Catalogue > Liste par artiste
Parcourez la liste complète des artistes présentés dans le cadre des Rencontres Internationales depuis 2004. Utilisez le filtre alphabétique pour affiner vos recherches.  mise à jours en cours 
Rolf schuurmans
Catalogue : 2005Tuning | Vidéo expérimentale | dv | couleur | 2:17 | Pays-bas | Belgique | 2005
Rolf schuurmans
Tuning
Vidéo expérimentale | dv | couleur | 2:17 | Pays-bas | Belgique | 2005

Quelqu'un joue avec un marteau sur son pied


Rolf Schuurmans est né aux Pays-Bas en 1972. Il réside et travaille aujourd'hui à Anvers, en Belgique. Il sculpte et travaille sur la musique et les sons, ainsi que les films et la vidéo, parfois en les associant. Depuis peu, le film est devenu son principal centre d'intérêt artistique.

Hannes schÜpbach
Catalogue : 2014Instants | Documentaire exp. | 16mm | couleur | 16:0 | Suisse | 2012
Hannes schÜpbach
Instants
Documentaire exp. | 16mm | couleur | 16:0 | Suisse | 2012

Les instants arrivent, ils se manifestent pour nous et à travers nous. Comme la jeune fille qui atterrit dans l’image en déesse du vent et dont les mouvements se figent en attitudes, en une suite d’images arrêtées. Entre les instants, des relations, évidentes ou imaginées, se créent. Une main écrit phrase après phrase dans un carnet, s’interrompt, recommence ; elle marque ainsi une boucle et un retour en arrière. Ce qui a été ressenti prend alors forme. Les petits heurts, les frictions et les pauses dans la succession des images composent ce corps d’instants qui produit un langage. – H. S. (Traduction : Isabelle Ribadeau Dumas)


Hannes Schüpbach was born in Winterthur (Switzerland) in 1965. He is a visual artist and writer. Since 1999 Schüpbach has completed ten silent films. However, his artistic practice with elements of the cinematographic dates back to 1990, with spatial installations and serial paintings that can be experienced through movement. In the exhibition Stills and Movies at Kunsthalle Basel, 2009, a number of his large, connected series of paintings were shown for the first time. The exhibition also highlighted the conceptual interconnections between installations, performances, and films by Schüpbach; they all entice movement and unfold through memory. Cat.: Hannes Schüpbach: Cinema Elements, Films, Paintings, and Performances 1989–2008, Zurich: Scheidegger & Spiess, 2009, distributed in North America by Chicago University Press. His films have been presented at Museo Nacional Centro de Arte Reina Sofía, Madrid, Harvard Film Archive, Cambridge, Tate Modern, London (2009); CCCB Barcelona, Kunstmuseum Bern (2011); Centre Pompidou, Paris, Kunsthalle Vienna, LUX/ICA Biennial of Moving Images, London, Kunstmuseum Winterthur (2012); Arsenal, Berlin, School of the Art Institute of Chicago (“Conversations at the Edge”), Toronto International Film Festival, Whitechapel Gallery, London (2013); International Film Festival Rotterdam, Literaturhaus Zürich (2014).

Jonathan schwartz
Catalogue : 2006Sunbeam hunter | Film expérimental | 16mm | couleur | 3:0 | USA | 2005
Jonathan schwartz
Sunbeam hunter
Film expérimental | 16mm | couleur | 3:0 | USA | 2005

tout pour la prévention de la violence, consultez le manuel, cela pourrait mourir dans les années 70. la distance est maintenant votre boussole alors suivez les ombres jusqu´à votre point de repos. ou je me demandais si la sincérité pouvait avoir la priorité sur l´ironie et de surcharger quelques émotions passées. a propos des situations passées : il a été dit que 331/3 tr/min avait été créé en conjonction avec le cinéma - pour prolonger le son pour l´image. alors- tout pour l´extension du temps, consultez l´écho, il se pourrait qu´il disparaisse dans les nuages. Les photographes sont maintenant votre boussole alors suivez la terre jusqu´á vos vieux mondes imaginaires. ou je me demandais si cette image dans mes mains pouvait conjurer le passé des émotions présentes. à propos des situations présentes: ce film de 3 minutes est l´un des 11 qui composent un album de films d´une durée totale de 331/minutes - pour prolonger le lien avec les passés. alors- à propos des situations futures : tout pour la prévention de la violence.


Jonathan Schwartz (boston, Etats Unis) base son travaille sur le film et le son. Il a réalisé des oeuvres choisies parmi des enregistrements audio familiaux, des voyages dans des endroits lointains, des questionnements dans des endroits familiers, des collages et des enegistrements de sons exagérés. Certaines de ses oeuvres ont été exposées en Europe, aux Etats Unis, au CAnada et en des endroits tels que le Festival bfi du Film de Londres, TIE - exposition de cinéma expérimental, AntiMatter. Il est actuellement en train de terminer un film en 16mm / enregistrement lp en 11 parties/chansons.

Catalogue : 2007A logic sore | Film expérimental | 16mm | couleur | 3:0 | USA | 2006
Jonathan schwartz
A logic sore
Film expérimental | 16mm | couleur | 3:0 | USA | 2006

Des lignes représentant des structures, une communauté, des mots assemblés comme des anagrammes. La radio est comme une invitation à se débarrasser de tous ses biens et à les jeter dans les airs tels des avions. Ou " The Bridge Between Matter & Spirit is Matter Becoming Spirit" de Paolo Soleri "A logic sore" fait partie d'un projet de 11 films qui, à la manière de chansons, forment un album de 33 minutes, en référence aux 33t qui ont été créées pour prolonger le son sur un disque. Avant les 33t, pendant les projections, il fallait changer de face au milieu de la bobine ce qui entraînait une interruption. Une interruption; chacun des 11 films est tourné comme sur pellicule (30,5 mètres/sans montage). Le son est une réponse. Ou un écho. "A logic sore" est l'anagramme d'arcologies (alliance d'architecture et d'écologie)


Jonathan Schwartz est né à Boston, Etats-Unis et a travaillé dans les domaines du son et du cinéma. Ses ?uvres sont composées à partir d'enregistrement audio familiaux, de collages, d'enregistrements de sons exagérés, et s'inspirent de voyages vers de pays lointains et d'errances dans des terres familières. Elles ont notamment été présentées en Europe, aux Etats-Unis, au Canada et dans des festivals comme le BFI London Film Festival, le Rotterdam Film Festival, le New York Film Festival et le TIE ? International Experimental Cinema Exposition. Ce projet de film en 16mm/33t en 11 parties/morceaux sera terminé à la fin de l'année 2007.

Catalogue : 2008copper green | Film expérimental | 16mm | couleur | 3:0 | USA | 2008
Jonathan schwartz
copper green
Film expérimental | 16mm | couleur | 3:0 | USA | 2008

Une vieille photo d?un groupe d?étudiants et de professeurs ? un transfert d'idées ? jeux de langage/phrases codées. Une chanson est chantée ? populaire et lumineuse ? empruntée par « Alex and the droogs » ? modification du comportement ? trouvé dans la rue, un homme accompagne un lecteur de CD ? une couverture. I?m singing in the rain Just singing in the rain What a glorious feelin?
 I?m happy again I?m laughing at clouds
 So dark up above
 The sun?s in my heart And I?m ready for love


Jonathan Schwartz est basé à Boston (USA) et travaille principalement dans le domaine du cinéma et du son. Certaines de ses ?uvres ont été présentées au Festival de Film de New York, Views form the Avant-Garde, au Festival de Film de Rotterdam, aux Rencontres Internationales de Paris, au BFI London Film Festival, au ICA, au TIE, à l?Harvard Film Archive et à l?Images Festival, parmi d?autres.

Jonathan schwartz
Catalogue : 2016A Mystery Inside of a Fact | Film expérimental | 16mm | couleur et n&b | 16:0 | USA | 2016
Jonathan schwartz
A Mystery Inside of a Fact
Film expérimental | 16mm | couleur et n&b | 16:0 | USA | 2016

It arrives, in a fog, with songs, through dance or majestic animals or faces (gliding on the street), in shapes of light, maybe on a large bird of prey’s flight—gesture skyward. Some origins can be difficult to pinpoint, others blink back—infinitely.

Jonathan Schwartz makes short films that circulate primarily in an experimental and non-fiction film context. Films are generally constructed from fragmented collections and findings, from both exterior and interior spaces. His films have exhibited in many festivals including New York Film Festival "Views from the Avant-Garde" and “Projections”, TIFF "Wavelengths", Rotterdam, Ann Arbor, Images, Media City, Recontres Internationales, Exis, TIE, and others. Recent solo screenings include Austrian Film Museum, UnionDocs, Cinema Project, and San Francisco Cinematheque. He holds an MFA from Massachusetts College of Art, lives in Brattleboro, Vermont and is an associate professor at Keene State College.

Catalogue : 2017The Crack-Up | Film expérimental | 16mm | couleur | 18:0 | USA | 2017
Jonathan schwartz
The Crack-Up
Film expérimental | 16mm | couleur | 18:0 | USA | 2017

THE CRACK-UP “ the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise ” (F. Scott Fitzgerald, The Crack-Up, 1936) Glaciers take time and glaciers hold time immensely, with sorrow and not sorrow, worry and not worry. There is a light that casts on and cast out from within, `a persistent body of dense ice that is constantly moving under its own weight` and slowly dissolving, it sounds enormous, urgent.

Jonathan Schwartz lives in Vermont (usa) where his creative practice includes 16mm films, things that look like list-making and collecting as a mode of research, and teaching film/associative thinking. He has had solo screenings Austrian Film Museum, UnionDocs, SF Cinematheque, Cinema Project, TIFF/Free Screen, and more. His work has been included in many film festivals including New York, Ann Arbor, Rotterdam, Toronto, Punto de Vista, Recontres Internationales, Exis, and more.

Herbert schwarze
Catalogue : 2005Als unsere Lieder noch wild & gefährlich waren | Film expérimental | dv | couleur | 6:30 | Allemagne | 2005
Herbert schwarze
Als unsere Lieder noch wild & gefährlich waren
Film expérimental | dv | couleur | 6:30 | Allemagne | 2005

Mélange d'époques, karaoké:en 1968, Heintje chante la vieille chanson régionale "Mama"...Fondu enchaîné: un enfant de neuf ans regarde, maussade, quelque chose à la lentille, pendant que, dans la rue, les étudiants se révoltent. Un autre tube de cette époque, "Es fährt ein Zug nach Nirgendwo", conduit au groupe "Fehlfarben", qui montent sur scène en 2003 à Berlin et évoquent 1982: " Quand la réalité te dépasse, tu n'as plus d'ami, pas même l'alcool". Le punk allemand au meilleur de lui-même, qui dicte le tempo du film. Un voyage linéaire de 1945 à aujourd'hui avec de nombreux sauts dans le temps: les années 1848 dans le lied de Schuman, là-dessus un mirador qui rappelle le mur de Berlin - il se trouve près d'un container Toys'r us...des paysages allemands, symbole de la fin des utopies, chagrin d'amour, o Marie, jamais, plus jamais Auschwitz, mais des bombes sur Belgrade...du petit garçon à l'homme nu qui est allongé sur la plage dans la position de Christ...Es fährt kein Zug nach Nirgendwo...: (fr = "Il n'y a pas de train vers nulle part..."): Mélange d'époques. Karaoké. C'était au temps...


