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LAST POP DANCE BEFORE DAKNESS est une vidéo qui retrace les mouvements des corps des danseuses et danseurs, acrobates et virtuoses accompagnant des chanteurs magiques dans des scènes inédites, témoins des prémisses d’une modernité en danse disparue de nos jours en Algérie. C`est à travers une sélection de clips-vidéo des années 80, jalonnés d`annonces de concerts musicaux et spectacles de théâtre et cinéma, en guise d`objets de mémoire et de traces d`images provenant de cassettes VHS, qu`une espace temps lumineuse se dessine avant l`obscurité; permettant de se rendre compte de la liberté des corps et de la diversité et le foisonnement des genres musicaux qui se sont développés en Chaabi, Pop, Rock, Kabyle, Malhun, Houzi, Gnawi, Wahrani, Rai et Rap. Les musiques des années 80 sont effervescentes et partage le désir et le plaisir de la vie, jusqu`à ce que le destin des corps et des esprits soit ensevelit dans l’obscurantisme et le fondamentalisme islamique en Algérie, donnant lieu pendant les années 90 à un terrorisme fratricide, aveugle et destructeur des libertés des corps et des esprits.Cet objet filmique vidéo, nous invite à revivre une douce utopie de la dernière danse pop avant la noirceur des sentiments.

Vidéaste et artiste visuel, Amina ZOUBIR travaille sur les notions de corps dans des espaces spécifiques. Utilisant des corps d’objets et d’individus qui interagissent avec les espaces. Les oeuvres questionnent les pensées sociales et historiques à partir des poétiques et des mythes, plus spécifiquement au Maghreb (Afrique du Nord).

Nadir takes place at Norra Grängesbergsgatan, a kilometer-long street just outside central Malmö. A place of sometimes conflicting cultural and political interests, which was once considered a “no-go zone” by the municipality, as well as cultural gentrification zone, can perhaps be described as an expressive and symphonic micro-city. Surrounded by several small-scale industries, established in the 1930s, there is a lingering scent from the nearby Pågen bread-factory. Here, a Baptist church gathers upstairs of an old production facility side by side with flowing neon from Arab furniture stores and carpet stores. In Nadir, the narratives surrounding the street are reformulated as “anti-narrative” through a series of sensorial sequences through and on the street.

Amin Zouiten, is a Swedish-Moroccan artist and filmmaker educated at the Academy of Fine Arts in Malmö and Akademie der bildenden Künste Wien. His works and films have been shown at, among others, Malmö Konsthall, Internationale Kurzfilmtage Oberhausen, Konsthall Charlottenborg, CPH:DOX, Tempo Documentary Festival.

Qirat is loosely based around an oral family anecdote of a robbery that took place in the lush valley of Fez in northern Morocco during the 1980s. In the film, the events have been transposed to Ouarzazate, located on the edge of the Sahara Desert in central Morocco. Here the anecdote is reconstructed freely, over the course of a single Friday, shot solely during dawn, dusk and finally night.

Amin Zouiten (born 1994) is a Swedish-Moroccan filmmaker and artist educated at Malmö Art Academy and the Academy of Fine Arts in Vienna. His works and films have been shown at Malmö Art Gallery, Recontres Paris/Berlin, International Short Film Festival Oberhausen, Kunsthal Charlottenborg, CPH:DOX, and Tempo Documentary Festival, Uppsala Short Film Festival. In 2024, he was the recipient of the Cultural Award of the City of Stockholm and the Bernadotte Scholarship, awarded with an upcoming solo presentation at the Royal Academy of Arts in Stockholm. Beyond his own artistic practice, he has served as an assistant editor for filmmaker C.W. Winter and as a visiting tutor at Malmö Art Academy and the Royal Danish Academy of Fine Arts in Copenhagen.

