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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 
Carte Blanche werner schroeter
Catalogue : 2009Winter Soldier | Documentaire | 16mm | couleur et n&b | 96:0 | Allemagne | USA | 1972
Carte Blanche werner schroeter
Winter Soldier
Documentaire | 16mm | couleur et n&b | 96:0 | Allemagne | USA | 1972

"Winter Soldier" a été réalisé par un collectif anonyme de cinéastes qui a rassemblé cent neuf "anciens" soldats de la guerre du Vietnam dans un hôtel de Détroit du 31 janvier au 2 février 1971, à l`instigation de l`association Vietnam Veterans Against the War. "Winter Soldier" ne comporte ni commentaire ni effet de montage qui dramatise l'image de manière exagérée, mais l`abondance des témoignages est telle que sa vision ne laisse pas le spectateur indemne. Viols, fusillades en masse, corps jetés d`avion dans la mer, prisonniers découpés vivants ou décapités "pour l`exemple"? ce sont tout autant les faits que leur nombre, leur cruauté et le visage angélique de leurs agents qui terrifient. D`où le refus des cinémas (à l`exception d`une salle new-yorkaise) de projeter "Winter Soldier" à sa sortie en 1972. Mais ce qui frappe surtout dans "Winter Soldier", c`est le contraste entre les atrocités que ces soldats d`une vingtaine d`années ont commises un ou deux ans auparavant, avec leur maturité, leur liberté verbale et leur sens de l`urgence politique. Il semble que, toute honte bue, ils aient à l`esprit la nécessité, alors que la guerre bat encore son plein, de rendre leur témoignage utile, et pour cela, de ne pas l`expurger. Winter Soldier, plutôt que de multiplier les témoins, s`attache à une poignée de visages marquants - ceux des plus prolixes et des plus lucides sans doute - qui prennent corps comme personnages, doués d`une profondeur humaine qui dépasse de loin celle des fictions à la Voyage au bout de l`enfer. Le film donne aussi une idée de la disparité ethnique et sociale d`une Amérique dans laquelle, comme le rappelle un Noir dans l`auditoire, "après le lycée, nous [Afro-américains] n`avons pas d`autre choix que d`entrer dans l`armée, sinon on finit à la rue". Ce moment d`intense concentration des locuteurs mais aussi des journalistes de l`assistance offre à la fois un portrait en coupe de la moitié d`une génération qui n`a pu qu`entendre parler de Woodstock depuis "là-bas", et l`occasion du retour d`un pays sur son Histoire : un Indien d`Amérique n`y rappelle-t-il pas, les larmes aux yeux, que les contrats de cession des terres des Indiens rédigés par les colons stipulaient "Tant que poussera l`herbe, tant que couleront les rivières", et qu`au Vietnam, l`herbe ne poussera plus à l`endroit des centaines de villages réduits en cendres ?


Elsa werth
Catalogue : 2013un triangle dangereux | Fiction expérimentale | hdv | couleur | 4:30 | France | 2013
Elsa werth
un triangle dangereux
Fiction expérimentale | hdv | couleur | 4:30 | France | 2013

Mise en place d?une stratégie guerrière factice. Jeux de samouraïs avec comme décor une ville de province française et un club de free-fight. Dans la vidéo « Un triangle dangereux » l?attention est portée à l?image que donnent d?eux mêmes des amateurs de free-fight, imprégnés par la culture des jeux vidéo et des films d?action. Ils posent, s?observent, se photographient, se filment. Ces images en mouvements sont rythmées par des plans fixes qui leur confèrent un caractère pictural. Les personnages sont piégés dans un récit qui ne démarrera pas, qui les restreint à faire de la figuration.


Elsa Werth née en 1985, vit et travaille à Paris. Elle est diplômée de l?Ecole Nationale Supérieure des Arts Décoratifs de Paris en 2009 et diplômée de l?Ecole Nationale Supérieure des Beaux-Arts de Paris en 2013. Elle est lauréate du prix Humankind Léo Burnett en 2013. Elle développe parallèlement un travail de vidéo et de sculpture. Elle assure actuellement le commissariat d?un cycle d?expositions qui aura lieu du 15 mars au 29 mai à Paris. Elle prépare un nouveau film. www.elsawerth.net

Marcel wesdorp
Catalogue : 2012Out of Nothing | Création numérique | hdv | noir et blanc | 125:0 | Pays-Bas | 2010
Marcel wesdorp
Out of Nothing
Création numérique | hdv | noir et blanc | 125:0 | Pays-Bas | 2010


The digital film-animation Out of Nothing is the third movie from the project I Wish I Couldn`t Lie / Out of Nothing witch I Started In Spring 2005.

