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Traum means dream in German, but in Italian and English it sounds like the word trauma. With the performance and accompanying sculptures that comprise TRAUM, it is Silvia Giambrone’s intention to remind us of the dream-like reality that trauma can instigate. The artist has written the stories of those who struggle with traumatic memories on the ceramic sculptural sheets of paper, documenting the role their experiences have played in forming different parts of their identities and realities. In the artist’s own words, “TRAUM addresses domestic violence from the perspective of a survivor who goes in and out of the trauma when telling their condition. Sometimes survivors (both children and adults) act like onlookers because violence (trauma) gave them a detached perspective in order to survive. Sometimes, they find themselves immersed in it with no exit strategy. And other times they even feel like they were the abusers even if it rationally makes no sense.” As a piece of performance art, TRAUM aims to articulate the often painfully inexpressible and isolating aspects of trauma. Giambrone offers a space where audience members become collective witnesses to a shared experience of catharsis. Through the sound of the ceramic sheets breaking, Giambrone creates an opportunity to share and heal collectively.

Silvia Giambrone (Agrigento, 1981), who both lives and works between Rome and London, works about both the physical and invisible evidence of the strong connection between violence and the ‘subjectification’ process. She won the 2019 VAF Award, the most important prize for young Italian artists. She was an ambassador for Kaunas European City of Culture 2022. Some of her exhibitions include: W Women in Italian Design, Triennale Design Museum, Milan (2016); Corpo a corpo, La Galleria Nazionale, Rome (2017); Terra mediterranea: in action, NiMAC, Nicosia, Cyprus (2017); Wall- eyes. Looking at Italy and Africa, Keynes Art Mile, Johannesburg (2019); VII Premio Fondazione VAF, Stadtgalerie Kiel, Germany (2019); Sovvertimenti, Museo Novecento, Florence (2019); Nobody’s room. Anzi, parla, Museo del Novecento, Milan (2020); I say I, La Galleria Nazionale, Rome (2021); Hall of Shadows, Dior show FW2021, Versailles Castle, France (2021); Mascarilla 19 – Codes of domestic violence, LOOP Festival, Fundació Antoni Tàpies, Barcelona, Spain (2021); Mascarilla 19 – Codes of domestic violence, Castello di Rivoli, Rivoli, Italy (2021); Reclaiming and Making: Art, Desire, Violence, Museum Of Sex, New York, NY(2022); INTERTWINGLED – The role of the Rugs in Art, Craft and Design, La Galleria Nazionale, Rome (2022); Fine Arts Festival 2022, Los Angeles (2022); Female Feedback Film Festival, Los Angeles / Toronto (2022); Mill of performing Art, Larissa, Greece (2022); San Francisco Arthouse Festival, CA (2022); Accolade Global Film Festival, Los Angeles (2022); Ediplay International Film Festival, Paris (2022); London Indie Short Film Festival (2022); World of Film International Festival, Glasgow (2022); Florida shorts (2022); Some things, Nicola Del Roscio Foundation, Rome (2022); Turning Pain into Power, Kunst Mean (2022); Sensei Tokyo filmfest (2023); Tokyo Film award (2023); Reise nach Italien, Goethe house, Rome (2023) ; You owe me one, Prometeo Gallery, Milan (2023); Cinequest Film & VR Festival, San Jose, California (2023); Sexually explicit content, PAC Padiglione Arte Contemporanea, Milan (2023); Carmarthen Film Bay festival (2023); Tokyo Lift-Off Film Festival (2023); WorldFest-Houston International Film Festival (2023); L’incontro, Forof, Roma (2023).

Power, Decisions, History, Economy. In the Bank of Naples Foundation, the two managers perform in its historical archive. The archive contains bank documents dating back from 1500, coming from Italy and Europe. Human stillness vs. ancient cheques stillness.