Une animation flash produit des images alternatives - en passant par plusieurs niveaux superposés, quelques centaines de séquences semi-transparentes, animées et en noir et blanc, sont passées dans un ordre aléatoire toutes les quatre secondes.Chaque séquence d'images est donc le masque de la suivante. Il en découle des possibilités presque infinies de combinaisons et une durée de présentation modifiable à volonté. L'animation se réinvente en permanence. La stricte réduction au noir et blanc produit l'impression d'un dessin. L'impression produite par les images en formation oscille en permanence entre formel-abstrait et associatif-concret. L'un des points forts de ce travail réside dans la tentative de faire générer "automatiquement" des compositions dynamiques. Une sorte de "machine à signes" est née, indépendante, inspirée du flot d'images médiatiques.

Benjamin Zuber est né en 1982 à Bamberg. De 2002 à 2004 il étudie les sciences des médias et l'histoire de l'art à l'université Humboldt à Erlangen. Depuis 2004 il étudie la peinture libre et l'éducation artistique avec le professeur Michael Munding à l'Académie d'arts plastiques de Nuremberg. Il a initié différents projets, notamment, un label de mode temporaire, et exerce également une activité de designer-graphiste indépendant dans le domaine de l'impression et du web. Au niveau artistique,il s'occupe parallèlement de travaux multimédia expérimentaux et de peinture et dessin. Il considère le dessin comme une sorte de matière première pour tous les autres travaux. Les travaux menés à bien ont pour la plupart le caractère d'installations. Du point de vue du concept et du contenu, il met l'accent sur l'analyse visuelle/ la poursuite formelle du bombardement d'images omniprésent effectué par les médias (qu?il utilise cependant lui-même pour son activité de graphiste.

Sluice Art Fair London 2015 http://sluice.info/2015 (from the catalogue) Luciano Zubillaga`s Things to Come 1968–2015   Sluice Art Fair 2015 have pleasure in presenting the UK premier of Luciano Zubillaga`s new feature film Things to Come staring the iconic German actress Hanna Schygulla.    Things to Come is a powerful cinematic essay that poetically meditates on magic, youth, the politics of idealism and the poetry of Rainer Maria Rilke as narrated by Hanna Schygulla.    Things to Come is set within Ex ESMA, the former Argentine military detention camp, notorious for the torture summary execution and disappearance of political dissidents during the 1970s, and serves within Things to Come as the place to memorialise not just those who have fallen in the fight against dictatorship, but also the possibility of revolutionaries yet to come and lovers yet to meet.    Things to Come radically reinterprets the art of cinema by exploring the graphic score Ongilash, composed in 1968 by the directors father Luis Zubillaga, as a way of rethinking how the spatiality of our everyday notions of past, present and future, have been fundamentally de-centred as a result of 20 th century avant-garde art practice and the implications of quantum mechanics.   Things to Come explores the potential for theatre beyond the linear, a fourth dimensional space were performers and places continually merge into one another.    Things to Come is part of Alien Cartographies, a series of three films by Luciano Zubillaga that explore how ‘posthumanism` and ‘decolonial options` may come to effect how we see and experience narratives of spacetime within moving image and art practice. Things to Come 1968–2015 will also feature a live performance of the film’s music score -- Ongilash -- by the London College of Music Camerata and the English Chamber Orchestra Ensemble. Ongilash the music of Things to Come The Argentine composer Luis Zubillaga (1928–1995) composed the symphonic work, Ongilash in 1968. The title originates in the music of George Gurdjieff, the reading of a poem by Rainer Maria Rilke and the first word pronounced by the composers son.    Ongilash avoids traditional music notation by embracing the experimental graphic style explored during the 1960`s that allow each performer the space to create, but within strict parameters.    Ongilash takes temporal dynamics to the limit: a crescendo from the barely audible to the fortissimo maximo, non-traditional sound attacks, meticulous durations stipulated in seconds and the use of the voices of the performers.    Ongilash received a posthumous premiere performance in 2012 by the Argentine National Symphony Orchestra in Buenos Aires and this performance will be the premiere of this work in the UK.   Ongilash will be performed live by the London College of Music Camerata Orchestra in partnership with the English Chamber Orchestra Ensemble and will be performed as a loop with intervals.  