With the aid of digital technique, topography and 3D software I build a virtual Landscape.
This landscape is a result of calculations, nowhere higher than 300 meters and where all shades of green have been translated into a grey scale.
Time and emptiness takes an important role in the work.
Out of Nothing portraying a landscape that in surface does measures 10 kilometers square but never the less is physically inaccessible. The illusion in Out of Nothing is being emphasized by a faint heartbeat that resonates through the space. There are no humans, animals, trees or bushes within the landscape. It is reminiscent of a tundra or steppe emphasizing the insignificance and temporality of men.

I`m fascinated by how we experience time. A short stroll can seem to last for long while in reality only a short time has passed. The reversal also holds true.
The way we experience time does not necessarily rhyme with reality or the conventions of calculating time by means of mechanics. Out of Nothing has a duration of 2 hour and 5 minutes.
I Wish I Couldn`t Lie, the first movie in this triology has a duration of 4 hour an 43 minutes with no sound in it.

Marcel Wesdorp (Rotterdam, 1965) lives and works in Schiedam, the Netherlands He studied at the Graphic Lyceum and at the Academy of Art in Rotterdam. He also followed the advanced programme in photography at the St Joost Academy of Art and Design in Breda. Wesdorp makes film animations, maps and prints of digitally designed landscapes. As a viewer, you can hardly believe that the landscape you are looking at is only a virtual one. Although, in the case of Out of Nothing, it has a calculated surface area of ten kilometres by ten, the landscape cannot be entered. The illusion is reinforced by a soft heartbeat that is heard in the space. Wesdorp is fascinated by the idea of time that humans have. A walk can feel like it has lasted for hours although only a short time has actually elapsed. What happens in our heads is often not aligned to what is happening in reality, or to the common method of time measurement. The visual stroll through the virtual landscape approaches that experience. The Out of Nothing film animation is a landscape resulting from a calculation. It offers a hilly landscape that is not higher than three hundred metres, where green tints have been converted to grey. There are no people, animals, trees or bushes in the landscape. It is a tundra or steppe that emphasizes the insignificance and loneliness of humankind.

Frank westermeyer, sylvie boisseau
Catalogue : 2011Neue Brüder | Doc. expérimental | hdcam | couleur | 130:0 | Allemagne | Suisse | 2010
Frank westermeyer , sylvie boisseau
Neue Brüder
Doc. expérimental | hdcam | couleur | 130:0 | Allemagne | Suisse | 2010

Les peuples indigènes, dont la culture valorise la nature, vont-ils pouvoir tirer indirectement profit de l?intérêt croissant pour la protection de la nature, qui semble se développer au niveau international ? Ou au contraire, faut-il se méfier de l?idée de sauvegarde de la nature car elle ne se développe que pour mieux l?évincer à d?autres endroits et prend rarement en compte les revendications territoriales de ces peuples ? C?est avec ces questions que Boisseau et Westermeyer se sont rendus dans le sud du Chili, une région aujourd?hui encore très imprégnée par l?immigration allemande venue durant la deuxième moitié du 19ème siècle. Dans leur film Neue Brüder (Nouveaux frères) ils mettent en perspective la situation territoriale actuelle et l?influence de l?un des initiateurs de cette immigration: le peintre allemand romantique Carl Alexander Simon (1805-1852). Pendant les années de la révolution de 1848 en Allemagne, Simon publia son utopie intitulée Émigration des démocrates et du prolétariat et colonisation nationale allemande de l?état sud américain indépendant du Chili. Pour Simon, le sud du Chili est la région de prédilection pour une immigration allemande. ?Patrie de la pomme de terre?, c?est là que ?la plante allemande peut s?épanouir?. Là-bas, mentionne-t-il, le peuple indigène Mapuche serait impatient de la venue des nouveaux frères allemands? Arrivé au Chili, Simon est le premier à peindre les paysages des régions du sud. Le film questionne ces représentations paysagères et nous fait percevoir l?idéologie qui en émane. Plus loin Boisseau et Westermeyer cherchent à comprendre pourquoi, sur la plupart de ces représentations paysagères, la signature de Simon fut effacée et remplacée par la signature de Vicente Perez Rosales, un des grands hommes de l?état Chilien et responsable, au 19ème siècle, du processus de colonisation du sud du Chili, et pourquoi aujourd?hui encore cette fausse paternité persiste: Les rapports de pouvoir se manifesteraient-t-ils à travers la représentation paysagère ? Le film n?a pas recours à un commentaire englobant. Au lieu de cela il fait émerger les paysages comme protagonistes dans des plans séquences choisis avec précision. L?enchevêtrement d?interviews menées avec une diversité d`habitants de cette région permet, à travers la multiplicité de leurs regards et la polyphonie de leurs discours, d`atteindre une certaine déconstruction critique du paysage. Libéré de tout naturalisme, le paysage devient un support d?informations.