Giulia Giannola is an Italian artist born in 1985, in Naples. After finishing her Bachelor degree in Venice at the IUAV University, she moves to Berlin where she graduated as Meisterschülerin in Installation and Multimedia at the Universität der Künste (UdK), with Prof. Christiane Möbus and was guest student in artist Candice Breitz class at HBK Braunschweig. Her work draws inspiration from the observation of public/collective or personal life situations, in which time factors such as duration and rhythm, are called into question, twisted and transformed, suggesting alternate realities. She produces staged situations, performances, interventions in public space, and videos. She received the Elsa-Neumann-Stipendium des Landes Berlin in 2014. Her works have been shown in “Meridian|Urban, Curatorial projects on health”, Haus der Kulturen der Welt, Berlin; Ikono on Air Festival, Collegium Hungaricum, Berlin; Meisterschülerpreis des Präsidenten der UdK Berlin, Georg Kolbe Museum, Berlin, Germany; Italy in a Frame,Triennale di Milano, Milan; Shiryaevo Biennial,Regional Museum of Samara, Russia; Phaenomenale 2010, Science and art festival, Kunstverein Wolfsburg; HDLU, Zagreb; .HBC gallery, Berlin; Organhaus international video art festival, Chongqing, China; Biennial of young artists the Mediterranean, Fabbrica del Vapore, Milan; Avi Festival,Israeli Cinema Museum, Jerusalem; Public Space_s, Athens, Greece; Digital Marrakech, Marrakech, Morocco.

“U Scantu”: A Disorderly Tale (2022), presented as a video installation at 59th International Art Exhibition of La Biennale di Venezia, reimagines the Sicilian, queer, multispecies myth of the "donne di fora" (“women from the outside and beside themselves”). Described as both magical and criminal, the "donne di fora" were said to possess both the feminine and masculine; the human and the animal; the benevolent and the vengeful. This film envisions the "donne di fora" as a gang of teenage “tuners” who ride through the utopian city of Gibellina Nuova (Sicily) on bikes customized with disruptive sound systems. The narrative voyage of the “tuners” is interspersed with poetic text and visual motifs from a 19th century collection of Sicilian fairy tales, Giardina Papa’s fragmented childhood memories of songs and stories told by her grandmother, and archival material from the Inquisition trials of the 16th and 17th centuries that criminalized women accused of being a "donne di fora". “U Scantu”: A Disorderly Tale repurposes the magical, ritualistic, and unruly as forces that generate an imagination beyond predetermined categories of humanness, chronological time, and mythological womanhood.

Elisa Giardina Papa’s research-based practice investigates the performance of gender, sexuality, and labor. Working across large scale video installations, drawings, sculptures, and theoretical texts, she documents how past and present forms of capitalism have extracted our capacities for labor and living—including sleep, intimacy, and emotion. With witty and poetic framing, her work calls attention to those parts of our lives, desires, and embodiments that remain radically unruly, untranslatable, and incomputable. Her work has been exhibited and screened at the 59th International Art Exhibition of La Biennale di Venezia (The Milk of Dreams), the Museum of Modern Art (MoMA’s Modern Mondays), the Whitney Museum (Sunrise/Sunset Commission), Seoul Mediacity Biennale 2018, Flaherty NYC, UnionDocs, and Pacific Film Archive (BAMPFA), among others. Giardina Papa received an MFA from RISD, and she is currently pursuing a PhD in film, media, and gender studies at the University of California Berkeley. She lives and works in New York and Sant’Ignazio, Sicily. Elisa Giardina Papa is also a founding member of the artist collective Radha May. Together with Bathsheba Okwenje and Nupur Mathur, they develop performances and art installations that reveal forgotten archives, hidden histories, and peripheral sites, exploring their relation to gender, and colonialism.

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

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

Cette vidéo étudie la relation complexe entre la langue et l'identité culturelle à l’époque contemporaine. Au lieu d’être considérées comme de simples outils de communication, les langues deviennent ici des virus capables de se contaminer mutuellement, façonnant de nouvelles identités et géographies. Le point de départ de la vidéo est la narration fragmentée d'une anecdote: un souvenir intime d'adolescent ayant appris l'anglais. Ce souvenir est filtré de manière ludique par des références à la culture visuelle dominante de la fin des années 80 et des années 90. Cette œuvre vidéo décrit le processus de formation de nouvelles formes de soi par l'utilisation du langage. Les mots, les souvenirs et les images fusionnent avec des paysages artificiels, créés et filmés dans un studio d'ingénierie marine, et s'enchaînent en séquences vagues mais cohérentes, qui semblent aussi naturelles et troublantes qu'un rêve.

