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

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

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

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

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

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

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

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

A Tongue Called Mother depicts the relationship between language, gestures and affiliation. It slowly captures the actions and words of three generations of women in the same family and children learning to read, meditating on words learnt and forgotten through the body.

Eva Giolo (b.1991 Brussels) is an audio visual artist and filmmaker who lives and works in Brussels. Giolo obtained a BA and MA in Fine Arts at the Media Arts department of the Royal Academy of Arts (KASK), Ghent. She completed her music education at the Institute of Contemporary Music in London. Giolo won the VAF Wildcard for experimental film (2016). Eva Giolo is a founding member of elephy and a post-grad art resident at HISK in Ghent (2018-2020).

Remote is a suggestive story. Portrait of a tender companionship in a secluded Irish countryside. Residing in the simplicity of the moment, the waiting and the repetition of days. This is a place where there is no space for imagining a future other than the perpetual repetition of the present. This is a place for survival, to be strong, alone with the wind, eyes burnt by the light. A place of unspoken tenderness, a landscape of silence and solitude in which there will always be someone.

Eva Giolo (b.1991 Brussels) is an audio visual artist. Her practice is predominantly made of filmic portraits that weave between fiction and documentary. They focus on individuals, almost always facing a certain kind of loneliness. She mainly focus on those individuals in their daily life, scripting and observing their actions and daily gestures through the camera. They often touch upon universal human themes and explore the relationship between loss, time and memory. But also the in-between language of the camera and the subject. Presenting memories, images and portraitures as something that can be manipulated and seen with multi-perspectives. Questioning the power of images is a recurrent theme and memories often stand as a central narrative. Giolo obtained a BA and MA in Fine Arts at the Media Arts department of the Royal Academy of Arts (KASK), Ghent. She completed her music education at the Institute of Contemporary Music in London. Recent screenings and exhibitions include: Imagine Science Film Festival, New York; TAZ#17, Ostend; Côté court, Paris; International Film Festival Rotterdam; Blaa Galleri, Copenhagen; BOZAR, Brussels; Courtisane Film Festival, Ghent; Ishibiki Gallery, Kanazawa; In Out Film Festival, Gdansk among others. Giolo won the VAF Wildcard for experimental film (2016) and is a founding member of the small distribution and production platform elephy. Eva Giolo is a post-grad art resident at HISK in Ghent (2018-2020). She currently works and lives in Brussels.

Le dernier film de Eva Giolo nous conduit dans le Val Gardena, où l’on parle encore le ladin, une langue rhéto-romane. Giolo renverse les représentations habituelles des communautés montagnardes pour offrir le portrait d’un patrimoine culturel précieux, en constante évolution. Ici, les habitants préservent et cultivent leur culture pour les générations futures, avec une conscience du monde et une grande créativité. Tourné en 16 mm, sensible à la fois à la grandeur et à la fragilité de la nature, Memory Is an Animal, It Barks with Many Mouths est un essai délicat sur l’importance vitale de la diversité linguistique.

Eva GIOLO (1991, Belgique) est une artiste travaillant le film, la vidéo et l’installation. Son œuvre accorde une attention particulière à l’expérience féminine, mobilisant des stratégies expérimentales et documentaires pour explorer l’intimité, la permanence, la mémoire, ainsi que l’analyse du langage et de la sémiotique. Ses films, installations et autres projets ont été largement présentés à l’international — festivals, musées et galeries — notamment à Sadie Coles HQ, la Viennale, FIDMarseille, l’IFFR, le New York Film Festival, entre autres. Son film Flowers blooming in our throats (2020) a été nommé pour l’European Film Award et a remporté le Top Prize à THIS IS SHORT 2021. Elle a également reçu la Mention spéciale du Jury national au Lago Film Fest 2021, la Mention spéciale du Jury au First Crossings Festival, ainsi que le Prix du Jury des Critiques au 25FPS Festival. Elle est lauréate du HISK (2018–2020) et a été en résidence artistique au SeMA NANJI (2020), à la résidence annuelle de film-écriture Conversation #4 (CVB, GSARA et Beursschouwburg), au programme CASTRO (2021), à WIELS (2021), ainsi qu’à RU Unlimited New York et Fogo Island Arts (2022). Ses films sont distribués par elephy et Light Cone.

Part of the YOURS project, an assemblage of five short films dedicated to Chantal Akerman, STONE, HAT, RIBBON AND ROSE offers a strictly personal and decidedly fragmented guide to Brussels; this idiosyncratic city symphony takes us across different urban terrains and unveils each location’s visual and sonic wonders. Amplifying the film’s elusive, drifting quality are a series of one-person performances involving disparate objects in the city. Playful and sombre, quotidian and fantastic, Eva Giolo’s film is a tender love letter to Akerman’s work. (Hyun Jin Cho)

Eva Giolo is an artist working across film, video, and installation. Her work has been exhibited at Sadie Coles HQ, Harlan Levey Project, WIELS centre for Contemporary Art , MAXXI–National Museum of 21st Century Art, Kunstmuseum Den Haag, BOZAR Centre for Fine Arts, Palazzo Strozzi, Museum of Contemporary Art Antwerp, Kunsthalle Wien, and major film festivals like International Film Festival Rotterdam, Viennale, FIDMarseille and Vision du Réel among others. She is a founding member of the production and distribution platform elephy.

Everyday occupations, some domestic tools, fruits, light, rope and many hands. Hands that dig in the earth, that cut, that cook, that touch, rip, wash, squeeze, erase, press, push. The sound of domestic spaces and its silence. Red flowers one summer. Flowers blooming in our throat is a cinematic poem in response to the worldwide pandemic of 2020. Commissioned and produced by in between art films for the project Mascarilla 19 – Codes of Domestic Violence. Filmed in 16mm just after the lockdown caused by COVID-19, Flowers blooming in our throats is an intimate, poetic portrait of the fragile balances that govern everyday life in a domestic setting. The artist films a group of her friends in their own homes, performing various small actions in accordance with her instructions. Giolo chooses to walk a shifting line where gestures remain symbolically ambiguous, expressing a kind of violence that is not immediately recognizable. Hands try to support or escape, but also to grip or strike, in a subtle interweaving of sounds and references that adds to the viewer’s sense of tension and unease. A dialogue of gestures, made up of repeated visual sequences where time is marked by the spinning of a small toy top, as unstable and precarious as the balance of a relationship.The artist repeatedly uses a red filter on her lens, creating a conceptual device that relies on an element of abstraction to conceal and transfigure the image. The mechanical insertion of the filter over the lens thus becomes the simulation of a violent act, immediately changing the way we perceive and remember an action we have seen before.This coexistence of opposites can also be found in the title, which metaphorically suggests how the beauty of a natural phenomenon—and implicitly, love – can turn into a suffocating force. Leonardo Bigazzi