Luciano Zubillaga works with sound, moving image, text and performance. His work combines transdisciplinary research in the margins of philosophy, science, and collaborative art practice. He recently exhibited work at The Museum of Modern Art, Buenos Aires, The Whitechapel Art Gallery, London, IMT Gallery, London, Image Movement, Berlin, Art-O-Rama, Marseille and at Ann Arbor Film Festival. In 2008, he received the London Artist Film and Video Awards (LAFVA) by the Arts Council and Film London.

Set in the millenary Chinese city of Suzhou —now a super modern city— a fragile reconstruction of optical reality fails to fully materialise. Two mysterious characters help the “package” (POV) to follow a linear trajectory of space time, nevertheless there will be several instances to escape the linear construct. Sounds of machine guns, sonic monsters and war explosions do not interrupt the peaceful flow of an evening walk.

Luciano Zubillaga is an artist and scholar whose major works take the form of transdisciplinary research in the intersections of art, philosophy and technology with publicly engaged practice. He recently exhibited work at the Institute of Contemporary Art London ICA, Whitechapel Art Gallery and the Museum of Modern Art, Buenos Aires. His first feature film, Things to Come is based on a graphic music score and performed by German star Hanna Schygulla. In 2008, Luciano was the recipient of the London Artist Film and Video Awards (LAFVA) by Film London and Arts Council of England and his work is part of the British Artists? Film and Video Study Collection (BAFVS). He is co-founder of experimental moving image collectives Z.A.S.Z and TcoET. Luciano lives and works in Suzhou, China where he teaches experimental moving image.

A silent city, mysteriously devoid of inhabitants, is crossed by a man who has come from a faraway country. The anonymised architecture that composes the urban landscape guides the person into an inaccessible space, the city cemetery, which will make him reflect on his own identity.

Enea Zucchetti was born in Lugano in 1996. Since childhood he has developed a strong interest in cinema and visual arts. In 2017 he moved to Milan where, influenced by the language of documentary and photography, he began to experiment with the image through audiovisual projects. Currently his artistic research touches on the themes of architecture, urban planning and contemporary landscape. His first short film, "L?azzurro del cielo", was selected at the 72nd Locarno Festival and other national and international film festivals.

Nous avons filmé sans interruption pendant presque deux heures la vie du voisinage, au cours de l'après-midi du 10 février 2006 pour être précis. Les voisins qui ont voulu participé nous ont invités chez eux, dans leurs maisons, leurs garages, au coeur de leurs occupations quotidiennes, et nous ont expliqué des choses de tous les jours dans lesquelles nous pouvions deviner le passé et le futur de la ville.