Giovanni Giaretta (né en 1983 à Padoue, Italie) vit et travaille à Amsterdam (Pays-Bas). Après avoir obtenu un diplôme en design et production d'art visuel à l'université IUAV de Venise (Italie), il a participé à des programmes de résidence, notamment: Dena Foundation for Contemporary Art, Paris (France); De Ateliers, Amsterdam (Pays-Bas) et Deltaworkers, La Nouvelle-Orléans (USA). Son travail a fait l'objet d'expositions dans diverses institutions et galeries en Italie comme à l'étranger notamment: Palazzo Fortuny, Venise (Italie); MAMbo – Museo d’Arte Contemporanea, Bologne (Italie); Galleria Tiziana Di Caro, Naples (Italie); La Criée, Rennes (France); Foundation Botin, Santander (Espagne); De Appel, Amsterdam (Pays-Bas); MACRO – Museo d’Arte Contemporeana Roma, Rome (Italie); Musée Départemental d'Art Contemporain de Rochechouart (France); Fondazione Sandretto Re Rebaudengo, Turin (Italie). Ses films ont été présentés au Festival international du film de Rotterdam (Pays-Bas); au IDFA - International Documentary Filmfestival Amsterdam (Pays-Bas) et au New Horizons International Film Festival, Wroclaw (Pologne); entre autres festivals et projections. Entre 2016 et 2017, ses recherches se sont concentrées sur la relation entre la perception et l'altération pendant la nuit. Pour les mener à bien, Giaretta a travaillé comme portier de nuit dans un hôtel d’Amsterdam (Pays-Bas). Il est Maître de conférences à la AKI – Academy of Arts and Design à Enschede (Pays-Bas). Il est représenté par la Galleria Tiziana Di Caro, Naples (Italie).

Within the human struggle to live and work on a changing planet, questions of value, extraction, and adaptation echo across seemingly disparate worlds. A Common Sequence examines shifts of life and labor through a critically-endangered salamander and plant patents in the apple industry. Weaving the stories of Dominican nuns running a conservation lab, a group of fisherman attempting to live off of a depleting lake, engineers developing AI-driven harvesting machines, and an indigenous biomedical researcher resisting the commodification of human DNA, the film becomes a meditation on the shifting border between the natural and unnatural world, and the dynamics of power at play.

Mike Gibisser is a filmmaker and artist interested in navigating the indefinite lines between essay, narrative, experimental, and documentary work. He has presented work at numerous festivals including Sundance, Toronto, New York, Edinburgh, AFI, Oberhausen, and the Harvard Film Archive. He is currently an Associate Professor at the University of Wisconsin-Milwaukee.

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

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

Within the human struggle to live and work on a changing planet, questions of value, extraction, and adaptation echo across seemingly disparate worlds. A Common Sequence examines shifts of life and labor through a critically-endangered salamander and plant patents in the apple industry. Weaving the stories of Dominican nuns running a conservation lab, a group of fisherman attempting to live off of a depleting lake, engineers developing AI-driven harvesting machines, and an indigenous biomedical researcher resisting the commodification of human DNA, the film becomes a meditation on the shifting border between the natural and unnatural world, and the dynamics of power at play.

Mike Gibisser is a filmmaker and artist interested in navigating the indefinite lines between essay, narrative, experimental, and documentary work. He has presented work at numerous festivals including Sundance, Toronto, New York, Edinburgh, AFI, Oberhausen, and the Harvard Film Archive. He is currently an Associate Professor at the University of Wisconsin-Milwaukee.

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

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

"We sing a lullaby, not to lull to sleep, this giant baby of iron and concrete. We sing a lullaby so it grows stronger and upon it, incessantly the revolution can walk." A poem as a wake-up call for revolution, or rather a regime-compliant lullaby? GENERATIONS OF IMAGES embarks on a search for traces through the profound transformation processes of Albanian history. In the archives, forgotten places, and memories of different generations, ruptures and continuities become visible, left behind by the transition from communist dictatorship to capitalist democracy. Employing an essayistic-poetic approach, the film delves into regime images and image regimes, bring- ing forth hidden narratives and depicting how deeply Albania’s history is inscribed into the texture of its present.