In ihrer gemeinsamen künstlerischen Arbeit realisieren Sylvie Boisseau und Frank Westermeyer Videos und Interventionen im öffentlichen Raum. Neben Einzelausstellungen in der ACC Galerie Weimar, bei Vtape Toronto, im 1a space Hong Kong, im Centre pour l?image contemporain, Genf, in der Akademie Schloss Solitude und im Kunstmuseum Bern @ progr wurden ihre Werke in zahlreichen Gruppenausstellungen und internationalen Film und Medienkunstfestivals gezeigt. Seit Oktober 2010 leiten sie das künstlerische Forschungsprojekt ?Landschaft produzieren, Identität produzieren? an der Haute école d?art et du design, Genf.

Oliver whitehead
Sharon whooley, -
Catalogue : 2018Distance | Film expérimental | hdv | couleur et n&b | 13:30 | Irlande | 2018
Sharon whooley , -
Distance
Film expérimental | hdv | couleur et n&b | 13:30 | Irlande | 2018

DISTANCE looks at multiple dimensions of time in a specific place, Glenbride in Co. Wicklow, from three distinct perspectives: geographical memory, the memory of a house and the tangled forces of human memory. Inspired in part by the ideas of Scottish writer and poet Nan Sheperd "Thirty years in the life of a mountain is nothing, the flicker of an eyelid" we also echo James Joyce's words "Places Remember Events" (written in the margins of "Ulysses").

Sharon Whooley is a Film Artist based in Baltimore in West Cork in Ireland. "I have worked in film for over 20 years, as co-director of Harvest Films (www.harvestfilms.ie. As writer, I was co-writer with Pat Collins and Eoghan Mac Giolla Bhríde on the feature films Silence (2012) and Song of Granite (2017) (Dir: Pat Collins). We are currently writing a new film The Aran Islands based on John Millington Synge's book of the same name. My own films include Fathom (2013) a meditation on thinking and isolation based on the Fastnet Lighthouse, Nettle Coat (2014) on Visual Artist Alice Maher's work of the same name, Imogen Stuart: Dealbhóir (2016) on Irish/German sculptor, Imogen Stuart and Distance (2018); a story about time in a specific place, Glenbride in Co. Wicklow in Ireland. All of these films were funded by the Arts Council of Ireland. My next film, Night Flight is an experimental film about yearning and the human condition seen from the real world, the dream world and the other-world." SW

Philip widmann
Catalogue : 2015Scheinkraft | Doc. expérimental | 16mm | noir et blanc | 15:0 | Allemagne | Inde | 2015
Philip widmann
Scheinkraft
Doc. expérimental | 16mm | noir et blanc | 15:0 | Allemagne | Inde | 2015

“These things don’t happen by force,” says Observer A. “Or by one’s will,” adds Observer B. Fictitious Force is an exchange on the impossibility to share experiences, in black and white and grey.

Philip Widmann, born in West-Berlin in 1980, graduated in Cultural Anthropology from the University of Hamburg and in Visual Communications from the University of Fine Arts Hamburg. His works have been shown in art spaces and film festivals, such as the Wexner Center for the Arts, WRO Biennale Wroclaw, Berlin Film Festival, Rotterdam International Film Festival, New York Film Festival, FID Marseille, CPH:DOX und Visions du Réel.