Herbert Schwarze, Allemagne né en 1959. De 1988 à 1993 études à la DFFB à Berlin. Cinéaste, dramaturge et régisseur. Membre de la commission de sélection des journées internationales du court-métrage d'Oberhausen, Allemagne. vit à Berlin. Filmographie DAS BLEIBT DAS KOMMT NIE WIEDER (1988-1992) GRETCHEN 2000 (1994) HUNGER NACH MEHR (mit Jutta Doberstein) (2001) UND IMMER WIEDER GEHT DIE SONNE AUF (2000-2005) und andere

Catalogue : 2005Und immer wieder geht die Sonne auf | Doc. expérimental | | couleur | 82:0 | Allemagne | 2005
Herbert schwarze
Und immer wieder geht die Sonne auf
Doc. expérimental | | couleur | 82:0 | Allemagne | 2005

C?était comment déjà, hier? La chanson de Jürgen Marcus commence par ce qui a été perdu : le passé. Les Beatles avaient déjà compris que le passé ne revenait jamais, et qu?il était pratiquement impossible aujourd?hui, de se souvenir avec précision de quelle manière on l' avait ressenti. Le passé, c?est un paysage, une vue, une odeur, une mélodie de l?été pendant lequel le club a remporté le championnat régional? Le passé est un temps qui ne revient pas, un lieu sur lequel on ne peut pas revenir - puisqu?il a disparu. Dans tous les pays, excepté l?Allemagne, on nommerait ce passé « Heimat », le pays. Dans les années 90 on a définitivement pris congé de l?Allemagne de l?après-guerre. On a démoli les usines des années de la reconstruction et des années miraculeuses, excepté quelques-unes qui ont été déclarées monuments historiques, et dans lesquelles s?est établie l?industrie des loisirs. Ces monuments isolés dépassent de l?océan de parcs d'activité, de supermarchés et de parkings. Ce sont des plates-formes avec point de vue sur les changements de structures pour le public qui y assiste ? les indigènes. « Und immer wieder geht die Sonne auf / Et le soleil brillera à nouveau demain » est une invite sérieuse à lire et à saisir le paysage d?aujourd?hui à travers les chansons d?antan et tous les grands sentiments que comportent les standards. Ces tubes n'ont rien perdu de leur actualité; ils décrivent une vie pleine de nostalgie diffuse et insatiable. Un nouvel amour, c?est comme une nouvelle vie ; c?est ce que dit Jürgen Marcus ? et tout ceux qui n?ont pas cessé d?y croire, sont invités à chanter en choeur. « Und immer wieder geht die Sonne auf » est un film-karaoké. Jutta Doberstein


Herbert Schwarze, Allemagne Né en 1959. De 1988 à 1993 études au DFFB à Berlin. Cinéaste, dramaturge et conseiller de l?université. Membre de la commission de sélection des Journées Internationales du Court-Métrage à Oberhausen, Allemagne. Vit à Berlin.

Maya schweizer, clemens von wedemeyer
Catalogue : 2007Passing down, Frame 1 | Doc. expérimental | dv | couleur | 10:38 | France | Allemagne | 2007
Maya schweizer , clemens von wedemeyer
Passing down, Frame 1
Doc. expérimental | dv | couleur | 10:38 | France | Allemagne | 2007

De retour à Berlin, j´essaie de reconstruire,à partir d´enregistrements que j´ai fait d´elle, une partie de l´histoire de ma grand-mère lorsqu´elle vivait à Lyon, pendant la seconde guerre mondiale.


Née à paris, Licence d´arts plastiques à L´université d´aix-en-provence. Études à l´école des beaux.arts de Leipzig (HGB), en photographie et vidéo puis Diplôme et post-diplôme à l´école des beaux-arts de Berlin(UdK). Vit à Berlin

Catalogue : 2017A Tall Tale | Fiction expérimentale | hdv | couleur et n&b | 16:16 | France | Allemagne | 2017
Maya schweizer , clemens von wedemeyer
A Tall Tale
Fiction expérimentale | hdv | couleur et n&b | 16:16 | France | Allemagne | 2017


Maya Schweizer (b.in Paris, France) lives and works in Berlin. She studied at the university, Aix-Marseille I, at the Academy of Visual Arts Leipzig and Berlin University of the Arts, where she graduated. Maya Schweizer exhibited at Kunstverein Leipzig (2017-2018), Drawing Room Hamburg (2017-2018), Irish Museum of Modern Art, Dublin (2016); Skulpturenmuseum Glaskasten Marl (2016); Nordstern Videokunstzentrum, Gelsenkirchen (2016); Staatliche Kunsthalle Baden-Baden (2015);GRASSI Museum für Angewandte Kunst Leipzig (2015); MWW Wroclaw Contemporary Museum (2015). She recently screened at Videoart at Midnight, Berlin (2018), Traverses Vidéo, Toulouse (2018), Vancouver International Film Festival, Canada (2017), Cinema in viennacontemporary, Vienna, Austria (2017), in Oberhausen 63. International Kurzfilmtage Oberhausen (2017) and at the 67. Berlinale, Forum Expanded, Berlin (2017). She received the Research stipends from the Berlin Senat (2017), Research grant from Goethe Institute Neapels and the Fundazione Morra-Museo Nitsch, Naples (2017), and the residency at the Watchtower, Flutgraben, Berlin (2016-2017).

Catalogue : 2016Texture of Oblivion | Doc. expérimental | hdv | couleur et n&b | 18:0 | France | Pologne | 2016
Maya schweizer , clemens von wedemeyer
Texture of Oblivion
Doc. expérimental | hdv | couleur et n&b | 18:0 | France | Pologne | 2016

The film begins with footage of a city of ruins, when the entire cityscape of Warsaw is covered with stones. It is 1945. Themed around stones as carriers of historical memory, the movie is so closely filmed that the viewer can never see the city`s memorials in their entirety. Special attention, though, is paid to the author of the Umschlagplatz Wall, a monument located in the former Ghetto. Hanna Szmalenberg is explaining the process of realization of the Umschlagplatz as the camera winds through a snow-covered sculpture garden.

Maya Schweizer, born in Paris studied art and art history at the university of Aix-en-Provence (1995-1998). She moved to Germany and studied at the School of Visual Arts in Leipzig (HGB) (1999-2002) and move in Berlin 2003 where she finished her studies at the Berlin University of the Arts (UdK) with Professor Lothar Baumgarten and graduated in 2006. She had solo shows in Westfalischen Kunstverein, Muenster (2010), Frankfurter Kunstverein, (2011) with Clemens von Wedemeyer, in the Kunstverein Langenhagen (2013), Kunsthalle Baden-Baden (2015), at the Irish Museum of Modern Art, Dublin (2016). Schweizer was also involved in many international exhibitions, such as “Of Mice and Men,” Berlin Biennale (2006), “Storylines,” Kunstraum Munich, (2006), “Um-Kehrungen, Interaktion I - Speaker”s Corner,” Kunstverein Braunschweig (2007), “Magellaneous Cloud,” Centre Georges Pompidou, Paris (2007), “Urban Stories,” The X Baltic Triennial of International Art, CAC Vilnius (2009), “Auto-Kino!,” Temporare Kunsthalle, Berlin (2010), “Ambigous Being,” exhibitions in Berlin, Tel Aviv, and Taipei, tamtamART, Berlin / Kav16 Community Gallery, Tel Aviv / Hong Gah Museum, Taipei (2012), “Die Stadt, die es nicht gibt,” Ludwig Forum, Aachen (2012), “Vot ken you mach!,” Kunsthaus Dresden (2013), efa (Elisabeth Foundation for the Arts, New York, USA (2013). At “Villa Romana 1905”2013 Das Künstlerhaus in Florenz,” Bundeskunsthalle, Bonn, (2013), “Gestern die Stadt von Morgen,” Kunstmuseum Mälheim an der Ruhr, (2014),. “Sammlungsalphabet,” Sammlungsausstellung, Museum of Contemporary Art (GfZK), Leipzig (2014), and the forthcoming “Im inneren der Stadt. Öffentlicher Raum und Frei-Raum,” Gesellschaft für Aktuelle Kunst (GAK), Bremen, (2015). At the Museum MWW Muzeum Wspó?czesne, Wroc?aw, Poland, (2015), Videokunstzentrum, Gelsenkirchen, (2016), in VOX, Montreal (2016), and at POLIN Museum, Warsaw (2016).

Catalogue : 2015Le Soldat mourant des Milles | Film expérimental | hdv | couleur | 13:0 | France | Allemagne | 2014
Maya schweizer , clemens von wedemeyer
Le Soldat mourant des Milles
Film expérimental | hdv | couleur | 13:0 | France | Allemagne | 2014

A video work, in which the daily routine of Les Milles is caught up by its past - a former brickyard in the town`s center was used as internment camp for Germans during World War II and served as concentration camp later on. With the use of montage cutting techniques the artist succeeds in letting the past burst into present.

Maya Schweizer was born in 1976 in Paris, France and studied at the Academy of Visual Arts Leipzig, and Berlin University of the Arts (with Lothar Baumgarten). Maya Schweizer works with diverse media: the focus of her work lies in the making of short films based on documentary material. „Identity, biography, politics, history and memory are recurring themes in Maya Schweizer’s photographs and videos... In general, the artist generates an incomplete tableau of collective memory and questions the way history is produced and visually recorded. „(Cynthia Krell). The artist approaches the relation of montage editing techniques with the concept of film and memorial and film as memorial — a relation which traces back to the very beginnings of montage as it does to research findings by French historian Pierre Nora. Recurring moments in Schweizer’s multiform art practice revolve around the examination of subtly treated processes of memory regarding historic-political events in public space. In the places, structures and situations she investigates, historical threads intersect. She received international grants and most recently Project grant "Lieux de Mémoire and Desire",Kulturstiftung des Freistaates Sachsen (KdFS), 2015. The Exhibition sponsor from the Institut für Auslandsbeziehungen (ifa), TCG Nordica, Kunming, China, 2013. The Robert Bosh Foundation, in Slovakia 2011, also in the Villa Aurora, Artist Grant from the Goethe-Institute in Los Angeles 2008-2009. Together with Clemens von Wedemeyer, she won the Prize of the German Competition at the Oberhausen Film Festival Oberhausen 2006. She recently had solo shows, such as; Der sterbende Soldat von Les Milles, Kunsthalle Baden-Baden, Germany 2015. Edith Seeshow’s Notes at the Kunstverein Langenhagen, 2013. Metropolis. Report from China with Clemens von Wedemeyer at the Frankfurter Kunstverein, 2011. The Same Story Elsewhere at the Westfälisher Kunstverein, Münster, Germany, 2010. Schweizer was also involved in many international exhibitions, such as; Inside the City. Public Space and Free Space at the GAK, Bremen, Germany, 2015. Vot ken you mach ?, Muzeum Wspólczesne Wroclaw, Poland, 2015. Collection Alphabet at the Museum of Contemporary Art (GfZK), Leipzig, 2014. The city that doesn´t exist at Ludwig Forum, Aachen, 2012. Ambigous Being, Hong Gah Museum,Taipei 2012. Take me to your leader!, Kunstmuseum Bergen, Norway, 2011. Here and There, at the Wallace Gallery, New York and at the Oonagh Young Gallery, in Dublin, 2011. 15 Jahre Villa Aurora. Transatlantische Impulse, AdK - Akademie der Künste, Berlin, 2011. Of Other Spaces at the Bureau for Open Culture, Columbus, Ohio, USA 2011.

Catalogue : 2014I, an archeologist | Documentaire expérimental | hdv | couleur | 20:0 | France | 2014
Maya schweizer , clemens von wedemeyer
I, an archeologist
Documentaire expérimental | hdv | couleur | 20:0 | France | 2014

A young archaeologist working as a tourist guide is in a dark space with her light operator and an imaginary group. She would like to rehearse her tour in the Jewish catacombs of Rome. The scene becomes a monologue of the young woman, in which she mingles fragments of the history of the Jewish catacombs with thoughts on her appearance and instructions to the lighting engineer. The narration hovers between a stage play and the real historical site.