Eva Giolo (Belgium) is an audio-visual artist working in film, video, and installation, born in Brussels in 1991. Her work places particular focus on the female experience, employing experimental and documentary strategies to explore themes of intimacy, permanence and memory, along with the analysis of language and semiotics. Giolo uses her camera to capture the “mundane” moments of the everyday to reveal their hidden depth. After pursuing music at East London University (2011), she received her BA in Media Arts (2015), and MA in Fine Arts, Royal Academy Fine Arts Ghent (2016). Her films, installations and other projects have been widely exhibited at festivals, museums and galleries internationally, including Sadie Coles HQ, WIELS, MAXXI–National Museum of 21st Century Art, BOZAR Centre for Fine Arts, Palazzo Strozzi, Festival Internacional de Cine Independiente de La Plata Buenos Aires, Viennale, Museum of Contemporary Art Antwerp, Kunsthalle Wien, International Film Festival Rotterdam, Kunstmuseum Den Haag, Lago Film Festival, Viennale, FIDMarseille, Courtisane Film Festival, Rencontres International Paris Berlin, Cinéma du Réel and Punto de Vista among others. Giolo’s work is in the permanent collections of Fondazione In Between Art Film (Rome) and Het Huis Van Alijn (Ghent), Museum M (Leuven). Her film Flowers Blooming in Our Throats (2020) was nominated for the European Film Awards (2020), and received Grand Prize from This Is Short, a collaborative online event co-presented by the International Short Film Festival Oberhausen, Vienna Short Film Festival, and other European organizations. She is the recipient of a VAF Wildcard Prize (2016), the Cedric Willemen Award (2019) and special recognition from the Vordemberge – Gildewart Foundation (2020). She was an artist in residence at the Higher Institute for Fine Arts (2018–2020), SeMA NANJI in Korea and WIELS Centre for Contemporary Art (2020) and the CASTRO studio program (2021). In 2022, Eva will be an art resident at Fogo Island Arts in Canada. Eva is co-founder of the Moving Image Atelier (Belgium) and co-founder and Artistic Director of Elephy, a production and distribution organization for film and media art, with Rebecca Jane Arthur, Chloë Delanghe, and Christina Stuhlberger. She lives and works in Brussels, Belgium.

A group of artists are invited to be inspired by the work of the well-known, Belgian filmmaker Chantal Akerman, specifically her film News from Home (1976). The busy city of New York serves as the film’s main character. Meanwhile, we hear Akerman’s voice reading letters from her mother in Brussels. She recounts daily anecdotes from the home front and increasingly urgent requests for news from New York. A group of artists are asked to make one film together: each with their own voice, style, and starting point. During the working process, questions arose such as: how do you as an artist relate to another film practice, how do you create a collective work while maintaining your individuality? You’ll see no less than five different films within one kaleidoscopic film: Stone, Hat, Ribbon and Rose by Eva Giolo, Barefoot Birthdays on Unbreakable Glass by Rebecca Jane Arthur, When Things Fall Apart by Katja Mater, Un Âne by the artistic duo Sirah Foighel Brutmann and Eitan Efrat, and The possibility of being sea by Maaike Neuville. Details such as letters and metros, and themes such as dislocation, detached city life, alienation versus feeling at home, distance versus proximity, and the mother-daughter relationship echo Akerman’s films. Unfortunately, the artists are no longer able to engage directly with the filmmaker, who passed away in 2015. However, this joint work attests to a way of engaging in dialogue with her work.

Eva GIOLO (1991, Belgium) is an audio-visual artist and filmmaker from Brussels. She obtained an MA in Fine Arts at KASK, Ghent and her musical education at the Institute of Contemporary Music in London. In her work Giolo tries to capture familial stories using documentary strategies to make portraits of usually private and unseen interior worlds. Her work has been exhibited all over the worl, and in 2016 she won the VAF Wildcard for experimental film. She is a founding member of elephy, a Brussels-based production and distribution platform for film and media art. Rebecca Jane Arthur is a visual artist working predominantly with the moving image and writing. Her works often revolve around portraits of people and places, and her interest lies in personal stories that depict a socio-political context and history. Arthur obtained her MA in Fine Arts at KASK, Ghent, in 2017. She completed her BA in Fine Arts at Sint-Lukas Brussels in 2015, after spending one year at the Academy of Fine Arts Vienna. Arthur recently exhibited her work at Tallinn Photomonth 2017: Contemporary Art Biennial; ARGOS Centre for Art and Media, Brussels; Convent, Ghent; and Courtisane Festival, Notes on Cinema 2017, Ghent, among others. Recent texts on Arthur’s work have been published in Metropolis M and KORTFILM.be. Arthur works in Brussels as a freelance writer, proofreader, copy-editor, translator (NL-EN) and moving image producer. She is co-founder of the film and media art platform elephy, together with Chloë Delanghe, Eva Giolo and Christina Stuhlberger. In 2017-18, she is working as a researcher on the art-based research project Six Formats on the chapter ‘Screening’, which is run by Felicitas Thun-Hohenstein and Ingrid Cogne, funded by FWF-Peek and hosted by the Academy of Fine Arts Vienna. Katja Mater’s (*1979 in Hoorn/The Netherlands, lives and works in Brussels and Amsterdam) practice focuses on the parameters of photography and film from a meta-perspective, using them as non-transparent media. By creating hybrids between different optical media, installation and performance she documents something that often is positioned beyond our human ability to see. Interested in revealing a different or alternative (experience of) reality through capturing the areas where optical media hardly behave like the human eye, Mater mediates between time, space, perception and our understanding of them, she records events that simultaneously can and cannot be – holding midway between information and interpretation. Sirah and Eitan are working in collaboration, creating works in the audiovisual field, installation and performance. They live and work in Brussels. Sirah and Eitan’s practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images – moving or still; the relations between spectatorship and history; the temporality of narratives and memory and the material surfaces of image production. Their works have been shown in duo exhibitions in Kunsthalle Basel (CH); Argos, Brussels (BE) and CAC Delme (FR); at group exhibitions in Argos (BE); Museum für Kunst und Gewerbe, Hamburg (DE); Portikus, Frankfurt (DE); Jeu de Paume, Paris (FR) and STUK, Leuven (BE). In film festivals such as EMAF, Osnabrück (DE); Atonal, Berlin (DE); Doc Lisboa (PT); Oberhausen Film Festival (DE); Rotterdam Film Festival (NL); Les Rencontres International, Paris and Berlin (FR/DE); New Horizons, Wroc?aw (PL); Images, Toronto (CA); 25FPS, Zagreb (HR). Sirah and Eitan are currently teaching at ERG, Brussels. Maaike Neuville (°1983) is a Belgian actress and director. Maaike graduated in 2005 from Studio Herman Teirlinck in Antwerp.