Johannes Gierlinger (* 1985) In his work, he deals with forms of memory, remembrance and perspectives of resistance. Thereby he explores and analyzes historical and contemporary traces as well as constellations, transformations and connections between different eras and political systems. In his examination of the past and its permeation of the present, he explores forms of representation, layers and patterns and asks to what extent their structures and effects are visible and perceptible in today's societies. His work has been showen at national as well as international film festivals & institution, among others Visions Du Réel Nyon (CH), Belvedere21 (AT), CPH: DOX (DK), IMPAKT Festival (NL), Werkleitz Centre for Media Art (DE), Filmmakers Fest Milano (IT), Museum der Moderne Salzburg (AT), EMAF Osnabrück (DE), Bienal de Artes Mediales de Santiago (CL), Dokufest (KOS), FIC Valdivia (CL), Edinburgh IFF (GB), Antimatter [Media Art] (CA), das weisse haus (AT), rotor Graz (AT), Salzburger Kunstverein (AT), Diagonale Graz (AT). Lives and works in Vienna.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lumi is a story of snow and luminance, of reflection and planetary light. The video essay arranges historical photographic datasets through the perspective of an imaginary synthetic intelligence trained for the repainting of landscapes as part of an operation of climate restoration. Lumi can be seen as a science and climate fiction about a collective intelligence of Artificial Agents that time travel from past photographic images to future programmed landscapes. This intelligence has grown out of those moments of light computing its path, together with the landscape computing its growth and preservation. Lumi is a dataset of snow, ice, and light. It is a film about the reversal of time and the synthesis of landscapes: once made, then remade.

Abelardo Gil-Fournier is an artist and researcher. Originally trained in Physics, he holds a PhD in Art from Winchester School of Art (UK) and has worked as a researcher at FAMU in Prague. He is currently a grantee of a Leonardo scholarship from the BBVA Foundation. His work has been exhibited and discussed internationally, including venues such as Transmediale (Berlin), Fundación Cerezales Antonino y Cinia (León), Fotomuseum Winterthur (Switzerland), Design Museum (Shenzhen) and Tabakalera (Basque Country). He is the author, together with Jussi Parikka, of the book Living Surfaces. Images, Plants and Environments of Media (MIT Press 2024). Jussi Parikka, Finnish cultural historian, is professor of Digital Aesthetics and Culture at Aarhus University and visiting research professor at University of Southampton (UK). He has written and co-edited a number of books on media theory, history of digital culture, and environmental media. Some earlier work includes What is Media Archaeology? (2012) and Insect Media (2010). More recent work includes The Lab Book (with Lori Emerson and Darren Wershler, 2022), Operational Images (2023), and Living Surfaces: Images, Plants and Environments of Media (with Abelardo Gil-Fournier, 2024). He also works as curator, including such past projects as Weather Engines (2022) and Climate Engines (2023-204) with Daphne Dragona.

This video rethought the role of public sculptural representations, worldwide. While often “decorative”, these sculptures are often simply objects in public spaces funded by local governments, manifesting their power in shaping both art in public realm and popular aesthetics, often giving a false perception of sculpture medium, and how it should or could be interpreted. This ongoing project was a series of video-recorded performative guerrilla actions, using sculptures located in public spaces, including the U.S., Korea, and Iran. Before performing with a given sculpture, the artist asked for advice from professional art conservators or other specialists in the field of restoration.

Wojciech Gilewicz (b. 1974) is a Polish-born New York-based interdisciplinary visual artist. The artist draws on experience in painting and video to investigate boundaries of art and space. In his recording of reality, Gilewicz uses the video camera, which can fluidly transform into a means of registering social relations, which take place “outside” his actions performed with or around his paintings or sculptural objects. Gilewicz’s art provokes reflection on the mechanisms which govern perception and its cultural conditioning. Video works by the artist were presented internationally in the framework of numerous screenings in art institutions and video festivals including Media Art Biennale WRO, Rencontres Internationales Paris/Berlin/Madrid, CURRENTS: Santa Fe International New Media Festival, and Hors Pistes Japon. His awards include grants from The Pollock-Krasner Foundation and The Joan Mitchell Foundation, his residencies include Akiyoshidai International Art Village in Japan and Changdong Art Studio/National Museum of Contemporary in Seoul, Korea. The artist has been part for the last three years of the Lower Manhattan Cultural Council Workspace Program in New York, where he’s been working on his “New Paintings” series started back in 2006 inspired by NYC subway. (www.gilewicz.net) In 2017 Wojciech Gilewicz established Beach64retreat in the Rockaways, Queens, New York for creative individuals as the artist’s response to the rising precarity in arts&culture around the world. The retreat is free of charge.