MAYA SCHWEIZER Born in 1976 in Maisons-Alfort/ France the artist lives and works in Berlin. She has studied Fine Arts and Arts History at the University in Aix-en-Provence, at the Hochschule für Grafik undBuchkunst in Leipzig and at the University of Arts Berlin with Lother Baumgarten. Her works are based on documentary materials which she weaves into (hi)stories by means of excerpts, images, sound samples and texts. She has been part of residency programs as KAIR- Kosice by the Robert-Bosch-Foundation, the Künstlerinnenprogramm Senat Berlin, the residency program of the Goethe-Institute in Villa Aurora Los Angeles. Her works have been internationally shown in solo exhibitions as very recently, DIE MINIATUREN AUS RAVENSBRÜCK UND DER STERBENDE SOLDAT VON LES MILLES, (2014) together with Antje Majewski at after the butcher, Berlin. EDITH SEESHOW´S NOTES, (2013) at the Kunstverein Langenhagen, Germany, IT’S NOT ABOUT NOTHING (2012) at the gallery Katharina Bittel in Hamburg, METROPOLIS, REPORT FROM CHINA (2011) at Frankfurter Kunstverein and THE SAME STORY ELSEWHERE   (2010) at  Westfälischer Kunstverein in Münster. Also she contributed to group shows as GESTERN DIE STADT VON MORGEN (2014), Kunstmuseum Mülheim an der Ruhr, LAST YEAR AT MARIENBAD, REDUX, (2014) at the Elisabeth Foundation for the Arts, New York, VOT KEN YOU MACH ! (2013) at Kunsthaus Dresden, DIE STADT, DIE ES NICHT GIBT, at the Ludwig Forum Aachen
AI WEI WEI IS IN CHINA at Fichtebunker, Berlin, TRANSATLANTISCHE IMPULSE at Akademie der Künste, Berlin, NEL PALAZZO DI CRISTALLO in CA`ASI/ Venezia, HERE AND THERE Wallace Gallery New York, and URBAN STORIES at The X Baltic Triennial of International Art, CAC, Vilnius in Lituania.

Catalogue : 2008from the classroom | Art vidéo | dv | couleur | 6:0 | France | Allemagne | 2008
Maya schweizer , clemens von wedemeyer
from the classroom
Art vidéo | dv | couleur | 6:0 | France | Allemagne | 2008

« From the Classroom » est une projection sur un écran divisé en deux, formée d?images trouvées sur YouTube. L'image de gauche montre des jeunes filles de la salle de classe en train de danser, apparemment filmées par leurs amis pendant la pause. Sur l?image de droite, on voit un tableau noir sur lequel est écrit un texte, rédigé dans un style de journal intime. Le texte décrit le trajet qu?une femme prend tous les jours pour se rendre au travail.


http://www.mayaschweizer.com/site/DOWNLOADS/Mschweizerbio.pdf Born 10 january 1976 in Maisons-Alfort, France Lives in Berlin ----- February 2007 Universität der Künste, Berlin, Germany Master Degree January 2005 Universität der Künste, Berlin, Germany Diploma April 2003 Universität der Künste, Berlin, Germany Fine art School, Berlin In the class of Lothar Baumgarten and Katharina Sieverding. 2000-2002 Hochschule für Grafik und Buchkunst, Leipzig, Germany School of visual arts, Leipzig June 1998 Licence, Degree of Visual arts 1998-1995 Université d ́Aix-en-Provence Visual arts. June 1995 Bachelor ́s degree, option Visual arts, Aix-en-Provence, France Residency Programm, Prizes : 2008 Villa Aurora, Artits Grant from the Goethe-Institut Los Angeles 2008-2010 Karl-Hofer Stipendium, Grant from the Karl-Hofer Gesellschaft, Berlin 2006 First Prize of the German Programm Kurzfilmtage Oberhausen 2006 Grant from the DAP, (Department of the visual arts), Paris, France 2005-2006 Residency and Film Project with Clemens von Wedemeyer at the Contemporary Art Center of in Bretigny, France Realisation and Production of the film Rien du tout (nothing at all) with Clemens von Wedemeyer.

Catalogue : 2007Metropolis, report from China | Doc. expérimental | dv | couleur | 42:0 | France | Allemagne | 2006
Maya schweizer , clemens von wedemeyer
Metropolis, report from China
Doc. expérimental | dv | couleur | 42:0 | France | Allemagne | 2006

2004, 80 ans après la visite de Fritz Lang à New York et dans le même temps estimé des projections futuristes de son film « Metropolis »... Nous sommes venus en Chine pour trouver des lieux de tournages, pour parler à des travailleurs et des architectes, des scénaristes et des romanciers à Shanghai et Beijing pour rechercher si le film entier pouvait être remis en scène ici. Mais voulons nous que ce film ce répète, pour qu'il devienne réel? Peut être en chine avons nous vu une variante de « Metropolis », qui est déjà devenue réalité...


Maya Schweizer, née à Maisons-Alfort, en 1976. Débute ses études d´arts Plastiques à Aix-en-Provence à l´université, en 1998 obtient sa Licence. S´inscrit à l´école des beaux-arts de Leipzig, (HGB) puis entre en équivalence à l´école des beaux-arts de Berlin, (UdK) dans la classe de Lothar Baumgarten où elle est diplomée en janvier 2005. Residences, Bourses & Prix : 2006,Mai, Allemagne, Oberhausen Premier Prix du festival de film d´Oberhausen. en avril,Bourse du DAP (Délégation aux arts plastiques). 2005-2006, en Nov-mars, au Centre d´Art Contemporain de Brétigny (CAC de Bretigny /Orge, Bretigny). Réalisation et production avec Clemens von Wedemeyer du Film Rien du tout. Co-production; Galerie Jocelyn Wolff, CAC Bretigny, (Pierre Bal-Blanc), Château Rouge production(Gaelle Jones), Collection Giovanni Springmeier. Postproduction: bourse du NRW de Cologne

Maya schweizer
Catalogue : 2018Insolite | Vidéo | hdv | couleur | 12:16 | France | Allemagne | 2019
Maya schweizer
Insolite
Vidéo | hdv | couleur | 12:16 | France | Allemagne | 2019

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Maya Schweizer was born in 1976 in Paris, France and studied at the Academy of Visual Arts Leipzig, and Berlin University of the Arts. She received international grants and most recently Project grant "Lieux de Mémoire and Desire",Kulturstiftung des Freistaates Sachsen, 2015. The Exhibition sponsor from the Institut für Auslandsbeziehungen, TCG Nordica, Kunming, China, 2013. The Robert Bosh Foundation, in Slovakia 2011, also in the Villa Aurora, Artist Grant from the Goethe-Institute in Los Angeles 2008-2009. Together with Clemens von Wedemeyer, she won the Prize of the German Competition at the Oberhausen Film Festival Oberhausen 2006. She recently had solo shows, such as; “Art | Memory | Place”, Irish Museum of Modern Art, IMMA, Dublin Ireland, “Der sterbende Soldat von Les Milles”, Kuns

Daniel schweizer
Catalogue : 2006White terror | Documentaire | dv | couleur et n&b | 89:37 | Suisse | Russie | 2005
Daniel schweizer
White terror
Documentaire | dv | couleur et n&b | 89:37 | Suisse | Russie | 2005

White Terror ("Terreur Blanche") est le dernier volet d´une trilogie sur les skinheads, la haine et le racisme. En 2 ans d´enquête sur le groupe extremiste le plus actif, leurs liens internationaux, de Stockholm à Dallas en passant par Moscou, ont été révélés. Daniel Schweitzer, qui a réalisé des documentaires acclamés sur l´attitude des skinheads, enquête sur la force qui se cache derrière le "White Power" (Pouvoir blanc") et les slogans du "nouveau racisme".


Né en 1959 à Genève, il y étudie à l´ESAV (Visual Arts School) et obtient un double diplôme dans les départements d´expression graphique et d´audiovisuel. Il étudie ensuite à l´ESEC (Cinema Studies, Paris). Il est assistant directeur indépendant au Service de diffusion Suisse-Romand (TSR) et producteur indépendant entre 1983 et 1993. Il vit à Genève et Paris.

Maya schweizer
Catalogue : 2007Passing down, Frame 1 | Doc. expérimental | dv | couleur | 10:38 | France | Allemagne | 2007
Maya schweizer
Passing down, Frame 1
Doc. expérimental | dv | couleur | 10:38 | France | Allemagne | 2007

De retour à Berlin, j´essaie de reconstruire,à partir d´enregistrements que j´ai fait d´elle, une partie de l´histoire de ma grand-mère lorsqu´elle vivait à Lyon, pendant la seconde guerre mondiale.


Née à paris, Licence d´arts plastiques à L´université d´aix-en-provence. Études à l´école des beaux.arts de Leipzig (HGB), en photographie et vidéo puis Diplôme et post-diplôme à l´école des beaux-arts de Berlin(UdK). Vit à Berlin

Catalogue : 2017A Tall Tale | Fiction expérimentale | hdv | couleur et n&b | 16:16 | France | Allemagne | 2017
Maya schweizer
A Tall Tale
Fiction expérimentale | hdv | couleur et n&b | 16:16 | France | Allemagne | 2017


Maya Schweizer (b.in Paris, France) lives and works in Berlin. She studied at the university, Aix-Marseille I, at the Academy of Visual Arts Leipzig and Berlin University of the Arts, where she graduated. Maya Schweizer exhibited at Kunstverein Leipzig (2017-2018), Drawing Room Hamburg (2017-2018), Irish Museum of Modern Art, Dublin (2016); Skulpturenmuseum Glaskasten Marl (2016); Nordstern Videokunstzentrum, Gelsenkirchen (2016); Staatliche Kunsthalle Baden-Baden (2015);GRASSI Museum für Angewandte Kunst Leipzig (2015); MWW Wroclaw Contemporary Museum (2015). She recently screened at Videoart at Midnight, Berlin (2018), Traverses Vidéo, Toulouse (2018), Vancouver International Film Festival, Canada (2017), Cinema in viennacontemporary, Vienna, Austria (2017), in Oberhausen 63. International Kurzfilmtage Oberhausen (2017) and at the 67. Berlinale, Forum Expanded, Berlin (2017). She received the Research stipends from the Berlin Senat (2017), Research grant from Goethe Institute Neapels and the Fundazione Morra-Museo Nitsch, Naples (2017), and the residency at the Watchtower, Flutgraben, Berlin (2016-2017).

Catalogue : 2016Texture of Oblivion | Doc. expérimental | hdv | couleur et n&b | 18:0 | France | Pologne | 2016
Maya schweizer
Texture of Oblivion
Doc. expérimental | hdv | couleur et n&b | 18:0 | France | Pologne | 2016

The film begins with footage of a city of ruins, when the entire cityscape of Warsaw is covered with stones. It is 1945. Themed around stones as carriers of historical memory, the movie is so closely filmed that the viewer can never see the city`s memorials in their entirety. Special attention, though, is paid to the author of the Umschlagplatz Wall, a monument located in the former Ghetto. Hanna Szmalenberg is explaining the process of realization of the Umschlagplatz as the camera winds through a snow-covered sculpture garden.

Maya Schweizer, born in Paris studied art and art history at the university of Aix-en-Provence (1995-1998). She moved to Germany and studied at the School of Visual Arts in Leipzig (HGB) (1999-2002) and move in Berlin 2003 where she finished her studies at the Berlin University of the Arts (UdK) with Professor Lothar Baumgarten and graduated in 2006. She had solo shows in Westfalischen Kunstverein, Muenster (2010), Frankfurter Kunstverein, (2011) with Clemens von Wedemeyer, in the Kunstverein Langenhagen (2013), Kunsthalle Baden-Baden (2015), at the Irish Museum of Modern Art, Dublin (2016). Schweizer was also involved in many international exhibitions, such as “Of Mice and Men,” Berlin Biennale (2006), “Storylines,” Kunstraum Munich, (2006), “Um-Kehrungen, Interaktion I - Speaker”s Corner,” Kunstverein Braunschweig (2007), “Magellaneous Cloud,” Centre Georges Pompidou, Paris (2007), “Urban Stories,” The X Baltic Triennial of International Art, CAC Vilnius (2009), “Auto-Kino!,” Temporare Kunsthalle, Berlin (2010), “Ambigous Being,” exhibitions in Berlin, Tel Aviv, and Taipei, tamtamART, Berlin / Kav16 Community Gallery, Tel Aviv / Hong Gah Museum, Taipei (2012), “Die Stadt, die es nicht gibt,” Ludwig Forum, Aachen (2012), “Vot ken you mach!,” Kunsthaus Dresden (2013), efa (Elisabeth Foundation for the Arts, New York, USA (2013). At “Villa Romana 1905”2013 Das Künstlerhaus in Florenz,” Bundeskunsthalle, Bonn, (2013), “Gestern die Stadt von Morgen,” Kunstmuseum Mälheim an der Ruhr, (2014),. “Sammlungsalphabet,” Sammlungsausstellung, Museum of Contemporary Art (GfZK), Leipzig (2014), and the forthcoming “Im inneren der Stadt. Öffentlicher Raum und Frei-Raum,” Gesellschaft für Aktuelle Kunst (GAK), Bremen, (2015). At the Museum MWW Muzeum Wspó?czesne, Wroc?aw, Poland, (2015), Videokunstzentrum, Gelsenkirchen, (2016), in VOX, Montreal (2016), and at POLIN Museum, Warsaw (2016).