L'expérience de Claudio en tant que compositeur et son Doctorat en Esthétique l'ont directement amené à composer, créer et diriger un certain nombre de représentations théâtrales (Varios efectos del Amor; Telediario; Macbeth, sempre; Fragor, Taxi, Fonia, Trenes de Marzo, Renacimiento), qui présentent toutes une caractéristique commune: les nouvelles technologies sont mises au service de la parole et de l'expression. Toutes ces représentations ont été produites par Acteon et présentées au cours de festivals nationaux et internationaux. Son travail dans le domaine audiovisuel ainsi que sa recherche de nouvelles façons d'utiliser les moyens techniques disponibles ont amené Claudio a créer des installations audiovisuelles destinées à être exposées dans des centres artistiques, culturels et conceptuels: Centro Andaluz de Arte Contemporáneo (Séville), Centro de Cultura Contemporánea de Barcelona (Barcelone), Caixaforum (Barcelone), Centro Galego de Arte Contemporánea (Saint-Jacques de Compostelle), Espai d?Art Contemporàni de Castelló (Castille), Le Cargo (Grenoble), La Casona (Panama), Lille 2004. Les matériaux produits pour ces projets ont été conçus en parallèle de réalisations de documentaires pour le cinéma et la télévision. En 2000, Claudio a écrit son premier scénario entier, grâce à une subvention du Ministère de la Culture ICAA. En 2004, il a réalisé et produit Beatriz/Barcelona et le documentaire L'Avenir et a commencé à recevoir des récompenses internationales (Leipzig, Mar de Plata (ChilIi), Tampere, Vannes...). En 2006 il a entièrement dirigé le film "A través del Carmel" (La Ville Mouvante), sélectionné pour le Sitges Film Festival de 2006 et présenté dans la catégorie Catalan Focus. En 2002, il a publié son premier livre "Horas de la Ciudad" ("Heures de la Ville", éditions Calima). Claudio est également Professeur Associé, rattaché à l'Institut Universitaire de l'Audiovisuel à l'Universitat Pompeu i Fabra de Barcelone. Ses activités théoriques incluent des conférences, des cours magistraux et des publications des cours qui touchent à des sujets tels que la nature de l'art, l'histoire des arts du spectacle et les moyens de communication associés.

Le Netherlands Media Art Institute (Het Nederlandse Instituut voor Mediakunst), Montevideo/Time Based Arts (Montevideo/TBA) s?est assigné pour mission de promouvoir le développement et la distribution des arts nouveaux ainsi que le développement de l?application des nouvelles technologies au domaine des arts visuels. En 1978, René Coelho, ancien de la télévision, ouvre sa maison du Singel, un canal d?Amsterdam, à l?art. Il la transforme en galerie, la galerie Montevideo. Dégoûté par son expérience télévisuelle, il cherche à "humaniser la technologie avec l?aide des artistes". En 1983, la petite galerie du Singel, spécialisée en art vidéo, deviendra, sous l?impulsion de l?Association des Artistes Vidéos, Montevideo/Time Based Arts. Aujourd?hui, Montevideo/TBA supporte la création artistique dans trois domaines différents, la présentation, la préservation et la conservation, et fournit des services aux artistes et aux institutions artistiques. Aujourd?hui, l?Institut organise, dans son propre espace d?exposition sur la Keizersgracht à Amsterdam, des expositions collectives ou personnelles, de longues durées, en coopération ou non avec d?autres institutions. En parallèle, Montevideo/TBA organise des expositions plus courtes, des symposiums, des projections et des performances ou des installations d?artistes et d?étudiants. Depuis sa fondation en 1978, l?Institut a accumulé une collection extensive d??uvres vidéo et multimédia. Une collection de plus de 1800 références, ?uvres d`artistes hollandais et internationaux, qui continue de croître. Une collection presque entièrement disponible pour des expositions et des festivals et que l?Institut préserve des atteintes du temps dans un centre dédié, crée en 1992. Mais, l?Institut est aussi un centre de formation et de recherche. Un centre où les artistes peuvent explorer les nouveaux médias et leurs applications à la pratique artistique. Un centre où les artistes peuvent se rencontrer et collaborer et où ils peuvent bénéficier de différents conseils et d?outils de post-production.

Theus Zwakhals s?occupe, avec Joke Ballintijn, de la distribution de la collection du Netherlands Media Art Institute.

A visual odyssey of Sun Ra concepts through their followers - Marshall Allen and Abshalom Ben Shlomo. The film follows Sun Ra Arkestra band members and their journey across the desert, a promised land where Sun Ra once created his identity. Navigating through an astro-galactic world of sound, they find a reason to fight racism, injustice and vanity of the modern world - all through inner wisdom of music and sound. It's a story of infinite peace in a troubled world. An utopian planet where Sun Ra and his prophets celebrate the divine wealth of their spirits.