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

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

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

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

This video rethought the role of public sculptural representations, worldwide. While often “decorative”, these sculptures are often simply objects in public spaces funded by local governments, manifesting their power in shaping both art in public realm and popular aesthetics, often giving a false perception of sculpture medium, and how it should or could be interpreted. This ongoing project was a series of video-recorded performative guerrilla actions, using sculptures located in public spaces, including the U.S., Korea, and Iran. Before performing with a given sculpture, the artist asked for advice from professional art conservators or other specialists in the field of restoration.

Wojciech Gilewicz (b. 1974) is a Polish-born New York-based interdisciplinary visual artist. The artist draws on experience in painting and video to investigate boundaries of art and space. In his recording of reality, Gilewicz uses the video camera, which can fluidly transform into a means of registering social relations, which take place “outside” his actions performed with or around his paintings or sculptural objects. Gilewicz’s art provokes reflection on the mechanisms which govern perception and its cultural conditioning. Video works by the artist were presented internationally in the framework of numerous screenings in art institutions and video festivals including Media Art Biennale WRO, Rencontres Internationales Paris/Berlin/Madrid, CURRENTS: Santa Fe International New Media Festival, and Hors Pistes Japon. His awards include grants from The Pollock-Krasner Foundation and The Joan Mitchell Foundation, his residencies include Akiyoshidai International Art Village in Japan and Changdong Art Studio/National Museum of Contemporary in Seoul, Korea. The artist has been part for the last three years of the Lower Manhattan Cultural Council Workspace Program in New York, where he’s been working on his “New Paintings” series started back in 2006 inspired by NYC subway. (www.gilewicz.net) In 2017 Wojciech Gilewicz established Beach64retreat in the Rockaways, Queens, New York for creative individuals as the artist’s response to the rising precarity in arts&culture around the world. The retreat is free of charge.

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

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

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

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

Au cours de ses errances dans une forêt nocturne, un robot croise différentes fleurs et plantes, se confrontant au monde naturel et tentant de respirer le parfum d’une fleur sauvage.

John Gillies est un artiste basé à Sydney (Eora) qui crée depuis les années 1980 des œuvres utilisant les médias temporels, notamment la performance, l’image en mouvement, l’installation, la musique et le son. S’inspirant du théâtre expérimental et des langages de la vidéo et du cinéma, sa pratique artistique est souvent improvisée et collaborative.

Dholera dévoile la vision dystopique de cette ville éponyme, imaginée au cœur du paysage désertique de l’État indien du Gujarat. Son immense réseau d’autoroutes, de voies ferrées surélevées, de pylônes électriques et de châteaux d’eau s’étend à perte de vue sur un terrain aride, sans végétation, balayé par des tourbillons de poussière. Ce vaste projet urbain — dont les travaux ont débuté il y a plus de dix ans — est aujourd’hui pratiquement à l’arrêt. Des prises de vue in situ réalisées par drone révèlent l’ampleur de ce chantier inachevé, où certains bâtiments symboliques du plan initial réapparaissent virtuellement sous forme de nuages de points. Le film fait surgir le fantôme de la ville de Dholera : un chantier spectral où des ruines du futur fissurent l’idée même d’utopie.