Catalogue : 2015Le Soldat mourant des Milles | Film expérimental | hdv | couleur | 13:0 | France | Allemagne | 2014
Maya schweizer
Le Soldat mourant des Milles
Film expérimental | hdv | couleur | 13:0 | France | Allemagne | 2014

A video work, in which the daily routine of Les Milles is caught up by its past - a former brickyard in the town`s center was used as internment camp for Germans during World War II and served as concentration camp later on. With the use of montage cutting techniques the artist succeeds in letting the past burst into present.

Maya Schweizer was born in 1976 in Paris, France and studied at the Academy of Visual Arts Leipzig, and Berlin University of the Arts (with Lothar Baumgarten). Maya Schweizer works with diverse media: the focus of her work lies in the making of short films based on documentary material. „Identity, biography, politics, history and memory are recurring themes in Maya Schweizer’s photographs and videos... In general, the artist generates an incomplete tableau of collective memory and questions the way history is produced and visually recorded. „(Cynthia Krell). The artist approaches the relation of montage editing techniques with the concept of film and memorial and film as memorial — a relation which traces back to the very beginnings of montage as it does to research findings by French historian Pierre Nora. Recurring moments in Schweizer’s multiform art practice revolve around the examination of subtly treated processes of memory regarding historic-political events in public space. In the places, structures and situations she investigates, historical threads intersect. She received international grants and most recently Project grant "Lieux de Mémoire and Desire",Kulturstiftung des Freistaates Sachsen (KdFS), 2015. The Exhibition sponsor from the Institut für Auslandsbeziehungen (ifa), TCG Nordica, Kunming, China, 2013. The Robert Bosh Foundation, in Slovakia 2011, also in the Villa Aurora, Artist Grant from the Goethe-Institute in Los Angeles 2008-2009. Together with Clemens von Wedemeyer, she won the Prize of the German Competition at the Oberhausen Film Festival Oberhausen 2006. She recently had solo shows, such as; Der sterbende Soldat von Les Milles, Kunsthalle Baden-Baden, Germany 2015. Edith Seeshow’s Notes at the Kunstverein Langenhagen, 2013. Metropolis. Report from China with Clemens von Wedemeyer at the Frankfurter Kunstverein, 2011. The Same Story Elsewhere at the Westfälisher Kunstverein, Münster, Germany, 2010. Schweizer was also involved in many international exhibitions, such as; Inside the City. Public Space and Free Space at the GAK, Bremen, Germany, 2015. Vot ken you mach ?, Muzeum Wspólczesne Wroclaw, Poland, 2015. Collection Alphabet at the Museum of Contemporary Art (GfZK), Leipzig, 2014. The city that doesn´t exist at Ludwig Forum, Aachen, 2012. Ambigous Being, Hong Gah Museum,Taipei 2012. Take me to your leader!, Kunstmuseum Bergen, Norway, 2011. Here and There, at the Wallace Gallery, New York and at the Oonagh Young Gallery, in Dublin, 2011. 15 Jahre Villa Aurora. Transatlantische Impulse, AdK - Akademie der Künste, Berlin, 2011. Of Other Spaces at the Bureau for Open Culture, Columbus, Ohio, USA 2011.

Catalogue : 2014I, an archeologist | Documentaire expérimental | hdv | couleur | 20:0 | France | 2014
Maya schweizer
I, an archeologist
Documentaire expérimental | hdv | couleur | 20:0 | France | 2014

A young archaeologist working as a tourist guide is in a dark space with her light operator and an imaginary group. She would like to rehearse her tour in the Jewish catacombs of Rome. The scene becomes a monologue of the young woman, in which she mingles fragments of the history of the Jewish catacombs with thoughts on her appearance and instructions to the lighting engineer. The narration hovers between a stage play and the real historical site.

MAYA SCHWEIZER Born in 1976 in Maisons-Alfort/ France the artist lives and works in Berlin. She has studied Fine Arts and Arts History at the University in Aix-en-Provence, at the Hochschule für Grafik undBuchkunst in Leipzig and at the University of Arts Berlin with Lother Baumgarten. Her works are based on documentary materials which she weaves into (hi)stories by means of excerpts, images, sound samples and texts. She has been part of residency programs as KAIR- Kosice by the Robert-Bosch-Foundation, the Künstlerinnenprogramm Senat Berlin, the residency program of the Goethe-Institute in Villa Aurora Los Angeles. Her works have been internationally shown in solo exhibitions as very recently, DIE MINIATUREN AUS RAVENSBRÜCK UND DER STERBENDE SOLDAT VON LES MILLES, (2014) together with Antje Majewski at after the butcher, Berlin. EDITH SEESHOW´S NOTES, (2013) at the Kunstverein Langenhagen, Germany, IT’S NOT ABOUT NOTHING (2012) at the gallery Katharina Bittel in Hamburg, METROPOLIS, REPORT FROM CHINA (2011) at Frankfurter Kunstverein and THE SAME STORY ELSEWHERE   (2010) at  Westfälischer Kunstverein in Münster. Also she contributed to group shows as GESTERN DIE STADT VON MORGEN (2014), Kunstmuseum Mülheim an der Ruhr, LAST YEAR AT MARIENBAD, REDUX, (2014) at the Elisabeth Foundation for the Arts, New York, VOT KEN YOU MACH ! (2013) at Kunsthaus Dresden, DIE STADT, DIE ES NICHT GIBT, at the Ludwig Forum Aachen
AI WEI WEI IS IN CHINA at Fichtebunker, Berlin, TRANSATLANTISCHE IMPULSE at Akademie der Künste, Berlin, NEL PALAZZO DI CRISTALLO in CA`ASI/ Venezia, HERE AND THERE Wallace Gallery New York, and URBAN STORIES at The X Baltic Triennial of International Art, CAC, Vilnius in Lituania.

Catalogue : 2008from the classroom | Art vidéo | dv | couleur | 6:0 | France | Allemagne | 2008
Maya schweizer
from the classroom
Art vidéo | dv | couleur | 6:0 | France | Allemagne | 2008

« From the Classroom » est une projection sur un écran divisé en deux, formée d?images trouvées sur YouTube. L'image de gauche montre des jeunes filles de la salle de classe en train de danser, apparemment filmées par leurs amis pendant la pause. Sur l?image de droite, on voit un tableau noir sur lequel est écrit un texte, rédigé dans un style de journal intime. Le texte décrit le trajet qu?une femme prend tous les jours pour se rendre au travail.


http://www.mayaschweizer.com/site/DOWNLOADS/Mschweizerbio.pdf Born 10 january 1976 in Maisons-Alfort, France Lives in Berlin ----- February 2007 Universität der Künste, Berlin, Germany Master Degree January 2005 Universität der Künste, Berlin, Germany Diploma April 2003 Universität der Künste, Berlin, Germany Fine art School, Berlin In the class of Lothar Baumgarten and Katharina Sieverding. 2000-2002 Hochschule für Grafik und Buchkunst, Leipzig, Germany School of visual arts, Leipzig June 1998 Licence, Degree of Visual arts 1998-1995 Université d ́Aix-en-Provence Visual arts. June 1995 Bachelor ́s degree, option Visual arts, Aix-en-Provence, France Residency Programm, Prizes : 2008 Villa Aurora, Artits Grant from the Goethe-Institut Los Angeles 2008-2010 Karl-Hofer Stipendium, Grant from the Karl-Hofer Gesellschaft, Berlin 2006 First Prize of the German Programm Kurzfilmtage Oberhausen 2006 Grant from the DAP, (Department of the visual arts), Paris, France 2005-2006 Residency and Film Project with Clemens von Wedemeyer at the Contemporary Art Center of in Bretigny, France Realisation and Production of the film Rien du tout (nothing at all) with Clemens von Wedemeyer.

Catalogue : 2007Metropolis, report from China | Doc. expérimental | dv | couleur | 42:0 | France | Allemagne | 2006
Maya schweizer
Metropolis, report from China
Doc. expérimental | dv | couleur | 42:0 | France | Allemagne | 2006

2004, 80 ans après la visite de Fritz Lang à New York et dans le même temps estimé des projections futuristes de son film « Metropolis »... Nous sommes venus en Chine pour trouver des lieux de tournages, pour parler à des travailleurs et des architectes, des scénaristes et des romanciers à Shanghai et Beijing pour rechercher si le film entier pouvait être remis en scène ici. Mais voulons nous que ce film ce répète, pour qu'il devienne réel? Peut être en chine avons nous vu une variante de « Metropolis », qui est déjà devenue réalité...


Maya Schweizer, née à Maisons-Alfort, en 1976. Débute ses études d´arts Plastiques à Aix-en-Provence à l´université, en 1998 obtient sa Licence. S´inscrit à l´école des beaux-arts de Leipzig, (HGB) puis entre en équivalence à l´école des beaux-arts de Berlin, (UdK) dans la classe de Lothar Baumgarten où elle est diplomée en janvier 2005. Residences, Bourses & Prix : 2006,Mai, Allemagne, Oberhausen Premier Prix du festival de film d´Oberhausen. en avril,Bourse du DAP (Délégation aux arts plastiques). 2005-2006, en Nov-mars, au Centre d´Art Contemporain de Brétigny (CAC de Bretigny /Orge, Bretigny). Réalisation et production avec Clemens von Wedemeyer du Film Rien du tout. Co-production; Galerie Jocelyn Wolff, CAC Bretigny, (Pierre Bal-Blanc), Château Rouge production(Gaelle Jones), Collection Giovanni Springmeier. Postproduction: bourse du NRW de Cologne

Michaela schwentner
Catalogue : 2014PENELOPE / IN THE SCENERY / REFLECTING / RELATIONS | Vidéo | hdv | couleur et n&b | 14:40 | Autriche | 2013
Michaela schwentner
PENELOPE / IN THE SCENERY / REFLECTING / RELATIONS
Vidéo | hdv | couleur et n&b | 14:40 | Autriche | 2013

PENELOPE / IN THE SCENERY / REFLECTING / RELATIONS is an essayistic short film about love and storytelling, focussing on possible structures and forms of storytelling. The film is an experimental arrangement, a study of unconventional forms. Fragments of personal history, stories are woven together and reconstructed. An image within an image is shifted and repositioned. The cinematic narration of an experienced love is the starting point of PENELOPE / IN THE SCENERY / REFLECTING / RELATIONS. But this narration is arranged in manifold ways and on several layers: the staging is arranged as a mise en abyme. The figure speak to a a friend of hers and sometimes also towards the audience; she talks about a desired subject which is absent throughout the whole film — it`s merely a blank. In his analysis of Marcel Prousts "À la Recherche du Temps perdu" Walter Benjamin speaks of "Penelope work". By this, he means not remembrance per se, but the interweave of memories. PENELOPE / IN THE SCENERY / REFLECTING / RELATIONS is about the way how these memories could be interwoven by the means of narration. But unlike the ancient Penelope it`s not a carpet that is woven together with yarn, she’s weaving individual threads of narration together to one whole image of souvenirs, of memories.

*1970 in Linz, living and working in Vienna. Conceptual video artist mainly working with time-based media (film, video, sound). Studies of philosophy, history, history of the arts, dramatics and film theory in Vienna. Lecturer at Institute of Art and Design, Technical University of Vienna and at Film Academy Vienna. Cooperations with musicians on audiovisual projects and live performances in Austria and abroad. International screenings and exhibitions.