LAUNCHING CEREMONY (2021) Single-channel video, B&W, sound, 17min Originally conceived to be performed in a shipyard, ‘Launching Ceremony’ is an audiovisual poem focusing on the ceremonial launching of a new ship embarking on her maiden voyage. Through a reanimation of mid- century archival footage “choreographed” to a commissioned theremin score, the work invites its viewers to partake in the ceremony, as well as to reflect on free movement and lost futures in an increasingly entrenched world. A commission by the Syros International Film Festival (SIFF) realized with the support of NEON Organization for Culture and Development, in partnership with the Greek Film Archives. Credits A film by Marina Gioti | Music: May Roosevelt | Producer: Jacob Moe

Marina Gioti (Athens, 1972) Filmmaker and visual artist based in ?thens, Greece. She is also a trained Chemical Engineer with post graduates studies in Environmental Management, Media & Communication and New Media. In her works, which comprise of films, installations and media art pieces, she often revisits historical eras and stories offering parallel readings to dominant narratives. Artistic, archival and scientific research alongside observation play a crucial role in her practice, while objets trouvés and cultural debris serve as raw material or situate themselves at the center of her works. She is the laureate of the 2022 ?ceans-themed COAL prize for art and ecology. Recent shows and festivals include: Elefsina Mon Amour, Eleusis 2023 European Cultural Capital Flagship art show, Old Oil Mill Factory, Eleusis, Greece (2023), ARCOmadrid Special - La Casa Encendida, Madrid (2023) | Public Domain- New Acquisitions MOMus – Thessaloniki Museum of Contemporary Art, Thessaloniki (2022) | Launching Ceremony, Tarsanas Shipyard/ Syros International Film Festival-SIFF (solo, 2021)| Theorimata II, EMST - Athens Museum of Contemporary Art (2020)| Atlas: A Sound Cartography of Europe, Centre Pompidou, Paris / ZKM-Center for Art and Media, Karlsruhe / Onassis Stegi, Athens (2019) | CPH:DOX, Copenhagen (2019)| Harmonie Inconnue I & II, Galerie Dominique Fiat, Paris (2019)| | Polysomnogarden- Forum Frohner, Krems an der Donau (Solo, 2018)| Berlinale Forum Expanded (2018)| Yebisu Intl Festival for Art & Alternative Visions, Tokyo Museum of Photographic Art (2018)|The Invisible Hands, Signal - Contemporary Art Space, Malmö (solo, 2018)| Past Future Perfect, Akademie Schloss Solitude, Stuttgart (solo, 2018)| 1st Anren Biennale, Chengdu (2018)| documenta 14, Athens & Kassel (2017) www.marinagioti.net

A collection of visual evidence from an Athens of the near future devoid of humans. Its inhabitants have mysteriously disappeared, leaving behind a tableau mourant of concrete, metal and plastic coexisting with with glorious marble and the local flora and fauna. Part science fiction, part archaeological mystery, the work offers a picturesque expedition of the new Greek ruins, through an apposition of findings that serve as hints for the fate of the film’s elusive protagonists, the -conspicuous by absence- Athenians.

Marina Gioti is a filmmaker/ visual artist based in Athens, Greece. She studied Chemical Engineering, Environmental Management (MSc), Filmmaking, and Media and Communication (MA) in Greece, UK and Belgium. Her films and installations have been screened and exhibited worldwide at both international film festivals (Toronto IFF, Transmediale, Jeonju, Viennale,Les Rencontres Internationales, etc.) and museums/ visual art platforms [Thessaloniki Biennial, Wrocklaw Media Art Biennial (Poland), the Whitechapel Gallery (London), Bozar (Βrussels)]. She is currently in post-production of her first feature, “The Invisible Hands”, a documentary set in Cairo, Egypt.

Greece, the early 70?s. A family visits the museum of the 1821 Greek Revolution and War against the Turks. As they wander inside the museum, one of the paintings comes to life ... ?Sabotaged? version of a rare -found- propaganda film,produced during the Greek military junta in the 70s, supporting a largely debated fact -for many a national myth- related to the birth of the modern Greek nation and the construction of its ethnic identity.

Born in Athens, Greece, Marina Gioti has studied Chemical Engineering, Environmental Management (MSc), Filmmaking and Media and Communication (MA) in Greece and the UK. Since 1999 she lives and works in Athens as a filmmaker/ video artist working mainly with found footage and animation. She has presented work at festivals and galleries in Athens, Europe and the United States, notably at the Toronto International Film Festival, The Rencontres Internationales, Cinematexas, New York Underground Film Festival and Transmediale festival in Berlin. She is also working as an independent curator and film programmer organizing art exhibitions and experimental film and documentary screenings around Athens.

A Greek TV-commercial from the 80s of a product-action racquet game- that failed to become a success in the local market, is being manipulated anew in terms of image and sound. Apart from a funny rhythmical reworking of a rather trite found footage, this work aims at presenting a comical and simplistic view of how American products and trends have been implanted on our collective subconscious through advertising.

Marina Gioti is a filmmaker based in Athens, Greece. Her film and video work has been presented at various festivals and special screenings around Europe and the United States. Her most recent video "B-alles" was an official selection at: New York and Chicago Underground Film Festivals, Cinematexas 11, Hi/Lo Film Festival, Hull International Short Film Festival, among others. She also works as an independent film and video curator, programming and organizing experimental film and video screenings at various venues around Athens, mainly under the name "novaXpress". She has also programmed for Synch Festival (artistic director Synch Cinema 2005) and Cinematexas. She is the co-curator of the art exhibition "Anathena", which recently opened at the Deste Foundation (Athens, Greece).

“In Paris, at curfew time, people linger and hurry down the street before going home. In the morning, a person wakes up alone and listens to the messages left for her. At night, a woman recounts the symptoms of a strange illness to a cab driver. The stories unfold and touch, waiting for something to come.”

Mathilde Girard is a philosopher, psychoanalyst and writer and a member of the Lignes Committee. She has contributed to Chroniques Purple, Diacritik and AOC. She is the author of the books: Proprement dit, entretien sur le mythe, avec Jean-Luc Nancy (Lignes, 2015); L’Art de la faute – selon Georges Bataille (Lignes, 2017); Défense d’écrire – entretiens, avec Michel Surya (Encre Marine, 2018); La Besogne des images, avec Léa Bismuth (Filigranes, 2019), Un personnage en quête de sublimation (Gallimard, 2019). She writes for the cinema since 2017 and make her first films: MON PERSONNAGE (2020), LES ÉPISODES - PRINTEMPS 2018. (2020).

"Sainkho chante à la fois à la manière du chant de gorge traditionnel de Tuva et du jazz, mais, selon la croyance, la pratique de ces chants est dangereuse pour la santé des femmes." Le bilan du film ethnographique

Comment reconnaître Médée ? Que peut-elle nous révéler de nous-mêmes ? Je la cherche avec Alice, Élise, Nino et les ami·es, au carrefour de nos questions urgentes sur la vie, l’amour, les enfants. Entre l’intimité et le texte, celui d’Heiner Müller Médée-matériau, chacun·e apprend à se raconter. Peut-être cette fois saura-t-on entendre.