Catalogue : 2017Das Gestell | Film expérimental | super8 | couleur et n&b | 30:0 | Allemagne | 2017
Philip widmann
Das Gestell
Film expérimental | super8 | couleur et n&b | 30:0 | Allemagne | 2017

A Japanese philosopher writes a letter to a famous German colleague. He asks the German to advise the Japanese people how to deal with the permeation of modern life by technology. More than 50 years later, the same issues are being discussed among academics and aspiring engineers. It is hard to grasp how humans and technology continue to coexist. Resorting to biographical trivia, mythological histories and the recounting of dreams is not helping them to see these issues any clearer. In the grainy images of the film, landscapes from an uncertain time appear, occasionally flooded by water and a cacophony of brass players. The uncontrollable finds its ways into a world that tries to minimise risks and thus creates new dangers.

Philip Widmann makes films, texts, film programs and occasionally collaborates in the field of performing arts. His film and video works have been shown in art spaces and film festivals internationally, among them the Wexner Center for the Arts, Berlin International Film Festival, International Film Festival Rotterdam, New York Film Festival, Yamagata International Documentary Film Festival, FID Marseille, CPH:DOX and Visions du Réel.

Clara wieck, ginan seidl & clara wieck
Catalogue : 2013rotation | Doc. expérimental | | couleur | 7:54 | Allemagne | 2012
Clara wieck , ginan seidl & clara wieck
rotation
Doc. expérimental | | couleur | 7:54 | Allemagne | 2012

A a pole dancer and a rhythmic gymnast each conquer the stage of the other one. In this test case, rotation investigates the reciprocal relationship between body, dance, and space. or Two practices with very dissimilar functions find themselves exposed and reunited according to a principle of alternation. A gymnast and a cabaret dancer pivoting in a modestly voyeuristic, fragmented ?rotation?. (Catalogue text FID Marseille)

Ginan Seidl *1984 studierte Kunst an der Burg Giebichenstein in Halle/ Saale, an der UdK Berlin und an der Escuela Naciónal de Artes Plásticas in Mexiko Stadt. Sie nahm an Fortbildungsprogrammen im Bereich Film teil und erhielt verschiedene Residenzstipendien und Kunstpreise. Seit 2009 ist sie Mitglied im Filmkunstkollektiv Rosenpictures. Ginan Seidl lebt und arbeitet in Halle/ Saale. Clara Wieck *1982 professionalisierte ihr Fernweh und studierte Ethnologie, Indologie und Kommunikations- und Medienwissenschaften. Darüber hinaus nahm sie an verschiedenen Fortbildungsprogrammen im Bereich Dokumentar- und Experimentalfilm teil. Ihr Denken und Arbeiten sind an der Schnittstelle zwischen Wissenschaft und Kunst zu verorten. Clara Wieck lebt und arbeitet in Leipzig.

Sebastian wiedemann
Catalogue : 2016Los (De)pendientes | Vidéo | hdv | noir et blanc | 24:0 | Colombie | Argentine | 2016
Sebastian wiedemann
Los (De)pendientes
Vidéo | hdv | noir et blanc | 24:0 | Colombie | Argentine | 2016

"Sampling Argentinian critical and revolutionary films from 1956 to 2006, Los (De)pendientes offers a great step in the conception of film history. Without any words, considering the past, it tells what visual works were faithful to the real issues of their times; considering the present, it shows in which poor condition are these crucial images of life and struggle; considering the becoming, it indicates what remains to be done to reconstruct a fairest and truest history of cinema; considering eternity, it is an auratic poem of bold shadows." NICOLE BRENEZ

Colombian experimental filmmaker based in Sao Paulo, Brazil, has shown his films in galleries and festival in the Americas, Europa and Asia. His film "Zugang" was edited by Experiments in Cinema - DVD Collection - New Mexico, USA. In 2015 his film "Los (De)pendientes" was included in Artforum Magazine list of the best films of the year. His work received retrospective shows at Cinematheque of Rio de Janeiro, Museum of Modern Art of Medellin, Colombia and at La Neomudéjar Museum, Madrid-Spain. He defines his cinematic practice as the search of a perpetual becoming state of the image in relation with the cosmos, through the following formula: "I make cinema because I’m not a painter. I make cinema as a compositor would do."