Hanna schygulla, jacques sechaud
Catalogue : 2005Protocoles de rèves | Documentaire | 0 | couleur | 47:0 | Allemagne | France | 2005
Hanna schygulla , jacques sechaud
Protocoles de rèves
Documentaire | 0 | couleur | 47:0 | Allemagne | France | 2005

Dans le documentaire "Protocoles de rêves", Hanna Schygulla, figure emblématique du cinéma allemand et de l`?uvre de Rainer Maria Fassbinder, s`autofilme depuis 1977, expérimente, déconstruit et reconstruit sa propre image.


« Jeune comédienne, Hanna SCHYGULLA a provoqué l`impérieuse passion et les larmes amères de Petra von Kant dans le film de Fassbinder. Ensuite, elle a été sa Lili Marlène, sa Maria Braun, sa "femme allemande"... Héroïne d`une vingtaine de films phares de Fassbinder, emblème du renouveau du cinéma allemand, Hanna SCHYGULLA a tourné avec Schlöndorf, Wenders, von Trotta, puis Ferreri, Saura, Godard, Wajda, Scola, Deville... Elle vit aujourd`hui à Paris.»

Erica scourti
Catalogue : 2006Trailer Truths III | Vidéo expérimentale | dv | couleur | 2:25 | Royaume-Uni | 2004
Erica scourti
Trailer Truths III
Vidéo expérimentale | dv | couleur | 2:25 | Royaume-Uni | 2004

"Trailer Truths III" est le troisème épisode d'une trilogie de court-métrages faits de textes découpés de bandes annonces de films. Des mots et des phrases sont collées pour créer un nouveau texte qui coordonne l'avancée d'une critique de société à une action directe fatidique, dans un film qui parodie la notion du style Hollywoodien et appelle aux armes. En utilisant souvent le langage réductif et émotif propre au divertissement, incarné par des bandes annonces, pour aborder des problèmes sensibles et complexes, ce film reflète la partialité des superproductions et des divisions manichéennes.


Erica Scourti est née à Athènes en 1980 mais vit à Londres depuis 1998 où elle vint pour étudier la Chimie. Après avoir obtenu sa Licence d'Art aux Beaux-Arts à l'Université de Middlesex, son travail a été projeté internationalement et surtout en Grande-Bretagne, et a été choisi comme démonstration itinérante pour la galerie online tank.tv. D'autres projections récentes comprennent le "Oberhausen Short Film Festival Lounge", "EMAF ?Smart Art? discussion and Pursescreen at Bureau gallery", Manchester. Elle entreprend actuellement un diplôme en Art & Philosophie à l'Université de Birkbeck à Londres.

Catalogue : 2007The Speech of Reason | Art vidéo | dv | couleur | 3:12 | Royaume-Uni | 2006
Erica scourti
The Speech of Reason
Art vidéo | dv | couleur | 3:12 | Royaume-Uni | 2006

Des fragments des plus grands discours de cinéma (sélectionnés par le site American Rhetoric) sont montés de façon à créer un morceau d'éloquence qui fait passer des messages mêlés sur la "condition humaine" et sur les dirigeants (réels et fictifs) qui essaient de la façonner. La bande-son originale du film est remplacée par une voix générée par ordinateur, ôtant ainsi aux discours leur pouvoir émotionnel en applanissant les différentes perspectives des orateurs pour qu'il ne reste qu'une seule voix. Le travail d'Erica porte souvent sur les clichés du langage dans la culture populaire et tente de leur redonner vie en les remixant et en les plaçant dans un nouveau contexte. Cette oeuvre poursuit ce projet en étudiant le langage utilisé dans les prises de paroles publiques, et le culte de la personnalité que cela implique souvent.


Erica Scourti est née à Athènes, en Grèce, en 1980. Elle vit à Londres depuis 1998, où elle a fait des études de chimie. Elle a également étudié les beaux-arts à la Middlesex University, où elle a obtenu son BA. Son oeuvre a été montrée au niveau international, par exemple à Videonale 11, Purescreen Artists Film & Video à Bureau gallery et aux Recontres Internationales 2006 à Berlin et Paris. Récemment, elle a effectué une résidence au premier festival d'art contemporain d'Anso, dans les Pyrénées. Elle montrera son oeuvre au musée Reine Sofia à Madrid et au Wewerka Pavilion pendant le Munster Sculpture Project 2007.

Erica scourti
Catalogue : 2005Trailer Truths | Art vidéo | dv | couleur | 1:55 | Grèce | Royaume-Uni | 2004
Erica scourti
Trailer Truths
Art vidéo | dv | couleur | 1:55 | Grèce | Royaume-Uni | 2004

Trailer Truths I is the first installment of a trilogy of short films made up of text taken from movie trailers. Words and phrases are collaged together to create a darkly humorous text about war, evil and propaganda. The work playfully addresses the representation of power and language in the media, and the role of belief in the popular consciousness.

Erica Scourti grew up in Athens, leaving at 18 to study Chemistry in London. After a year on the course she quit and, after a stint at London College Fashion and Goldsmiths, graduated from Middlesex University?s BA Fine Art course in 2003. She now lives and works in East London and Essex. Her work will be appearing in the 15th Mostyn Open Competition in March 2005. Recent film screenings include: The One Night of Video & Audio, Umbrella Arts Group, Cardiff, Wales; Max 5 Video Festival, Café Gallery Projects, London; 3rd RestCycling Festival, Berlin; tank.tv on-line (www.tank.tv); Shot By The Sea, Electric Palace Cinema, Hastings; Winter Fantasia, Space Studios, London; and Trampoline ? Reactor, a live link-up to Berlin, held at Broadway Cinema, Nottingham in 2005. Courtesy Castlefield Gallery

Alexandria searls
Catalogue : 2005Black spot | Film expérimental | super8 | couleur | 1:40 | USA | 2004
Alexandria searls
Black spot
Film expérimental | super8 | couleur | 1:40 | USA | 2004

Dans un cimetière d'avions, des avions de guerre sont laissés à l'abandon ou mis à la casse.


Alexandria Searls enseigne la production des médias à l'Université de Virginie. Elle est également une photographe exposée dans le monde entier.

Alan segal
Catalogue : 2017Una investigación interrumpida de R (An Interrupted Investigation of R) | Fiction expérimentale | 4k | couleur | 13:50 | Argentine | 2017
Alan segal
Una investigación interrumpida de R (An Interrupted Investigation of R)
Fiction expérimentale | 4k | couleur | 13:50 | Argentine | 2017

"An interrupted investigation of R" is an epistemological sci-fi detective short film. This project is an adaptation of Stanislav Lem`s “ The Investigation ”. The work pretends to contribute to the regime of Extra Science Fiction, as was developed by Quentin Meillassoux. A synopsis of the book that I found at Goodreads: "An officer at Scotland Yard is assigned to investigate an eerie case of missing-and apparently resurrected-bodies. To unravel the mystery, Lt. Gregory consults scientific, philosophical, and theological experts, who supply him with a host of theories and clues". I used that minimal narrative as an excuse to address some of this questions and ideas. What would happen if experimental science became impossible and cannot deploy its theories? What exactly guarantees for us, but also what convinces us that natural laws will still be valid in the next moment? How is the bound in between science and fiction? It seems like the science allows the construction of a storyline because stories happen in ordered worlds. The way the merger of the virtual and the digital elicits a context of indetermination. How will the construction of different models of representation affect our perception of a specific phenomenon?

Alan Segal (AR), born in 1985, he studied at Skowhegan School of Painting and Sculpture, Program for Artist and Curators, Universidad Di Tella, and is currently completing his master in Fine Arts at The Milton Avery Graduate School of the Arts at Bard College. He uses drawings, video, coding and sound to design works that reveal alternative systems of communicative convention. “Tutorial ” was his last solo show at Zmud. Recent group exhibitions include "A word is a shadow that falls on a lot of things" at Ausstellungsraum Klingental (Basel, Switzerland), “Praising the surface ”at the Hesell Museum of Art (New York, USA) and “ To push an ism ” at MAMBA (Buenos Aires Museum of Modern Art). He also shows his work in international biennials; "Visual Resonances" at the BIENALSUR (the South America contemporary Art Biennial) and "Draft Systems" at The WRO Biennale (Wroclaw, Poland).

Joaquin segura
Catalogue : 2013Ontological Politics #1 (Havel) | Vidéo expérimentale | hdv | couleur | 2:55 | Mexique | Tchèque (Rép.) | 2013
Joaquin segura
Ontological Politics #1 (Havel)
Vidéo expérimentale | hdv | couleur | 2:55 | Mexique | Tchèque (Rép.) | 2013

Single-channel video in which a recurring dialogue is formed by fragments extracted from two seminal public addresses by Václav Havel, former dissident and essential player of post-soviet politics in Eastern Europe. Both of the lines used in this work are the closing arguments of Havel`s New Year Addresses of 1990 and 1991, respectively. This persistent question posed by an individual in continuous doubt alludes to the extreme changes in global geopolitics once the Soviet Bloc fell in Czechoslovakia, but also alludes to the sociopolitical crisis nowadays, both in the region and other parts of Europe. It aims to present the essential contradictions present between discourse and socio economical realities in a context shaken by extreme political happenings: a laconic invitation to reflect on the nature of power and ideology.

Lives and works in Mexico City, Mexico. His highly diverse work has been shown in solo and group exhibitions in Mexico, USA, Europe and Asia. Some spaces that have featured his work include Sala de Arte Público Siqueiros, Museo de Arte Carrillo Gil, La Panaderia and Museo Tamayo Arte Contemporáneo in Mexico City, along with El Museo del Barrio, Anthology Film Archives, White Box and apexart (New York), LAXART, MoLAA (Los Angeles) Museo Nacional Centro de Arte Reina Sofia (Madrid), National Center for Contemporary Art (Moscow) and the Modern Art Museum of Fort Worth, TX. His work has been widely reviewed & featured in local and international art publications & major newspapers such as Flash Art, Adbusters, Art Papers, Código, Art Nexus, Discipline, Celeste & The Washington Post, among many others. In 2008/09, Segura was an artist-in-residence at the International Studio & Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. In 2012/13, he undertook artistic residencies and research stays at Hangar ?Centre de Producció i Recerca d?Arts Visuals (Barcelona), MeetFactory ? International Center of Contemporary Art (Prague) and Impakt Foundation (Utrecht). He?s a founding member and board advisor of SOMA, Mexico City.

Catalogue : 2006Conspiranoia | Vidéo expérimentale | dv | couleur | 2:40 | Mexique | 2004
Joaquin segura
Conspiranoia
Vidéo expérimentale | dv | couleur | 2:40 | Mexique | 2004

Dans cette oeuvre, une série d´événements socio-politiques est analysée, entre liens hypothétiques et théories de conspiration. Conspiranoia (2004) tente de représenter ce qui serait l´ultime conspiration, non sans humour et sarcasme : en effet, la principale source d´inspiration pour cette oeuvre est la culture populaire, dont les bandes-dessinées, les séries télé, la littérature d´esbrouffe et le journalisme sensationnel "d´enquête". Mais une fois encore, qui sait? Tout ce que vous savez n´est peut-être bien qu´un mensonge ...


JOAQUIN SEGURA (Né à Mexico city, 1980), Artiste visuel. Il vit et travaille à Mexico City. Son travail, ses installations, interventions et oeuvres photographiques ont été exposées dans des expositions solo ou de groupe au Mexique, aux Etats-Unis et en Europe, par exemple à La Panaderia, au Museo de Arte Carrillo Gil, au Centro de la Imagen et Ex-Teresa Arte Actual à Mexico City, mais aussi Outpost for Contemporary Art, Los Angeles, California, Museo Nacional Centro de Arte Reina Sofia à Madrid et Palace Adria à Prague, Republique Tchèque. Il a également réalisé des films et été commissaire d´exposition à l´occasion de plusieurs projets. Ses oeuvres sont actuellement représentées par Arena México Arte Contemporáneo, Mexique.

Robert seidel, esmark – husby-klit bk.
Catalogue : 2018Esmark – Husby-klit Bk. | Vidéo expérimentale | dcp | noir et blanc | 5:0 | Allemagne | 2017
Robert seidel , esmark – husby-klit bk.
Esmark – Husby-klit Bk.
Vidéo expérimentale | dcp | noir et blanc | 5:0 | Allemagne | 2017

The Band “Esmark” is a collaboration between the sound architect Nikolai von Sallwitz and the artist Alsen Rau. The music video by video artists Robert Seidel for the track “Husby-klit Bk.” is based on a live video performance, in which a modular video synthesizer generates mental spaces between floating and overwriting realities. The visual material is based on a convolute of geographical impressions, that are fused by the cinematic soundscape into a continuous stream of dissolving memories.