Née en 1979 à Paris, Mathilde Girard est psychanalyste, écrivaine et réalisatrice. Doctorante en philosophie, elle a publié plusieurs ouvrages autour la notion de communauté dans la pensée contemporaine (chez Georges Bataille et Jean-Luc Nancy). Au cinéma, elle travaille depuis plusieurs années comme scénariste aux côtés de Pierre Creton. Elle a écrit avec lui trois longs métrages : Va, Toto ! (2017), Le bel été (2019), et Un prince (2023, Prix SACD à la Quinzaine des cinéastes à Cannes). Son premier film, LES ÉPISODES – PRINTEMPS 2018, a reçu le Prix du Film Premier au FID Marseille en 2020 et a éte? montre? dans de nombreux festivals tels que le New York Film Festival, le Sheffield Doc/Fest, la Viennale, Doc Lisboa. Son deuxième film, l’essai long-métrage QUE QUELQUE CHOSE VIENNE, reçoit le prix Georges de Beauregard au FID Marseille 2023. Avec le moyen-métrage RECHERCHE MÉDÉE, son nouveau film, elle poursuit l’enquête sur l’amour de ses premiers épisodes. Le travail de Mathilde Girard se situe a? la frontière de la solitude et du monde, de l’amour et de la vie politique. Le cinéma naît pour elle dans cette relation qui suppose une implication collective et vise a? tisser des relations entre la pensée, la parole intime de chacun·e et le contemporain.

"While he mused on the effect of the flowing sands, he was seized from time to time by hallucinations in which he himself began to move with the flow." -Kobo Abe Liminal zones. Floating particles. Fire, water, earth, air. Voices of fictional characters: sometimes suggestive, sometimes strict, leading the viewer away from the here and now. Who`s talking? The relationship between the hypnotized subject and the hypnotist is mirrored in the spectator`s relationship to the screen.

CHRISTOPH GIRARDET was born in Langenhagen, Germany, in 1966. He studied Fine Arts at the Braunschweig School of Art (Master´s degree in 1994). Since 1989 he has produced video tapes, video installations and films, some of them in collaboration with Volker Schreiner beginning in 1994 and as of 1999 with Matthias Müller. He was awarded a stipend for the International Studio and Curatorial Program in New York (2000) and the Villa Massimo stipend in Rome (2004). He lives and works in Hanover. MATTHIAS MÜLLER was born in Bielefeld, Germany in 1961. Müller is an artist working in film, video and photography. He is based in Bielefeld and Cologne, Germany. Studied Arts and German Literature at Bielefeld University and Fine Arts at HBK Braunschweig. Master’s degree. Since 2003, Professor in Experimental Film at Academy of Media Arts, KHM, Cologne. Müller organized numerous avant-garde film events such as the "Found Footage Film Festival" (1996 & 1999) and the first German festival of autobiographical films "Ich etc." (1998) and various touring programs. With his films and videos he has taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin and Rotterdam. His work has also been featured in several group and solo exhibitions. His films and videos are part of the collections of institutions such as Centre Georges Pompidou, Paris, Museu d’Art Contemporani, Barcelona, Nederlands Film Museum, Amsterdam, Australian Centre For The Moving Image, Melbourne, Kunsthalle Bielefeld, the Goetz Collection, Munich, the collection of Isabelle and Jean-Conrad Lemaître, London, and Tate Modern, London.

A broken bottleneck lies on the ground. An analogue telephone with a blank dial plate. The hero of the film, Jean-Louis Trintignant, in younger years – in older years. A man huddled on an elevator floor. Skewered butterflies. He is all alone in the world. The external is sealed off. The internal barricaded. He shifts between times. His focus is always trained on the other. Is he wanted, condemned, persecuted? The man whom we observe from the rear, is only able to see his back in the mirror. His face cannot be recognised. All the actions and movements, all the seeking and striving, all the alterations and associations revolve around the view and excerpt from “La reproduction interdite”, painted by Belgian surrealist René Magritte in 1937. The mirror axis of the film, and yet, and simply for that reason, one becomes the other. The other becomes many. “personne – that is somebody and nobody and anyone. That is us in the course of time. Persistently, in vain. The self is the need for permanent self-assertion”.

Christoph Girardet & Matthias Müller are directors, known for Cut (2013), Contre-jour (2009) and Personne (2016).

En 1939, une seconde équipe, avec une doublure et des figurants, a tourné des scènes pour le classique hollywoodien Mr. Smith Goes to Washington au Lincoln Memorial. La succession de longues séquences éliminées du montage final sape la narration cinématographique classique : l’intrigue ne semble pas avancer. L’architecture néoclassique demeure le décor d’un rituel récurrent et troublant, dans lequel le protagoniste se perd.

Christoph Girardet, né en 1966, est un artiste vidéo et cinéaste allemand. Son travail prend pour matière à la fois des images trouvées par hasard et d’autres issues de recherches approfondies dans les archives de l’histoire du cinéma. Par le montage, les ellipses et les répétitions, il met au jour les structures profondes et les mécanismes internes de la réalité filmique représentée. Au-delà de l’analyse du matériau et de ses clichés, son œuvre explore en essence un état mélancolique d’absence, construisant ainsi un monde visuel singulier. De 1988 à 1994, Girardet étudie les arts visuels à la Hochschule für Bildende Künste de Braunschweig, dans la classe cinéma de Birgit Hein. Depuis 1989, il réalise films, vidéos et installations vidéo — parfois en collaboration avec l’artiste vidéo Volker Schreiner (1994–2004), et plus fréquemment avec le cinéaste Matthias Müller (depuis 1999). Girardet a participé à de nombreuses expositions collectives, notamment au Stedelijk Van Abbemuseum d’Eindhoven, au MoMA PS1 à New York, au Palais de Tokyo à Paris, au Hirshhorn Museum de Washington et à l’Eye Filmmuseum d’Amsterdam. Il a également bénéficié d’expositions personnelles dans des institutions telles que FACT (Liverpool), le Kunstverein Hannover ou West (La Haye). Ses œuvres ont été présentées dans les grands festivals internationaux — Cannes, Venise, Berlin, Toronto, Locarno, Oberhausen ou Rotterdam — et figurent dans des collections publiques et privées. Il a reçu de nombreuses distinctions, dont une bourse pour le programme International Studio and Curatorial Program à New York (2000) et une résidence à la Villa Massimo à Rome (2004). Il vit et travaille à Hanovre, en Allemagne.

