documentary intent, while text and sound levels snarl the multiple layers of action thus continually decentering the narrative. Starting point for this complex and vibrant territorial study is California’s Salton Sea; close to where Marxt’s Imperial Valley (cultivated run-off) already led. The visual approach to this slowly drying up lake and its highly checkered past takes place through various types of images—most of which have been implanted with elaborately placed, willful moments of alienation. As though the intangibility of the scenery offered could not possibly be encountered via veristic means, the shots are digitally chopped, extended by time stops, permeated by undefinable MacGuffins—and tremble erratically owing to air reflections that arise when filming from a great distance. Marxt does not exclude himself from this quasi-colonial inspection of a landscape. His cowboy boots, his snakeskin hat, and his hanging out at slot machines or in the car repeatedly intervene as idiosyncratic presences in the flow of images. The artist Julia Scher emphatically narrates a history of Salton Sea based on a text by William L. Fox recapitulating various discursive anchoring moments. At the same time, subtly woven sound elements, most notably insistent passages by the musician Jung An Tagen, for their part, “alter-medially” outdo the “insane sense” of the events. What emerges is a disturbing portrait of a bit of the Anthropocene, whose ongoing catastrophic course, the film sums up nicely. (Christian Höller)

Lukas Marxt (*1983, Austria) is an artist and a filmmaker living and working between Cologne and Graz. Marxt´s interest in the dialogue between human and geological existence, and the impact of man upon nature was first explored in his studies of Geography and Environmental Science at the University of Graz, and was further developed through his audio visual studies at the Art University in Linz. He received his MFA from the Academy of Media Arts Cologne, and attended the postgraduate programme at the Academy of Fine Arts Leipzig. Marxt has been sharing his research in the visual art environment as well as in the cinema context. His works have been featured in numerous solo and group exhibitions, most recently at the Torrance Art Museum (Los Angeles, 2018), at The Biennial of Painting, Museum Dhondt-Dhaenens (Belgium, 2018), and at the Museum of Modern and Contemporary Art Rijeka (Croatia, 2018). His films have been presented in numerous International Film Festivals including Berlinale (Germany, 2017 and 2018), Curtas Vila do Conde (Portugal, 2018), and the Gijón International Film Festival where he receiced the Principado de Asturias prize for the best short film (Spain, 2018). Since 2017, Marxt has spent a considerable amount of time in Southern California, where he has researched the ecological and socio-political structures surrounding the Salton Sea.

Kerstin honeit
[zi:lo]5
Vidéo expérimentale | 4k | couleur | 17:17 | Canada | 2019

Silo 5, once the largest granary in the world, was celebrated by architect Le Corbusier in 1927 as a glimpse towards a utopian modernity and an aesthetic future of architecture. Since the 1990’s Montreals gigantic silo complex has been an industrial ruin, far too big to be demolished. The abandoned granary, now an unintended monument to colonial global extractionism, marks as a place of storage the starting point for the video piece [?zi:lo]5. The work approaches different gestures and technologies of preservation and collection and therefore – simultaneously and inseparably – also questions of overwrite, delete or rewrite. Seen from the perspective of a near (queering) future, collections expose themselves as accumulations of gaps and omissions. These voids become resonating bodies, having the potential to open up spaces for other practices of intermediate storage.

Kerstin Honeit studied fine arts and stage design at the Berlin-Weissensee Art Academy. She lives in Berlin and is teaching media art at the Academy of Fine Arts in Leipzig. In her practice as an artist and filmmaker, she works at the interface of different forms of staging. Her artistic research focuses on the investigation of representation mechanisms in the production of hegemonic image worlds, especially in connection with cultural and linguistic modes of translation in the context of the moving image. Since 2006 she has been showing her work in exhibitions and at festivals. Exhibitions / Screenings (Selection): La Centrale Powerhouse, Montreal / HMKV, Dortmund / International Short Film Festival São Paulo, São Paulo / Ruhrtriennale, Bochum / Kunsthalle Rostock, Rostock / Neuer Berliner Kunstverein, Berlin / Off Biennale Cairo, Cairo / Videoart at Midnight, Berlin / MMOMA Moscow Museum of Modern Art, Moscow / Schwules Museum, Berlin / Fajr International Film Festival, Tehran / HKW, Berlin / Internationale Kurzfilmtage, Oberhausen / SixtyEight Art Institute, Copenhagen / Berlinische Galerie, Berlin / Les Complices*, Zurich / Videonale, Bonn / Gallery 400, Chicago / CCNY, New York / Arsenal – Institut für Film und Videokunst, Berlin