Robert Seidel’s projections, installations and experimental films have been shown in numerous international festivals, as well as at galleries and museums such as the ZKM Karlsruhe, Art Center Nabi Seoul and MOCA Taipei. He is interested in pushing the boundaries of abstracted beauty through cinematographic approaches, as well as ones drawn from science. By the organic interplay of structural, spatial and temporal concepts he creates an evolving complexity of multifaceted readings. Seidel lives in Berlin/Jena as artist and curator.

Lina selander, oscar mangione
Catalogue : 2016The Ceremony | Vidéo | hdv | couleur | 16:18 | Suède | 2016
Lina selander , oscar mangione
The Ceremony
Vidéo | hdv | couleur | 16:18 | Suède | 2016

The opening of the film «The Ceremony» shows the image from the title page of Olof Rudbeck the Elder’s «Atlantica» from 1679, were Rudbeck reveals Sweden as the sunken Atlantis. Written during the era of the Swedish Empire, the archaeological novel «Atlantica» is a marvel of non-specialization and heterogeneous connections, largely based on speculative etymologies and sound correspondences. In «The Ceremony», in a similar audacious manner, identities, histories and places appear and disappear: freed from reality’s hold, in layer upon layer of image, text and sound, like abandoned or yet to be built cities: Tutankhamen’s crypt and unbroken seal, Bredäng (suburb of Stockholm where the artists live), the strange entrance to the old Stasi headquarters in Berlin, other places, tombs and prisons. All connected by subterranean passages through which an alien time runs; incompatible, turning endlessly into itself.

Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Lina Selanders work often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s work has been shown at Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montré al and in international group shows such as the Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.Oscar Mangione (b. 1971) works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.

Lina selander, oscar mangione
Catalogue : 2018Diagram of Transfer No. 1 | Vidéo expérimentale | hdv | couleur et n&b | 8:30 | Suède | 2018
Lina selander , oscar mangione
Diagram of Transfer No. 1
Vidéo expérimentale | hdv | couleur et n&b | 8:30 | Suède | 2018

Artifacts from a Maoist life intersects with machines grinding books, the piecing together of destroyed DDR documents and children undergoing education. A comment on the earlier work “When the Sun Sets It’s All Red, Then It Disappears” from 2008.

Catalogue : 2015The Offspring Resembles the Parent | Film expérimental | hdv | couleur et n&b | 13:44 | Suède | 2015
Lina selander , oscar mangione
The Offspring Resembles the Parent
Film expérimental | hdv | couleur et n&b | 13:44 | Suède | 2015

The Offspring Resembles the Parent (2015) is a new film made for the 2015 Venice Biennale. Like Selander’s earlier works, it takes as its starting point a specific event or situation of crisis within society—in this case the current economic state and our increasingly crumbling faith in the monetary systems, with links to the European situation during World War I and the interwar years. A major part of the film’s imagery consists of Notgeld—emergency banknotes—often colourful and with a strong visual impact, printed on paper or fabric. Their obviously fictitious character—they represent gigantic figures— points to the imperceptible flows within today’s digital economies. Not unlike language, economic value is built on an agreement, a mutual understanding. The fictitious reality of finance only reveals its relation to the human, the body, to work and to nature in a situation of crisis in which the human conditions and connections to colonialism and warfare become clear.

Lina Selander is one of Sweden’s most innovative moving image artists. Her films and installations often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s process is similar to that of the scientist or poet. Each work constitutes a dense archive of facts and observations, occasionally in dialogue with other films, works of art or literature. The precise, rhythmic editing and use of sound in her films generate a unique temporality and strong internal pressure, and take intuitive leaps between associations and meanings. Selander’s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet, VOX - centre de l’image contemporaine, Montréal and in international group shows, biennales and festivals, for example in the Venice Biennale 2015, The Kiev Biennale, Seoul Media Art Biennale 2014, Manifesta 9-European Biennal of Contemporary Art 2012, and the Bucharest Biennale 4, 2010. .... Oscar Mangione works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in the following exhibitions, performances and projects: Överlämningen, Konsthall C, 2013; Suðurlandsvegur, The Reykjavík Arts Festival, 2012; The Spiral and the Square, Bonniers Konsthall, 2011/12; Geist in Therapy, The Studio, Moderna Museet, 2009; Role Critique, Iaspis at the Venice Biennale, 2009; Geist on Speed, Index, 2008.

Catalogue : 2014Silphium | Vidéo | hdv | noir et blanc | 22:9 | Suède | Allemagne | 2014
Lina selander , oscar mangione
Silphium
Vidéo | hdv | noir et blanc | 22:9 | Suède | Allemagne | 2014

In the first sequences of Lina Selander´s new film a story is told about the ancient, now extinct, plant silphium. The plant grew on the coast outside the North African town Cyrene—a settlement of Greeks from the overpopulated island of Thera in 630 BC—which became the main town in the Greek colony, situated in today´s Libya. The plant was famous for its medical usage (it was used as a contraceptive and abortifacient) and for its richness in flavour, which made it the base of the colony’s export. Its importance for the economic wealth was so crucial that the image of silphium was imprinted on the coins. When exploitation of the plant led to extinction, the city declined. As is often the case in Selander’s works, the film builds on layers of images and meaning, layers that link history and pre-history to contemporary society, and in which nature as a prerequisite for life is one of the focal points. The human strive for development and expansion, the desire for control over nature, and above all—visual control, depiction and surveillance, is always met by another contradicting force. The nature looks back at us, its eyes empty—a reoccurring image in Selander’s film. In Silphium this double movement of visual and earthly mastery and its opposite—loss of visual control, awareness of vulnerability—is first expressed in a shot of the famous 16th-century painting The Ambassadors by Hans Holbein. The ambassadors are depicted together with the emblems of wealth and superiority of the countries they are the representatives for. A contradicting image is hidden until you view the painting from a specific angle, but when you do a human skull becomes visible, the sign of mortality. Selander lets the image oscillate in and out of visibility; the painted image emerges as in a rupture of light in the dark whilst mumbling voices count—numbers, years maybe. The sound fragment is a loan from Chris Marker´s 1962 film La Jetée—another important point of reference. The films narrative tells the story of how a man is used in time travel experiments in order to save the world. He travels through sediments of memory and images, much in the same way as Selander’s film, only to return to his beginning.

Lina Selander (b. 1973) lives and works in Stockholm, Sweden. She works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations in which these different medias converge and interrelate to one another. She is interested in the image’s ability and lack of ability to reproduce time, experience and memories and she explores how narration is created and how different techniques transform a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archaeology and authenticity. Selander’s work has been shown at Index - The Swedish Contemporary Art Foundation, Moderna Museet, Kunsthall Trondheim and in international group shows such as Manifesta 9 in Genk, Belgium and the Bucharest Biennale 2010 and at Haus Kulturen der Welt, Berlin, Seoul International Media Art Biennale and upcoming exhibitions such as Momenta Art, New York, INIVA, London and she also representing Sweden in the 56th Venice Biennale 2015.

Catalogue : 2013To the vision machine | Film expérimental | hdv | couleur et n&b | 28:48 | Suède | 2013
Lina selander , oscar mangione
To the vision machine
Film expérimental | hdv | couleur et n&b | 28:48 | Suède | 2013

To the vision machine (2013) 28:45 min. HD-video, color, sound and silence. 16:9 To the vision machine is the beginning of a larger work on the visual inscription`s invisible centre, on the picture as an internal object and its relation to vision and different imaging technologies. The work initiates a search for a code that would make vision redundant, a promised land which it can not hope to enter. The starting point is the atomic bomb over Hiroshima, or more precisely: the detonation of the atomic bomb as a photographic event. The first atomic bomb created a flash that lasted one fifteenth of a millionth of a second. The light penetrated every building and shadows of objects and bodies were exposed and burned onto the city`s surfaces. When bodies and objects turned to ash, their traces were left as unintentional monuments. But the detonation itself can only be witnessed at the expense of one`s eyesight or life. The sound of the whistle and the scene at the end is from the film "The Children of Hiroshima" ("Genbaku no ko", 1952), which shows the Peace Memorial Museum while it is under construction after the U.S. occupation had ended and it was allowed to remember the disaster again.

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate !lm as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archeology and authenticity. Selander?s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, Institute of Contemporary Art in London and The Netherlands Media Art Institute.

Catalogue : 2012Lenin?s Lamp Glows In the Peasant?s Hut, | Vidéo | hdv | noir et blanc | 23:50 | Suède | 2011
Lina selander , oscar mangione
Lenin?s Lamp Glows In the Peasant?s Hut,
Vidéo | hdv | noir et blanc | 23:50 | Suède | 2011

Lina Selander offers a subtle meditation on the long-term historical effects provoked both socially and ethically by the Soviet utopia of the production of energy, summarised in Lenin?s slogan from 1920: ?Communism is Soviet Power plus the electrification of the whole country?. The elements of Lenin?s Lamp equally reject an idea of films, photographs or videos as neutral accretions of visual information. The elements of this film are to be seen both as material witnesses of the experience of modernisation and as agents of the very same history. From Dziga Vertov?s film The Eleventh Year (1928) to and video recordings from the Chernobyl disaster and the ghost city of Pripyat to images of fossils in museums and prehistorical landscapes, Selander?s images consist of sensory materials.

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate !lm as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history and authenticity. Selander?s work has been shown at Index, The Swedish Contemporary Art Foundation, Bonniers Konsthall, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, Institute of Contemporary Art in London, The Netherlands Media Art Institute in Amsterdam and Transmediale 05 in Berlin where she received an honourable mention from the jury.

Catalogue : 2011Around the Cave of the Double Tombs | Film expérimental | hdcam | noir et blanc | 16:41 | Suède | 2010
Lina selander , oscar mangione
Around the Cave of the Double Tombs
Film expérimental | hdcam | noir et blanc | 16:41 | Suède | 2010

The film takes its starting point in several research trips to the West Bank, especially to the city of Hebron. We are confronted with photographs, and with still images, depicting ? in a rather abstract and distanced manner ? various situations: a model of ancient Jerusalem in a Museum, a check-point with its massive security architecture squeezed into a historical building, houses, walls, objects. In between, sequences of moving image appear that show a chain link fence above a shopping alley in Hebron, built to protect Palestinians from settlers throwing stones at them. The continuous, but halting, camera movement facing the horizontal fence disturbs our perception and sense of orientation. Still and moving images alternate with short texts, establishing a rhythm that does not only connect ? without always explaining ? what is seen, but introduces a narrative that articulates the interrogation of image and text. Contrary to a conventional image of Palestine and the conflict as emphasized ? and exploited ? by the mass media and contrary to dominant documentary practices, Selander turns away from a documentary exposition and instead ?reflects on and projects layers of control, dream and confinement, both in relation to the place and its history and to problem of showing and saying it? (Selander).

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden. Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history and authenticity. Selander?s work has been shown at Bonniers Konsthall, Moderna Museet and Index Foundation and in international group shows, biennales and festivals, for example in the Bucharest Biennale 2010, Institute of Contemporary Art in London, The Netherlands Media Art Institute in Amsterdam and Transmediale 05 in Berlin where she received an honourable mention from the jury. She has also received the Maria Bonnier Dahlin Foundation Grant (2005) and The Edstrand Foundation Art Prize (2008). She is also represented in the next Manifesta Biennal, 2012 in Belgium.