Jishin (Japanese: earthquake) shows an archaic-looking special effect for a Hollywood film of the 1940s: a house begins to sway, stone lanterns fall over, an actor loses his grip. Finally, mountains of debris fill the screen. The drama is repeated in five successive, slightly varied camera perspectives. The uncut raw material allows an analytical view of the clichéd and scenery-like setting: the disaster is not due to a natural event but to a precalculated performance.

born in Langenhagen, Germany, in 1966, studied Visual Arts at the Braunschweig University of Art (HBK). Since 1989 he has produced films, videos and video installations, some of them in collaboration with video artist Volker Schreiner (1994 – 2004), and, more frequently, in collaboration with filmmaker Matthias Müller (1999 – 2022). He lives and works in Hanover, Germany.

Twenty years ago, the towers of the New York World Trade Center collapsed. The endlessly repeating television images of this event were preceded by manyfold stagings of the building, either as a highly symbolic icon, a speculative destruction fantasy or merely as a spectacular backdrop. In Misty Picture, such fictional motifs string together: city symphony, disaster movie and medial trauma therapy become one.

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. Matthias Müller, born in Bielefeld, Germany, in 1961. Lives in Bielefeld and Cologne. Studied at the Bielefeld University and at the Braunschweig HBK. Collaborative works since 1999

Portraits of women. And men, who are spellbound by them. The painted portraits, a recurring motif of film noir as well as European postwar cinema, aesthetically stand in a tradition of an outmoded academic style that is bent on striking likeness with the model. They are revenants, omens of absence, metaphors for loss and death, objects of desire and fixation, which mesmerize both the viewer in the movie and in front of the screen.

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. filmography (single channel, selection) 1991 Schwertkampf 1993 Fieberrot 1996 Release 2001 Scratch 2002 Absence 2004 Fiction Artists (with Volker Schreiner) 2007 Pianoforte | Storyboard 2012 The Eternal Lesson | Dirigible 2014 Fabric 2015 Synthesis 2017 It Was Still Her Face collaborations with Matthias Müller 1999 Phoenix Tapes 2002 Manual | Beacon 2003 Play | Mirror 2006 Kristall 2009 Contre-jour | Maybe Siam 2011 Meteor 2013 Cut 2016 personne

Fabric is a montage based on remaining workprints from a commercial film about viscose that no longer exists. The original attempt of the film to visualize perfect images of a young tailor and models dressed in sensual fabric while acting within a decorative modernist setting is mirrored in its shortcoming. The leftovers only show the preliminaries, faulty repetitions and aborted takes, thus all footage which was thrownout. Clapper boards indicating each take by numbers allowed to reconstruct a part of the film’s original storyboard. The new montage shows all of the remaining snippets from the related scenes including the clapper boards, the repeated takes and the glitches in the film material. However, all parts which probably have been used to edit the original film are missing, the gaps are marked with beeps on the otherwise silent soundtrack. While following a fragile new narrative, Fabric also generates a counterpart of an artefact that was lost.

Christoph Girardet, born in Langenhagen, Germany, in 1966. He studied Fine Arts at the Braunschweig School of Art (Master’s degree in 1994). Since 1989 he has produced video tapes, video installations and films, some of them in collaboration with video artist Volker Schreiner beginning in 1994 and as of 1999 with filmmaker Matthias Müller. He was awarded a stipend for the International Studio and Curatorial Program in New York (2000) and the Villa Massimo stipend in Rome (2004). He lives and works in Hanover.

They call me a dreamer, well maybe I am. / But I know that I`m burnin` to see / Those far away places with the strange-soundin` names / Callin`, callin` me. (no translation, English only, please)

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Works in video, film and installation since 1987. Studied at the Braunschweig HBK. Selected works: 1991 Schwertkampf, 1997 Release, 2001 Scratch, 2001 7:48, 2002 Absence, 2007 Pianoforte, 2010 Silberwald Matthias Müller, born in Bielefeld, Germany, in 1961. Lives in Bielefeld and Cologne. Works in film, video and photography since 1980. Studied at the Bielefeld University and at the Braunschweig HBK. Selected works: 1990 Home Stories, 1994 Alpsee, 1998 Vacancy, 2000 nebel, 2004 Album. Joint projects of Christoph Girardet and Matthias Müller: Phoenix Tapes 1999, Manual 2002, Beacon 2002, Play 2003, Mirror 2003, Ray 2004, Catch 2005, Ground 2005, Hide 2006, Kristall 2006, Locomotive 2008, Contre-jour 2009, Maybe Siam 2009

« Storyboard » est un collage réalisé à partir d'une variété d?images trouvées au hasard : des espaces vides, des gestes énigmatiques, des environnements artificiels. Ceci est-il la vie, selon une mémoire cinématographique?

Christoph Girardet est né en 1966 à Langenhagen et vit à Hanovre en Allemagne. Il a étudié les Beaux-Arts à l?Ecole d?arts de Braunschweig. Il travaille depuis 1987 sur les supports vidéo, film et installations. Il commence une collaboration en 1994 avec le vidéaste Volker SCHREINER, puis avec Matthias Müller depuis 1999 (Phoenix Tapes) avec qui il réalise de nombreux projets communs ayant recours aux techniques numériques. Il explore entre autres les poncifs du cinéma industriel. Girardet a participé à des expositions collectives dans des institutions aussi prestigieuses que le Stedelijk Van Abbemuseum (Eindhoven) ou le P.S.1 Contemporary Art Center de New York. Des expositions personnelles de ses travaux ont eu lieu au Kunstverein de Hanovre ou à la Sean Gallery de New York. Il a déjà reçu de nombreuses récompenses.

En 1939, une seconde équipe, avec une doublure et des figurants, a tourné des scènes pour le classique hollywoodien Mr. Smith Goes to Washington au Lincoln Memorial. La succession de longues séquences éliminées du montage final sape la narration cinématographique classique : l’intrigue ne semble pas avancer. L’architecture néoclassique demeure le décor d’un rituel récurrent et troublant, dans lequel le protagoniste se perd.

Christoph Girardet, né en 1966, est un artiste vidéo et cinéaste allemand. Son travail prend pour matière à la fois des images trouvées par hasard et d’autres issues de recherches approfondies dans les archives de l’histoire du cinéma. Par le montage, les ellipses et les répétitions, il met au jour les structures profondes et les mécanismes internes de la réalité filmique représentée. Au-delà de l’analyse du matériau et de ses clichés, son œuvre explore en essence un état mélancolique d’absence, construisant ainsi un monde visuel singulier. De 1988 à 1994, Girardet étudie les arts visuels à la Hochschule für Bildende Künste de Braunschweig, dans la classe cinéma de Birgit Hein. Depuis 1989, il réalise films, vidéos et installations vidéo — parfois en collaboration avec l’artiste vidéo Volker Schreiner (1994–2004), et plus fréquemment avec le cinéaste Matthias Müller (depuis 1999). Girardet a participé à de nombreuses expositions collectives, notamment au Stedelijk Van Abbemuseum d’Eindhoven, au MoMA PS1 à New York, au Palais de Tokyo à Paris, au Hirshhorn Museum de Washington et à l’Eye Filmmuseum d’Amsterdam. Il a également bénéficié d’expositions personnelles dans des institutions telles que FACT (Liverpool), le Kunstverein Hannover ou West (La Haye). Ses œuvres ont été présentées dans les grands festivals internationaux — Cannes, Venise, Berlin, Toronto, Locarno, Oberhausen ou Rotterdam — et figurent dans des collections publiques et privées. Il a reçu de nombreuses distinctions, dont une bourse pour le programme International Studio and Curatorial Program à New York (2000) et une résidence à la Villa Massimo à Rome (2004). Il vit et travaille à Hanovre, en Allemagne.