Working between the documentary and the imaginary, Škarnulyt? makes films and immersive installations exploring deep time and invisible structures, from the cosmic and geologic to the ecological and political. Winner of the 2019 Future Generation Art Prize and the Ars Fennica Award 2023, Škarnulyt? represented Lithuania at the XXII Triennale di Milano and was included in the Baltic Pavilion at the 2018 Venice Biennale of Architecture. She most recently presented works at MORI Art Museum, Kiasma, Gwangju Biennale, Helsinki Biennale, Vilnius Biennale, Henie Onstad Triennale. She has had solo exhibitions at Canal Projects, New York (2024), Ferme-Asile, Sion (2023); Kunsthaus Pasquart, Biel/Bienne (2021); Den Frie, Copenhagen (2021); National Gallery of Vilnius (2021); Künstlerhaus Bethanien, Berlin (2017); Contemporary Art Centre CAC of Vilnius (2015). In 2022, Škarnulyt? participated in the group exhibition Penumbra organized by Fondazione In Between Art Film on the occasion of the 59th Venice Biennale. She has films in the collections of the Centre Pompidou, Kadist Foundation, HAM, IFA, and her works have been screened at the Tate Modern and Serpentine Gallery in London, Centre Pompidou in Paris, Museum of Modern Art in New York, and numerous film festivals including Rotterdam, Busan, Hotdocs and Oberhausen.

A hyperreal exploration of conspiracy theories using the narratives of various hate groups in Trump's America. A detective plot telling one possible truth about the mysterious disappearance of a young girl in a hotel standing in a post-apocalyptic desert landscape. The anonymous hotel as a deus ex machina - a simulacrum of past, present and future through which the detective is led by clues ranging from the Knights of the Ku Klux Klan to the ultra-orthodox Jewish organization Neturei Karta. The End is Here.

Marie and Petr Šprincl established their collaboration during their studies at Václav Stratil’s Intermedia Studio at FaVU in Brno, and they are currently a very distinctive creative duo with entirely recognisable handwriting. Their work is characterised by unsettling poetics, which are drawn from the dark parts of reality and from working with eight-millimetre film material and VHS technology, where the properties typical for this recording material and especially the image glitches usually caused by wear and tear and disruption to the structure of the material, are objectified, aestheticised and even fetishised. The audiovisual position of the work is usually completed by a rich iconography exceeding the moving image medium, which gains space for presentation within the Flesh&Brain creative platform. Their works balance between fiction, documentary and experiment, their common feature being the exploration of various social forms of evil, often hidden under the thin skin of everyday reality. They’re the authors of Moravia, Beautiful Land (2015–2019), Vienna Calling (2018), and their most recent film, Satan Kingdom Babylon (2024). Outside films, they work on music videos, theatre performances and gallery installations.

Watch out for false artists. They come to you in artists' clothing, but inwardly they are lifeless algorithms.

Igor Štromajer – "le Pavarotti du HTML" (Libération) – researches tactical media art, intimate guerrilla, and traumatic low-tech communication strategies. He has shown his work at more than two hundred fifty exhibitions in more than sixty countries (transmediale, ISEA, EMAF, SIGGRAPH, Ars Electronica Futurelab, V2_, IMPAKT, CYNETART, Manifesta, FILE, Stuttgarter Filmwinter, Hamburg Kunsthalle, ARCO, Microwave, Banff Centre, Les Rencontres Internationales, The Wrong – New Digital Art Biennale and in numerous other galleries and museums worldwide) and received a number of awards (in Frankfurt, Moscow, Hamburg, Dresden, Belfort, Madrid, Maribor, Podgorica). His projects form part of the permanent collections of the prestigious art institutions, among them Le Centre national d'art et de Culture Georges Pompidou – Musée national d’art moderne, Paris, France; the Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Computerfinearts – net and media art collection, New York, USA; Maribor Art Gallery, Maribor, Slovenia. As a guest artist he lectures at universities and contemporary art institutes.