Catalogue : 2009När solen går ner är den alldeles röd, sen försvinner den | Vidéo | dv | couleur | 9:10 | Suède | 2008
Lina selander , oscar mangione
När solen går ner är den alldeles röd, sen försvinner den
Vidéo | dv | couleur | 9:10 | Suède | 2008

Lina Selander?s work When the sun sets it?s all red, then it disappears takes Jean-Luc Godard?s 1967 film La Chinoise as its starting point. It examines the relationship between political, utopian and emotional expressions in words and images, it explores the revolutionary zeal of a time and the desire to start all over again. La Chinoise is a film in the making, a film that tells the story of a revolutionary and truth-seeking common narrative while at the same time trying to be a part of it, sharing its inherent expressions and problems. Lina Selander?s film is also a work in the making, engaging and evolving around Godard?s film and the questions it addresses and responds to. But it is also a film about photography and storytelling. Most of the photographs in the series of stills are from the 1968 student revolts in Paris and Stockholm, taken at meetings and manifestations. But they also show other motifs, such as a close-up of a growing blob of moisture on a news reel showing Chairman Mao swimming in the Yellow River, personal photos and some stills from La Chinoise. All images have been photographed with flash and all photos have a white circular reflection on them which may represent or constitute a common space where the spectator?s space and that of the motif overlap, but where they are also defined as separate ? a blinding dazzle or hole in the image which ultimately blocks any final narrative and forces itself into the motifs and events that are being documented.

Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, memories and experience and she explores how different narrative forms and techniques transform and change a story. Her works investigates film as medium, examining its possibilities and limitations as form of expression. Lina Selander?s work have been shown at Gävle Art Center, Bonniers Konsthall, 300 m3 Art Space and Moderna Museet as well as in several group shows and festivals abroad, for example the Transmediale 05 in Berlin where she received an honorable mention. She has also received the Maria Bonnier Dahlin prize for young artists and The Edstrand Foundation Art Prize 2008.

Catalogue : 2008Timmarna som rymmer formen (et par dagar i Portbou | Vidéo expérimentale | dv | couleur et n&b | 15:0 | Suède | 2007
Lina selander , oscar mangione
Timmarna som rymmer formen (et par dagar i Portbou
Vidéo expérimentale | dv | couleur et n&b | 15:0 | Suède | 2007

Le film montre des images de Portbou, ville située à la frontière franco-espagnole, où le philosophe Walter Benjamin s?est ôté la vie la nuit des 27 et 28 septembre 1940. La frontière a été fermée la veille de son arrivée et rouverte le lendemain de sa mort. Les images, à la fois fixes et en mouvement, sont accompagnées d?une voix-off qui raconte différentes histoires sur le quartier des réfugiés : des fragments, des détails, des pensées. La vidéo et le son tournent tous deux en boucle. Leur durée est cependant différente, ce qui induit une multitude de relations entre le mot et l'image, qui tantôt accentue la distance qui les sépare et tantôt réduit leur écart. Une dérive continuelle de la perspective, qui montre qu?un récit complet n'est jamais possible. Finalement, les images sont peut-être plus liées à la voix qu?aux histoires, ou à l'histoire qu?elles racontent. Le titre « Timmarna som rymmer formen » est une citation de « Sens unique » de Walter Benjamin.


Lina Selander travaille principalement avec des images en mouvement dans le cinéma et la vidéo, mais aussi avec la photographie, le texte et le son. Ses ?uvres sont souvent des installations dans lesquelles ces différents médias et composantes interagissent et convergent les uns vers les autres. Elle s'intéresse à la capacité de l?image, ainsi qu?à son manque de capacité, à reproduire le temps, les souvenirs et les expériences et elle explore la façon dont les différentes formes et techniques narratives peuvent changer une histoire. Ses ?uvres expérimentent le film comme médium, en examinant ses possibilités et ses limites en tant que forme d'expression. Les ?uvres de Lina Selanders ont été exposées aux Gävle Art Center, 300 m3 Art Space, BONNIERS Konsthall et Modena Museet, ainsi que dans plusieurs expositions collectives et festivals à l'étranger, par exemple, à la Transmediale 05 de Berlin (Allemagne) où elle a reçu une mention honorable. Elle a également reçu le Prix de la Fondation Edstrand et le Prix Maria Bonnier Dahlin pour les jeunes artistes. Lina vit et travaille à Stockholm.

Catalogue : 2005Reconstruction | Art vidéo | dv | couleur et n&b | 7:0 | Suède | 2000
Lina selander , oscar mangione
Reconstruction
Art vidéo | dv | couleur et n&b | 7:0 | Suède | 2000

Reconstruction. Des images non systématiques ? cousues à l?intérieur puis retournées. Toutes ces images étaient très ordinaires, scènes typiques d?un album de famille : vacances, voyages à l?étranger, rencontres familiales, etc. Les fils de couture dans ces images ? la côte cousue à l?océan, les nuages au ciel ou les gens les uns aux autres marquent une manière de codifier les structures et relations émotionnelles dans les images, contrôlant ainsi une interprétation d?eux-mêmes et soulignant (alors qu?ils essaient en même temps de le combler) le fossé entre l?image et la réalité. Les coutures et les trous de l´aiguille dans l´image sont ressorties comme l´essence d´une realité intense et cachée, contenant une vérité qui manquait aux images réelles. Les images retournées montre cette vérité dévoilée. J?ai ensuite utilisé les images retournées avec les mailles, trous et coutures et inversé leur ordre pour revenir au négatif, à l?image photographique de base. Le point rouge lisant le diagramme comme une figure et les transformant en sons devient une mise en scène d?un acte de souvenir. Il lit ce qui est réprimé et caché, et ce qui se cache derrière la mémoire réprimée.


Née en 1973 à Stockholm où elle vit et travaille. Lina a étudié en Suède à la Valand School of Fine Arts, à Gothemburg puis à la Royal University College of Fine Arts de Stockholm. Elle a ensuite suivi un cursus à la Gothenburg University en photographie et film,. Lina Selander travaille avec les films et des photographies, textes et sons. Les sujets récurrents de ses ?uvres sont la transformation du temps et de la mémoire, leur dissolution, compulsivité et leur intensité. Elle travaille avec, et montre sous des angles différents, l?auto-référence des images, immobiles ou mobiles. Les ?uvres vidéos de Lina Selander traitent du mélange de l?abstrait et de la narration, elle décompose et recompose le film comme structure narrative. Elle veut que les ?uvres mettent en scène elle-mêmes leur propre essence théorique et leur existence, et ainsi faisant, dévoiler un domaine où un nouveau sens peut émerger. Ses ?uvres ont été montrées au Moderna Museet, Fylkingen, Galleri Charlotte Lund, Stockholm and Galleri 300m3, Gothenburg. En février 2005, elle a été récompensée d?une Mention Honorable à la Transmédiale 2005 à Berlin.

Lina selander
Catalogue : 2018Diagram of Transfer No. 1 | Vidéo expérimentale | hdv | couleur et n&b | 8:30 | Suède | 2018
Lina selander
Diagram of Transfer No. 1
Vidéo expérimentale | hdv | couleur et n&b | 8:30 | Suède | 2018

Artifacts from a Maoist life intersects with machines grinding books, the piecing together of destroyed DDR documents and children undergoing education. A comment on the earlier work “When the Sun Sets It’s All Red, Then It Disappears” from 2008.

Catalogue : 2015The Offspring Resembles the Parent | Film expérimental | hdv | couleur et n&b | 13:44 | Suède | 2015
Lina selander
The Offspring Resembles the Parent
Film expérimental | hdv | couleur et n&b | 13:44 | Suède | 2015

The Offspring Resembles the Parent (2015) is a new film made for the 2015 Venice Biennale. Like Selander’s earlier works, it takes as its starting point a specific event or situation of crisis within society—in this case the current economic state and our increasingly crumbling faith in the monetary systems, with links to the European situation during World War I and the interwar years. A major part of the film’s imagery consists of Notgeld—emergency banknotes—often colourful and with a strong visual impact, printed on paper or fabric. Their obviously fictitious character—they represent gigantic figures— points to the imperceptible flows within today’s digital economies. Not unlike language, economic value is built on an agreement, a mutual understanding. The fictitious reality of finance only reveals its relation to the human, the body, to work and to nature in a situation of crisis in which the human conditions and connections to colonialism and warfare become clear.

Lina Selander is one of Sweden’s most innovative moving image artists. Her films and installations often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s process is similar to that of the scientist or poet. Each work constitutes a dense archive of facts and observations, occasionally in dialogue with other films, works of art or literature. The precise, rhythmic editing and use of sound in her films generate a unique temporality and strong internal pressure, and take intuitive leaps between associations and meanings. Selander’s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet, VOX - centre de l’image contemporaine, Montréal and in international group shows, biennales and festivals, for example in the Venice Biennale 2015, The Kiev Biennale, Seoul Media Art Biennale 2014, Manifesta 9-European Biennal of Contemporary Art 2012, and the Bucharest Biennale 4, 2010. .... Oscar Mangione works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in the following exhibitions, performances and projects: Överlämningen, Konsthall C, 2013; Suðurlandsvegur, The Reykjavík Arts Festival, 2012; The Spiral and the Square, Bonniers Konsthall, 2011/12; Geist in Therapy, The Studio, Moderna Museet, 2009; Role Critique, Iaspis at the Venice Biennale, 2009; Geist on Speed, Index, 2008.

Catalogue : 2014Silphium | Vidéo | hdv | noir et blanc | 22:9 | Suède | Allemagne | 2014
Lina selander
Silphium
Vidéo | hdv | noir et blanc | 22:9 | Suède | Allemagne | 2014

In the first sequences of Lina Selander´s new film a story is told about the ancient, now extinct, plant silphium. The plant grew on the coast outside the North African town Cyrene—a settlement of Greeks from the overpopulated island of Thera in 630 BC—which became the main town in the Greek colony, situated in today´s Libya. The plant was famous for its medical usage (it was used as a contraceptive and abortifacient) and for its richness in flavour, which made it the base of the colony’s export. Its importance for the economic wealth was so crucial that the image of silphium was imprinted on the coins. When exploitation of the plant led to extinction, the city declined. As is often the case in Selander’s works, the film builds on layers of images and meaning, layers that link history and pre-history to contemporary society, and in which nature as a prerequisite for life is one of the focal points. The human strive for development and expansion, the desire for control over nature, and above all—visual control, depiction and surveillance, is always met by another contradicting force. The nature looks back at us, its eyes empty—a reoccurring image in Selander’s film. In Silphium this double movement of visual and earthly mastery and its opposite—loss of visual control, awareness of vulnerability—is first expressed in a shot of the famous 16th-century painting The Ambassadors by Hans Holbein. The ambassadors are depicted together with the emblems of wealth and superiority of the countries they are the representatives for. A contradicting image is hidden until you view the painting from a specific angle, but when you do a human skull becomes visible, the sign of mortality. Selander lets the image oscillate in and out of visibility; the painted image emerges as in a rupture of light in the dark whilst mumbling voices count—numbers, years maybe. The sound fragment is a loan from Chris Marker´s 1962 film La Jetée—another important point of reference. The films narrative tells the story of how a man is used in time travel experiments in order to save the world. He travels through sediments of memory and images, much in the same way as Selander’s film, only to return to his beginning.

Lina Selander (b. 1973) lives and works in Stockholm, Sweden. She works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations in which these different medias converge and interrelate to one another. She is interested in the image’s ability and lack of ability to reproduce time, experience and memories and she explores how narration is created and how different techniques transform a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archaeology and authenticity. Selander’s work has been shown at Index - The Swedish Contemporary Art Foundation, Moderna Museet, Kunsthall Trondheim and in international group shows such as Manifesta 9 in Genk, Belgium and the Bucharest Biennale 2010 and at Haus Kulturen der Welt, Berlin, Seoul International Media Art Biennale and upcoming exhibitions such as Momenta Art, New York, INIVA, London and she also representing Sweden in the 56th Venice Biennale 2015.

Catalogue : 2013To the vision machine | Film expérimental | hdv | couleur et n&b | 28:48 | Suède | 2013
Lina selander
To the vision machine
Film expérimental | hdv | couleur et n&b | 28:48 | Suède | 2013

To the vision machine (2013) 28:45 min. HD-video, color, sound and silence. 16:9 To the vision machine is the beginning of a larger work on the visual inscription`s invisible centre, on the picture as an internal object and its relation to vision and different imaging technologies. The work initiates a search for a code that would make vision redundant, a promised land which it can not hope to enter. The starting point is the atomic bomb over Hiroshima, or more precisely: the detonation of the atomic bomb as a photographic event. The first atomic bomb created a flash that lasted one fifteenth of a millionth of a second. The light penetrated every building and shadows of objects and bodies were exposed and burned onto the city`s surfaces. When bodies and objects turned to ash, their traces were left as unintentional monuments. But the detonation itself can only be witnessed at the expense of one`s eyesight or life. The sound of the whistle and the scene at the end is from the film "The Children of Hiroshima" ("Genbaku no ko", 1952), which shows the Peace Memorial Museum while it is under construction after the U.S. occupation had ended and it was allowed to remember the disaster again.