Jishin (Japanese: earthquake) shows an archaic-looking special effect for a Hollywood film of the 1940s: a house begins to sway, stone lanterns fall over, an actor loses his grip. Finally, mountains of debris fill the screen. The drama is repeated in five successive, slightly varied camera perspectives. The uncut raw material allows an analytical view of the clichéd and scenery-like setting: the disaster is not due to a natural event but to a precalculated performance.

born in Langenhagen, Germany, in 1966, studied Visual Arts at the Braunschweig University of Art (HBK). Since 1989 he has produced films, videos and video installations, some of them in collaboration with video artist Volker Schreiner (1994 – 2004), and, more frequently, in collaboration with filmmaker Matthias Müller (1999 – 2022). He lives and works in Hanover, Germany.

Twenty years ago, the towers of the New York World Trade Center collapsed. The endlessly repeating television images of this event were preceded by manyfold stagings of the building, either as a highly symbolic icon, a speculative destruction fantasy or merely as a spectacular backdrop. In Misty Picture, such fictional motifs string together: city symphony, disaster movie and medial trauma therapy become one.

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. Matthias Müller, born in Bielefeld, Germany, in 1961. Lives in Bielefeld and Cologne. Studied at the Bielefeld University and at the Braunschweig HBK. Collaborative works since 1999

Portraits of women. And men, who are spellbound by them. The painted portraits, a recurring motif of film noir as well as European postwar cinema, aesthetically stand in a tradition of an outmoded academic style that is bent on striking likeness with the model. They are revenants, omens of absence, metaphors for loss and death, objects of desire and fixation, which mesmerize both the viewer in the movie and in front of the screen.

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. filmography (single channel, selection) 1991 Schwertkampf 1993 Fieberrot 1996 Release 2001 Scratch 2002 Absence 2004 Fiction Artists (with Volker Schreiner) 2007 Pianoforte | Storyboard 2012 The Eternal Lesson | Dirigible 2014 Fabric 2015 Synthesis 2017 It Was Still Her Face collaborations with Matthias Müller 1999 Phoenix Tapes 2002 Manual | Beacon 2003 Play | Mirror 2006 Kristall 2009 Contre-jour | Maybe Siam 2011 Meteor 2013 Cut 2016 personne

Fabric is a montage based on remaining workprints from a commercial film about viscose that no longer exists. The original attempt of the film to visualize perfect images of a young tailor and models dressed in sensual fabric while acting within a decorative modernist setting is mirrored in its shortcoming. The leftovers only show the preliminaries, faulty repetitions and aborted takes, thus all footage which was thrownout. Clapper boards indicating each take by numbers allowed to reconstruct a part of the film’s original storyboard. The new montage shows all of the remaining snippets from the related scenes including the clapper boards, the repeated takes and the glitches in the film material. However, all parts which probably have been used to edit the original film are missing, the gaps are marked with beeps on the otherwise silent soundtrack. While following a fragile new narrative, Fabric also generates a counterpart of an artefact that was lost.

Christoph Girardet, born in Langenhagen, Germany, in 1966. He studied Fine Arts at the Braunschweig School of Art (Master’s degree in 1994). Since 1989 he has produced video tapes, video installations and films, some of them in collaboration with video artist Volker Schreiner beginning in 1994 and as of 1999 with filmmaker Matthias Müller. He was awarded a stipend for the International Studio and Curatorial Program in New York (2000) and the Villa Massimo stipend in Rome (2004). He lives and works in Hanover.

They call me a dreamer, well maybe I am. / But I know that I`m burnin` to see / Those far away places with the strange-soundin` names / Callin`, callin` me. (no translation, English only, please)

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Works in video, film and installation since 1987. Studied at the Braunschweig HBK. Selected works: 1991 Schwertkampf, 1997 Release, 2001 Scratch, 2001 7:48, 2002 Absence, 2007 Pianoforte, 2010 Silberwald Matthias Müller, born in Bielefeld, Germany, in 1961. Lives in Bielefeld and Cologne. Works in film, video and photography since 1980. Studied at the Bielefeld University and at the Braunschweig HBK. Selected works: 1990 Home Stories, 1994 Alpsee, 1998 Vacancy, 2000 nebel, 2004 Album. Joint projects of Christoph Girardet and Matthias Müller: Phoenix Tapes 1999, Manual 2002, Beacon 2002, Play 2003, Mirror 2003, Ray 2004, Catch 2005, Ground 2005, Hide 2006, Kristall 2006, Locomotive 2008, Contre-jour 2009, Maybe Siam 2009

« Storyboard » est un collage réalisé à partir d'une variété d?images trouvées au hasard : des espaces vides, des gestes énigmatiques, des environnements artificiels. Ceci est-il la vie, selon une mémoire cinématographique?

Christoph Girardet est né en 1966 à Langenhagen et vit à Hanovre en Allemagne. Il a étudié les Beaux-Arts à l?Ecole d?arts de Braunschweig. Il travaille depuis 1987 sur les supports vidéo, film et installations. Il commence une collaboration en 1994 avec le vidéaste Volker SCHREINER, puis avec Matthias Müller depuis 1999 (Phoenix Tapes) avec qui il réalise de nombreux projets communs ayant recours aux techniques numériques. Il explore entre autres les poncifs du cinéma industriel. Girardet a participé à des expositions collectives dans des institutions aussi prestigieuses que le Stedelijk Van Abbemuseum (Eindhoven) ou le P.S.1 Contemporary Art Center de New York. Des expositions personnelles de ses travaux ont eu lieu au Kunstverein de Hanovre ou à la Sean Gallery de New York. Il a déjà reçu de nombreuses récompenses.

Une foule danse au son d`une musique que l`on n`entend pas devant un groupe que l`on ne voit pas. Reste le son des corps et de leurs mouvements, l`image d`un ordre changeant. The Straight Edge est une expérience appliquée à un concert de musique punk-hardcore. La foule et son intensité en sont le matériau. Les expressions communes de joie, de violence ou d`ennui sont les éléments d`une même fiction culturelle à travailler. Des formes y sont tentées, déplacées et répétées. J`envisage la communauté comme un jeu complexe où s`inventent les individus. C`est dans le partage des règles, des postures et des vitesses que chacun se construit et constuit un monde. C`est ce mouvement de production qui est l`objet de mon travail. Je veux croire qu`il est toujours flexible et modifiable, qu`il peut être altéré et recréé. Je veux croire en la fiction et la possibilité de sa réinvention.