Pierre Jean Giloux, né en 1965, est lauréat de la Villa Kujoyama, Kyoto en 2015 et lauréat du Grand Prix Art Vidéo au Festival Côté Court de Pantin en 2016. Pratiquant une forme de réalité augmentée, il montre ses installations dans des musées et centres d’art tels que le Museum du Botanique à Bruxelles, la Criée, Centre d’art contemporain de Rennes, le Barbican à Londres, le Moma d’Hiroshima et le Musée national d’Osaka au Japon ainsi que dans les galeries DNA à Berlin, Sophie Scheidecker et Christophe Gaillard à Paris, Cristina Guerra à Lisbonne, la Bank MABsociety à Shanghai. Ses œuvres sont présentes dans des collections privées (à Paris, Rennes, Bruxelles et Tokyo, Pierre Darier en Suisse, An-Sammlung à Munich) et publiques (Fonds d’art contemporain - Paris collection et Ville de Marseille).

Biomimetic Stories # 1. Madurai La ville de Madurai située dans l’état du Tamil Nadu en Inde est le sujet de ce film. Sur un mode fictionnel, il dévoile des organisations urbaines virtuelles inspirées du vivant qui esquissent des solutions aux problèmes que génèrent les villes et plus spécifiquement à l’ère du réchauffement climatique. Le film se range du côté de la climato-fiction et envisage les rapports que pourraient entretenir dans un futur proche la nature et le paysage urbain. En alliant la biologie à l’urbain, il puise dans les processus évolutionnaires de la nature. Le film développe une narration prospective axée sur la bioluminescence urbaine, la récupération des eaux de rosée ainsi que l’édification d’une canopée. Madurai vise avant tout à proposer des pistes de réflexion, tout en s’inscrivant dans un processus biomimétique.

Pierre Jean Giloux http://www.pierrejeangiloux.com Pierre Jean Giloux, né en 1965, diplômé de l’ENSBA de Lyon et post-diplômé à Marseille (1990-91), montre ses installations vidéos ou photographiques et ses dessins dans des galeries (Roger Tator, Lyon, Plattform, Juliane Wellerdiek et DNA, Berlin, Sophie Scheidecker et Christophe Gaillard, Paris, Cristina Guerra, Lisbonne, Bank MABsociety, Shanghai) ou dans des musées et centres d’art contemporain, en Europe et en Asie. Ses œuvres sont présentes en collections privées (collection Pierre Darier, Cologny, ‘An-Sammlung’, Munich) et publiques (FMAC Paris et Marseille). Il a été lauréat de la Villa Kujoyama, Kyoto (2015), Grand prix art vidéo Festival Côté Court, Pantin (2016). Le travail de Pierre Jean Giloux se situe à la convergence de plusieurs pratiques : l’espace et le volume, le dessin et les images. Il réalise des projets engagés à caractère exploratoires et prospectifs sur la notion de paysage dans la cité, et propose de confronter des situations urbaines à des projets paysagers. Son processus de création est le plus souvent lié à des voyages d’étude tels que ceux effectués au Japon sur le métabolisme et plus récemment en Inde sur le biomimétisme. Novateur dans son mode d'écriture, Pierre Jean Giloux se base sur des recherches iconographiques et théoriques qu’il associe à des captations visuelles et sonores préalablement enregistrées. Ces hybridations façonnent un univers personnel patiemment élaboré sous la forme de dessins, photos, films et installations vidéo. Ses compositions visuelles et sonores sont le fruit d’une phase d’écriture faite de collages et de montages, et ceci par le biais des techniques numériques. Les interventions graphiques sur ses images lui permettent ainsi de modifier la perception du réel, de le mettre à distance et ainsi de créer des “mondes reconstruits”. Il fait cohabiter le virtuel et le réel dans le but d’établir un dialogue pour mieux les questionner et ainsi, de faire vaciller notre rapport au réel.

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

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

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

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

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

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

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

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

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

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

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

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

“ML CRSH” is a video work that was developed using a 3D gaming engine environment for self-driving vehicles. The AI algorithm was used to apply the database collection of photo materials and textures of Dresden to the 3D models, causing unpredictable digital artifacts. The initial video was inspired by the “Media Burn” 1975 performance organized by Ant Farm collective, where a customized Cadillac drove into a wall of flaming television sets. Translating it into today’s digital environment of “database logic” of new media objects and employment of AI, it features a montage of crashes of autonomous vehicles into digital replicas of art objects. The artwork turns its focus on the proliferation of database and AI technologies and disrupts its patterns with an iconoclastic gesture of a crash.

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