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate !lm as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archeology and authenticity. Selander?s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, Institute of Contemporary Art in London and The Netherlands Media Art Institute.

Catalogue : 2012Lenin?s Lamp Glows In the Peasant?s Hut, | Vidéo | hdv | noir et blanc | 23:50 | Suède | 2011
Lina selander
Lenin?s Lamp Glows In the Peasant?s Hut,
Vidéo | hdv | noir et blanc | 23:50 | Suède | 2011

Lina Selander offers a subtle meditation on the long-term historical effects provoked both socially and ethically by the Soviet utopia of the production of energy, summarised in Lenin?s slogan from 1920: ?Communism is Soviet Power plus the electrification of the whole country?. The elements of Lenin?s Lamp equally reject an idea of films, photographs or videos as neutral accretions of visual information. The elements of this film are to be seen both as material witnesses of the experience of modernisation and as agents of the very same history. From Dziga Vertov?s film The Eleventh Year (1928) to and video recordings from the Chernobyl disaster and the ghost city of Pripyat to images of fossils in museums and prehistorical landscapes, Selander?s images consist of sensory materials.

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate !lm as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history and authenticity. Selander?s work has been shown at Index, The Swedish Contemporary Art Foundation, Bonniers Konsthall, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, Institute of Contemporary Art in London, The Netherlands Media Art Institute in Amsterdam and Transmediale 05 in Berlin where she received an honourable mention from the jury.

Catalogue : 2011Around the Cave of the Double Tombs | Film expérimental | hdcam | noir et blanc | 16:41 | Suède | 2010
Lina selander
Around the Cave of the Double Tombs
Film expérimental | hdcam | noir et blanc | 16:41 | Suède | 2010

The film takes its starting point in several research trips to the West Bank, especially to the city of Hebron. We are confronted with photographs, and with still images, depicting ? in a rather abstract and distanced manner ? various situations: a model of ancient Jerusalem in a Museum, a check-point with its massive security architecture squeezed into a historical building, houses, walls, objects. In between, sequences of moving image appear that show a chain link fence above a shopping alley in Hebron, built to protect Palestinians from settlers throwing stones at them. The continuous, but halting, camera movement facing the horizontal fence disturbs our perception and sense of orientation. Still and moving images alternate with short texts, establishing a rhythm that does not only connect ? without always explaining ? what is seen, but introduces a narrative that articulates the interrogation of image and text. Contrary to a conventional image of Palestine and the conflict as emphasized ? and exploited ? by the mass media and contrary to dominant documentary practices, Selander turns away from a documentary exposition and instead ?reflects on and projects layers of control, dream and confinement, both in relation to the place and its history and to problem of showing and saying it? (Selander).

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden. Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history and authenticity. Selander?s work has been shown at Bonniers Konsthall, Moderna Museet and Index Foundation and in international group shows, biennales and festivals, for example in the Bucharest Biennale 2010, Institute of Contemporary Art in London, The Netherlands Media Art Institute in Amsterdam and Transmediale 05 in Berlin where she received an honourable mention from the jury. She has also received the Maria Bonnier Dahlin Foundation Grant (2005) and The Edstrand Foundation Art Prize (2008). She is also represented in the next Manifesta Biennal, 2012 in Belgium.

Catalogue : 2009När solen går ner är den alldeles röd, sen försvinner den | Vidéo | dv | couleur | 9:10 | Suède | 2008
Lina selander
När solen går ner är den alldeles röd, sen försvinner den
Vidéo | dv | couleur | 9:10 | Suède | 2008

Lina Selander?s work When the sun sets it?s all red, then it disappears takes Jean-Luc Godard?s 1967 film La Chinoise as its starting point. It examines the relationship between political, utopian and emotional expressions in words and images, it explores the revolutionary zeal of a time and the desire to start all over again. La Chinoise is a film in the making, a film that tells the story of a revolutionary and truth-seeking common narrative while at the same time trying to be a part of it, sharing its inherent expressions and problems. Lina Selander?s film is also a work in the making, engaging and evolving around Godard?s film and the questions it addresses and responds to. But it is also a film about photography and storytelling. Most of the photographs in the series of stills are from the 1968 student revolts in Paris and Stockholm, taken at meetings and manifestations. But they also show other motifs, such as a close-up of a growing blob of moisture on a news reel showing Chairman Mao swimming in the Yellow River, personal photos and some stills from La Chinoise. All images have been photographed with flash and all photos have a white circular reflection on them which may represent or constitute a common space where the spectator?s space and that of the motif overlap, but where they are also defined as separate ? a blinding dazzle or hole in the image which ultimately blocks any final narrative and forces itself into the motifs and events that are being documented.

Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, memories and experience and she explores how different narrative forms and techniques transform and change a story. Her works investigates film as medium, examining its possibilities and limitations as form of expression. Lina Selander?s work have been shown at Gävle Art Center, Bonniers Konsthall, 300 m3 Art Space and Moderna Museet as well as in several group shows and festivals abroad, for example the Transmediale 05 in Berlin where she received an honorable mention. She has also received the Maria Bonnier Dahlin prize for young artists and The Edstrand Foundation Art Prize 2008.

Catalogue : 2008Timmarna som rymmer formen (et par dagar i Portbou | Vidéo expérimentale | dv | couleur et n&b | 15:0 | Suède | 2007
Lina selander
Timmarna som rymmer formen (et par dagar i Portbou
Vidéo expérimentale | dv | couleur et n&b | 15:0 | Suède | 2007

Le film montre des images de Portbou, ville située à la frontière franco-espagnole, où le philosophe Walter Benjamin s?est ôté la vie la nuit des 27 et 28 septembre 1940. La frontière a été fermée la veille de son arrivée et rouverte le lendemain de sa mort. Les images, à la fois fixes et en mouvement, sont accompagnées d?une voix-off qui raconte différentes histoires sur le quartier des réfugiés : des fragments, des détails, des pensées. La vidéo et le son tournent tous deux en boucle. Leur durée est cependant différente, ce qui induit une multitude de relations entre le mot et l'image, qui tantôt accentue la distance qui les sépare et tantôt réduit leur écart. Une dérive continuelle de la perspective, qui montre qu?un récit complet n'est jamais possible. Finalement, les images sont peut-être plus liées à la voix qu?aux histoires, ou à l'histoire qu?elles racontent. Le titre « Timmarna som rymmer formen » est une citation de « Sens unique » de Walter Benjamin.


Lina Selander travaille principalement avec des images en mouvement dans le cinéma et la vidéo, mais aussi avec la photographie, le texte et le son. Ses ?uvres sont souvent des installations dans lesquelles ces différents médias et composantes interagissent et convergent les uns vers les autres. Elle s'intéresse à la capacité de l?image, ainsi qu?à son manque de capacité, à reproduire le temps, les souvenirs et les expériences et elle explore la façon dont les différentes formes et techniques narratives peuvent changer une histoire. Ses ?uvres expérimentent le film comme médium, en examinant ses possibilités et ses limites en tant que forme d'expression. Les ?uvres de Lina Selanders ont été exposées aux Gävle Art Center, 300 m3 Art Space, BONNIERS Konsthall et Modena Museet, ainsi que dans plusieurs expositions collectives et festivals à l'étranger, par exemple, à la Transmediale 05 de Berlin (Allemagne) où elle a reçu une mention honorable. Elle a également reçu le Prix de la Fondation Edstrand et le Prix Maria Bonnier Dahlin pour les jeunes artistes. Lina vit et travaille à Stockholm.

Catalogue : 2005Reconstruction | Art vidéo | dv | couleur et n&b | 7:0 | Suède | 2000
Lina selander
Reconstruction
Art vidéo | dv | couleur et n&b | 7:0 | Suède | 2000

Reconstruction. Des images non systématiques ? cousues à l?intérieur puis retournées. Toutes ces images étaient très ordinaires, scènes typiques d?un album de famille : vacances, voyages à l?étranger, rencontres familiales, etc. Les fils de couture dans ces images ? la côte cousue à l?océan, les nuages au ciel ou les gens les uns aux autres marquent une manière de codifier les structures et relations émotionnelles dans les images, contrôlant ainsi une interprétation d?eux-mêmes et soulignant (alors qu?ils essaient en même temps de le combler) le fossé entre l?image et la réalité. Les coutures et les trous de l´aiguille dans l´image sont ressorties comme l´essence d´une realité intense et cachée, contenant une vérité qui manquait aux images réelles. Les images retournées montre cette vérité dévoilée. J?ai ensuite utilisé les images retournées avec les mailles, trous et coutures et inversé leur ordre pour revenir au négatif, à l?image photographique de base. Le point rouge lisant le diagramme comme une figure et les transformant en sons devient une mise en scène d?un acte de souvenir. Il lit ce qui est réprimé et caché, et ce qui se cache derrière la mémoire réprimée.


Née en 1973 à Stockholm où elle vit et travaille. Lina a étudié en Suède à la Valand School of Fine Arts, à Gothemburg puis à la Royal University College of Fine Arts de Stockholm. Elle a ensuite suivi un cursus à la Gothenburg University en photographie et film,. Lina Selander travaille avec les films et des photographies, textes et sons. Les sujets récurrents de ses ?uvres sont la transformation du temps et de la mémoire, leur dissolution, compulsivité et leur intensité. Elle travaille avec, et montre sous des angles différents, l?auto-référence des images, immobiles ou mobiles. Les ?uvres vidéos de Lina Selander traitent du mélange de l?abstrait et de la narration, elle décompose et recompose le film comme structure narrative. Elle veut que les ?uvres mettent en scène elle-mêmes leur propre essence théorique et leur existence, et ainsi faisant, dévoiler un domaine où un nouveau sens peut émerger. Ses ?uvres ont été montrées au Moderna Museet, Fylkingen, Galleri Charlotte Lund, Stockholm and Galleri 300m3, Gothenburg. En février 2005, elle a été récompensée d?une Mention Honorable à la Transmédiale 2005 à Berlin.

Antoine sement
Catalogue : 2005Sleep | Animation | | couleur | 1:0 | France | 2005
Antoine sement
Sleep
Animation | | couleur | 1:0 | France | 2005

"Sleep" fait référence à la vidéo éponyme d?Andy Warhol. Tenant le rôle de John Giorno je vis mon sommeil comme un refuge propice à l`inaction. De part ce fait j?évite les contraintes matérielles et les logiques productivistes du monde actuel. L?irruption de la figure tutélaire de Warhol ne tardera pas à rompre ce paisible isolement, me secouant et me demandant de me réveiller et de travailler (« wake up it?s time to work and be famous »). Par un jeu de miroir, s?introduit alors la logique répétitive d?une Histoire de l?Art obnubilée par une conception linéaire du progrès. Le caractère cyclique de la vidéo peut aussi bien préfigurer le retour rêvé de l?inertie bienfaisante que symboliser l?alternance implacable entre répression et régression dans une ambiance cauchemardesque.


Né en 1979, à Versailles. Après avoir acquis une formation Littéraire, option Arts Plastiques au lycée, je suis entré à l?Ecole des Beaux-Arts de Rouen où j?ai obtenu mon Diplôme National Supérieur d?Expression Plastique cette année. Le travail que j?ai développé utilise le dessin et l'animation vidéo pour illustrer les thèmes du doute et de la difficulté à créer. Me livrant à des jeux parodiques avec l?Histoire de l?Art, je laisse libre cours à des interprétations poétiques de mes incertitudes et inhibitions. A ma sortie des Beaux-Arts, j?ai participé à l?exposition « Sommeil », à la Chapelle du Genêteil à Château-Gontier.