Fabien Giraud, né en 1980, a étudié à l?Ecole Nationale Superieure des Arts Décoratifs de Paris, et au National Institute of Design en Inde. Il vit et travaille actuellement au Fresnoy, Studio National des Arts Contemporains à Tourcoing.

An unsanctioned observation of [redacted]’s largest oil refinery, processing 440,000 barrels of crude oil a day. By night, the complex becomes a heaving edifice of flame and fog. We observe its operation from afar as the inferno slowly engulfs the frame, accompanied by an original hypnotic soundscape by UK club experimentalist Loraine James. A vision of industrial desolation in which dread turns to awe.

Alexander Girav (b. 1995) is an American filmmaker and cinematographer whose observational work explores post-capitalist landscapes through an experimental, ethnographic lens. His films have been screened at Sundance, the International Film Festival Rotterdam, the Chicago International Film Festival, the Edinburgh International Film Festival, the Atlanta Film Festival, and the Jeonju International Film Festival. His cinematography on The Harvest earned him a nomination for the National Geographic Award for Best Cinematography at Millennium Docs. He earned a BFA in Film/Video from CalArts in 2017.

Somewhere, a young man is asleep, his room illuminated green by the flicker of his computer screensaver. Even the night sky resembles its digital replication. Anthropological observations on sleep in the age of technology, and the ways in which it substitutes natural environments.

Alexander Girav was born in Chicago in 1995 and now works as a cinematographer in Los Angeles. While a student at CalArts, he had his work screen at The Chicago International Film Festival and Valvidia International Film Festival. Upon receiving his BFA in Film/Video, Alex`s work has been selected to screen by Ann Arbor Film Festival and International Film Festival Rotterdam - among others.

Dans le jardin des Hespérides poussait jadis un fruit capable d’accorder l’immortalité à quiconque le mangeait. Ce jardin, situé quelque part au large de l’Afrique de l’Ouest, était gardé par un dragon aux cent têtes. À travers la bio-sonification des bananiers — culture de monoculture emblématique des îles Canaries — se révèle un récit d’éternité surgissant à l’endroit même où ce jardin mythique aurait existé.

Leur travail explore les relations entre mythologie, histoire et matérialisme. Leur premier long métrage, Eles transportan a morte (2021), a été présenté en avant-première aux festivals de Venise et de Saint-Sébastien, remportant des prix dans les deux. Il a ensuite circulé dans des festivals internationaux tels que Rotterdam, Le Caire, Mar del Plata, la Viennale, Hambourg et São Paulo. Leurs courts métrages ont été montrés dans des festivals comme Toronto, Locarno, New York, Ann Arbor, entre beaucoup d’autres. Ils ont également réalisé des installations et des performances dans des centres d’art tels que le CCCB (Barcelone), le BAM (New York), le TEA (Tenerife) ou Solar (Vila do Conde).

San Borondón is a mythical island that appears and disappears. It has appeared on maps throughout history in the vicinity of the Canary Islands. The legend of the island of San Borondón became so pervasive that, during the XVI, XVI and XVIII centuries, expeditions were organized to find and conquer it. After centuries of oblivion, it has finally been found.

Helena Girón and Samuel M. Delgado Their work investigates the relationship between mythology, history and materialism. Their first feature film, Eles transportan a morte (2021), premiered at the Venice and San Sebastian festivals winning awards at both. It has subsequently been shown at international festivals such as Rotterdam, Cairo, Mar del Plata, Viennale, Hamburg and Sao Paulo. Their previous short films have been shown at festivals like Toronto, Locarno, New York, Ann Arbor and many others. They have made installations and performances in art centers like CCCB (Barcelona), BAM (New York), TEA (Tenerife) or Solar (Vila do Conde).

Dans le jardin des Hespérides poussait jadis un fruit capable d’accorder l’immortalité à quiconque le mangeait. Ce jardin, situé quelque part au large de l’Afrique de l’Ouest, était gardé par un dragon aux cent têtes. À travers la bio-sonification des bananiers — culture de monoculture emblématique des îles Canaries — se révèle un récit d’éternité surgissant à l’endroit même où ce jardin mythique aurait existé.

Leur travail explore les relations entre mythologie, histoire et matérialisme. Leur premier long métrage, Eles transportan a morte (2021), a été présenté en avant-première aux festivals de Venise et de Saint-Sébastien, remportant des prix dans les deux. Il a ensuite circulé dans des festivals internationaux tels que Rotterdam, Le Caire, Mar del Plata, la Viennale, Hambourg et São Paulo. Leurs courts métrages ont été montrés dans des festivals comme Toronto, Locarno, New York, Ann Arbor, entre beaucoup d’autres. Ils ont également réalisé des installations et des performances dans des centres d’art tels que le CCCB (Barcelone), le BAM (New York), le TEA (Tenerife) ou Solar (Vila do Conde).

San Borondón is a mythical island that appears and disappears. It has appeared on maps throughout history in the vicinity of the Canary Islands. The legend of the island of San Borondón became so pervasive that, during the XVI, XVI and XVIII centuries, expeditions were organized to find and conquer it. After centuries of oblivion, it has finally been found.

Helena Girón and Samuel M. Delgado Their work investigates the relationship between mythology, history and materialism. Their first feature film, Eles transportan a morte (2021), premiered at the Venice and San Sebastian festivals winning awards at both. It has subsequently been shown at international festivals such as Rotterdam, Cairo, Mar del Plata, Viennale, Hamburg and Sao Paulo. Their previous short films have been shown at festivals like Toronto, Locarno, New York, Ann Arbor and many others. They have made installations and performances in art centers like CCCB (Barcelona), BAM (New York), TEA (Tenerife) or Solar (Vila do Conde).

"Threshold Songs," by Natalia Almada and Peter Gizzi is part of "The Tangier 8," a film-poetry project that took place in Tangier, Morocco in June 2009. Working under tight time constraints-they had just four days to film, four days for sound, and four days for editing, the artists took inspiration from the city of Tangier-its history, architecture, people, politics, as well as from each other, to produce these short film-poems.