Anna Ådahl
The Power of Flow. The Flow of Power
Vidéo expérimentale | hdv | couleur et n&b | 18:0 | Suède | 2020

The Power of Flow. The Flow of Power 2020 18 min HD video Through an immersive experience, the film addresses how the notion and term of flow and ‘flow states’ have been monetised by our current economy and accelerated society of 24/7 consumption, production, and performance. The film navigates through the various flows from its origin in the Buddhist and Taoist traditions of inclusiveness and nature, through computerised blood vessels, fractal deepdream dogs, outer space, further into the charts of human flows of migrants to today’s online mindfulness of digital relaxation clips and ‘sleeptubes’, with their ongoing chat forums. These new modes of relaxation and mindfulness are an instrumental part in enabling the continuous flow linked to our current economic systems and accelerated production modes, acting as artificial breathing pauses for better corporal endurance and performativity. The notion of flow inherent to our bodily survival system of circulation of blood, oxygen, and nutrients are now hi-jacked by our current economic system. Ultimately, the notion of flow has been turned into a bio-political tool which intent is to optimise the efficiency and performativity of our individual and collective behavior.

Anna Ådahl is a visual artist and researcher working in various mediums such as film, installations and performance. She uses the editing tools of assemblage and montage where found footage meets newly produced images, where ready-mades are used as props in spatial narratives and the body is used as an investigative tool in staged performances. Over more than a decade the notion and politics of crowds has been central in her artistic practice. Her fine art practice-based research, Inside the Postdigital Crowds, at the Royal College of Art in London addresses the aesthetics and politics of the digital conditions in which contemporary crowds are operated and governed. Please visit annaadahl.com for more information.

Gregory bennett
Edifice I
Animation | mp4 | couleur | 8:35 | Nouvelle-Zélande | 2020

‘Edifice I’ is an 8:35 minute experimental 3D animation. The work is situated in an art practice that that embraces 3D computer animation and the digital body to explore themes and tensions around nature and culture, the utopian and the dystopian, through the rendering of complex digital ecosystems. The term ‘edifice’ can refer to both a large, imposing building, and a long-established complex system of beliefs. ‘Edifice I’ is the latest in an ongoing series of works by the artist that imagine infinitely revolving Babel-like tower structures situated in an infinite void. Homogeneous human figures appear only intermittently, precariously overwhelmed or trapped by the, at times, unstable superstructure. The tower simulates at times a machine in perpetual motion, without obvious purpose. Although resembling a fortress, it is rendered as a permeable and contingent structure, at times in a state of unstable flux, an embodiment the fragility of utopian desire and impermanence of human endeavour.

Gregory Bennett is a New Zealand/Aotearoa-born and based digital artist who explores conceptions of the utopian and dystopian through representations of the multiplied digital body. He uses 3D animation in a creative practice which encompasses video, motion capture, projection mapping, and virtual reality. Bennett has exhibited internationally in the USA, Hong Kong, China, Australia, and Europe. Exhibitions include ‘real-fake.org.2.0’ at the BronxArtSpace, New York; the 2019 ‘Rencontres Internationales, New Cinema and Contemporary Art’ in Paris and Berlin; the 2016 International Symposium on Electronic Art in Hong Kong; the ‘Supernova’ Digital Animation Festival in Denver, USA; and the Centre for Contemporary Photography in Australia. He was a finalist in the 7th Screengrab International Media Arts Award in Australia in 2015 and was selected for ‘Narracje 2013, Installations and Interventions in Public Space’ in Gdansk, Poland, and the Video Contemporary exhibition at the 2015 Sydney Contemporary International Art Fair. His work was paired with Giovanni Battista Piranesi’s ‘Imaginary Prisons’ print series for a show at AALA Gallery, Los Angeles in 2018. Bennett has a Masters degree from the University of Auckland, and is currently Head of Department for Digital Design and Visual Arts at the Auckland University of Technology.


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    Feb. 23 - 28, 2021
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