Natalia Almada- Born in 1974 in Mexico. She graduated with a Masters in Fine Arts in photography from the Rhode Island School of Design and shares her time between Mexico City and Brooklyn, New York. Her directing credits include All Water Has a Perfect Memory, an experimental short film; Al Otro Lado, her award winning debut feature documentary about immigration, drug trafficking and corrido music; and her most recent film, EL GENERAL, a family memoir and portrait of Mexico past and present which premiered at the 2009 Sundance Film Festival and won the best documentary director award. Her films have been shown at The Museum of Modern Art, The Guggenheim Museum, The Whitney Biennial, as well as at several film festivals around the world. She has received support for her work from numerous foundations including The Creative Capital Foundation, The Tribeca Film Institute, The Sundance Institute Documentary Film Program, PBS and others. Almada is a MacDowell Colony Fellow and a 2008 Guggenheim Fellow. 2) Peter Gizzi- Born in 1959 in Massachusetts. Gizzi attended Brown University, NYC and SUNY Buffalo. His books include The Outernationale (Wesleyan, 2007), Some Values of Landscape and Weather (Wesleyan, 2003), Artificial Heart (Burning Deck, 1998), and Periplum (Avec Books, 1992). In 2004 Salt Publishing of England reprinted an expanded edition of his first book as Periplum and other poems 1987-92. He has also published several limited-edition chapbooks, folios, and artist books. His work has been translated into numerous languages and anthologized here and abroad. His honors include the Lavan Younger Poet Award from the Academy of American Poets (1994) and fellowships in poetry from The Fund for Poetry (1993), The Rex Foundation (1993), Howard Foundation (1998), The Foundation for Contemporary Arts (1999), and The John Simon Guggenheim Memorial Foundation (2005).

This project is a sound and visual performance that has its origins in the ubiquitous digital tones of the cell phones comprising the soundtrack of our contemporary life. These sound waves provide the raw material for this piece, which recreates an urban space saturated with an ever-changing cacophony of electronic alerts. In order to add an appropriately surreal dimension to this soundscape, the space is filled with theatrical smoke that creates an atmosphere, which, like the public, is trapped between the physical and digital realities. In this performance Fatos Qerimaj, a contemporary musician, plays the clarinet in a jazz-like dialogue with the ring tones, turning the mobile phones into avatar-instrumentalists of an unpredictable cyborg ensemble. If jazz once responded spontaneously to the rhythms and beat of life, in this piece it still does, with the rhythm of our lives now being the sounds of our digital devices.

Helidon is a contemporary artist, who was born in Albania and currently lives in NYC. He studied art at the Academies of Fine Arts of Tirana and Naples as well as Northwestern University. Over the course of his career he has worked in a variety of mediums, and has shown his work internationally, in venues such as Venice Biennale, Manifesta, Tirana Biennale, Festival of Ideas of the New Museum, and Ludwig Museum. He has taught in several universities and lectured about his work at Harvard, Columbia and Parsons. His work has been reviewed in Artforum and Flash Art. Qerimaj is a distinguished contemporary Albanian musician who plays the clarinet, composes, conducts, and serves as an artistic director and university professor. Born in Albania, he graduated in clarinet and composition from the Academy of Fine Arts in Tirana, where he now works as a professor. He has performed in many concerts throughout Europe and beyond. He is the artistic director of a few festivals in Tirana, such as the Jazz Festival, Clarimpro Festival, and the Magic Flute Festival. Among other prizes, in 2005 he was awarded the Kult Prize for the best Albanian musician of the year.

Gladwell est le calme pendant l'orage. Au ralenti, nous pouvons entrevoir son talent sur une planche - il fut après tout un champion d'Australie de Skateboard - ainsi que son talent a montré une beauté authentique et une profonde vulnérabilité. Gladwell était et continue à être fasciné par le ralentissement du temps et l'attention sur la beauté qui existe dans ces moments de flottements. Dans la culture skateboard, des skateur vont passer des heures devant la TV (ou devant un écran d'ordinateur) à passer un film au ralenti pour apprendre et exécuter plus tard plusieurs figure de skateboard. Les spectateurs crédules sont introduits dans la pratique d'une subculture donnée et ont l'opportunité d'une jeter un ?il neuf sur unautre . Dans l'essai du catalogue d'exposition Silent, Ambient, and Harder Remixes, Simon Rees déclare à juste titre que l'artiste porte des habits sombres à la Turner en différentes teintes de gris, et qui inclue une grosse chaîne en argent qui se balance d'avant en arrière à chacun de ses mouvements. Mais ce documentaire ce se ne limite pas à cela, il vient en complément de l'arrière plan orageux et sombre. Les séquences d'orages sont dédiées à l'ami et entraîneur du skateboeardeur décédé à la fin des années 90, ce qui rehausse l'interprétation de vérité et de vulnérabilité. Il y une grande tristesse sous-jacente dans cette fabuleuse vidéo néanmoins calme et amène à la méditation. Gladwell est un artiste intelligent et très lu, qui s'intéresse aux théories questionnant les notions d'espace public et privé la la notion de l'" autre" dans ce cas en particulier, le "sous". "Storm Sequence", tourné en 2000 est l'une d'une série de quatre, composée de "Storm Sequence", de "Kick flipping Flaneur", de "Tangara" et "Double Line Work". Le travail fut commissionné par Pete Fay et fut au centre de l'attention de nombreuses expositions à Sydney, Camberra, Perth, Bierut, New York et Londres.

SHAUN GLADWELL Né en 1972, Western Sydney. Shaun Gladwell a été diplômé d'un Bachelor en Art Visuels (Hons) à l'Université de Sydney en 1996, suivit par un master en Arts Visuels au College of Fine Arts de la University of New South Wales. En 2001, il a été récompensé par une résidence de trois mois dans la Cité Internationale Des Arts de Paris. Il a aussi reçu la Anne and Gordon Samstag International Scholarship qui lui a permis d'entreprendre une recherche associée au Goldsmith College de Londres (2001-2002). A cette époque, il a pris part au spectacle "The Mind is a Horse" à Bloomberg Space, Londres. En 2002, Gladwell fut commissionné pour présenter un travail diffusé en Nouvelle-Zélande sur la chaîne 4DTV et fut inclus dans la première étude de Iain Borden sur la culture skateboard. Ses dernières expositions en solo comprennent New Balance au Perth Institute of Contemporary Art (2004) et deux autres aux Sherman Galleries?, Silent, Ambient and Harder Remixes (2003) et MMXBREAKLESS SESSIONS (2005). Shaun Gladwell fut représenté dans d'importantes expositions collectives internationale dont la primavera 2003: Exhibition of Young Australian Artists, Museum of Contemporary Art, Sydney; 2004: Australian Culture Now, Australian Centre for the Moving Image (ACMI) et au Ian Potter Centre: NGV Australia, Melbourne; ainsi qu'en 2005, la Anne Landa Art Award, Art Gallery of New South Wales, Sydney; Not Worried: New Art From Australia, Raid Projects, Los Angeles; New Acquisitions, Govett-Brewster Art Gallery, New Plymouth, NZ; aussi à Space Invaders, Museum Kunsthaus Baselland, Basel, Switzerland. Shaun Gladwell est présenté aux Sherman Galleries, Sydney.