Susanne wiegner
Catalogue : 2015Future in the Past | Animation | hdv | couleur | 7:7 | Allemagne | 2015
Susanne wiegner
Future in the Past
Animation | hdv | couleur | 7:7 | Allemagne | 2015

"Future in the Past" is a virtual time loop, that consists of only one continuous camera-drive without any cuts. The film is a journey through the realm of personal imagination and pictures, through surreal places and unexpected spaces. The style of the different interiors is a reminiscent of Edward Hopper`s paintings.

Susanne Wiegner studied architecture at the Academy of fine Arts in Munich and at Pratt Institute in New York City. She works as an architect and 3D-artist in Munich, Germany. In addition to projects in real space, for several years she has been creating 3D computer animations dealing with literature and with virtual space. Venues where her work have been shown include the Pinakothek der Moderne in Munich, the ZKM in Karlsruhe, the Art + Technology Center EYEBEAM in New York City, FACT in Liverpool, FILE in Sao Paulo, Torrance Art Museum in Los Angeles, WRO Biennale in Wroclaw, National Gallery of Art in Vilnius re-new, digital art festival in Copenhagen, National Taiwan Museum of Fine Arts, Taipei and festivals all over the world. In 2011 her film "just midnight" was the winner of the festival award "la parola immaginata" in Bergamo, Italy and in 2012 her film "at the museum" won the Ballon-Prize at crosstalk VideoArtFestival 2012, Budapest, Hungary. In 2014, her film “Love in the Age of the EU” was selected as one the best three films of ZEBRA Poem 2014, Berlin. In 2015 her film “the light – the shade” was the winner of the international competition at CYCLOP, Videopoetry Festival, Kiev, Ukraine.

Lawrence wiener
Catalogue : 2005Inherent in the rhumb line | Vidéo expérimentale | dv | couleur | 7:0 | USA | 2005
Lawrence wiener
Inherent in the rhumb line
Vidéo expérimentale | dv | couleur | 7:0 | USA | 2005

Avec l'avènement du rhumb (ligne qui maintient une direction, appelée également loxodrome), un modèle cognitif s'est développé dans le monde occidental, lequel a rendu possible les pillages lors des voyages de découverte. "Inhrent in the Rhumb Line" met en scène l'usage indispensable (sans considération pour les conséquences), d'une circonvolution aplanie qui marrie le paysage aux pillages et à la préordination. "Inherent in the Rhumb Line" est un film d'animation muet de 7 minutes.


Lawrence Weiner est né dans le Bronx, à New York en 1942. Il a reçu de nombreuses bourses et récompenses, notamment la médaille pour la peinture et l'art conceptuel de Skowhegan; le Prix Wolfgang Hahn du Ludwig Museum de Cologne, en Allemagne; une bourse de la Fondation John Simon Guggenheim et du National Endowment for the Arts. Les oeuvres de Weiner ont été présentées sur la scène internationale à de nombreuses reprises. Des expositions lui ont été récemment consacrées au Kunstmuseum Wolfsburg, en Allemagne; au T.Hirshhorn Museum and Sculpture Garden, à Washington, D.C.; à l'Institute of Contemporary Art de Londres; au Dia Center for the Arts, à New York; au Musée d'Art Contemporain de Bordeaux; au San Francisco Museum of Modern Art; au Walker Art Center, à Minneapolis; au Philadelphia Museum of Art, et au Museum Ludwig de Cologne, en Allemagne. Son travail a été inclus au sein d'importantes expositions réunissant de nombreux artistes à travers le monde, entre autres à la Documenta à Kassel, en Allemagne et à la Biennale de Venise.

Martine wijckaert, jacques andré
Catalogue : 2017Inventaire avant disparition | Vidéo | hdv | couleur et n&b | 29:18 | Belgique | 2016
Martine wijckaert , jacques andré
Inventaire avant disparition
Vidéo | hdv | couleur et n&b | 29:18 | Belgique | 2016

Tel un thriller miniature sans paroles mais nourri d'indices dans la composition sonore, ce film photographique entraine chacun dans un labyrinthe de connexions entre reliquats familiaux et traces ambigues de l'Histoire. "Inventaire avant disparition" est la reconstitution et partielle d’un film n’ayant jamais existé. Sa matière est faite de photographies d'objets hérités, mis en dépôt dans un atelier et explorés dans leur réunion éphémère par une photographe présente en off, en autoportraits troubles, confrontant sans concession son corps aux figures de son passé. L’association d’objets se tisse ici selon une histoire à tiroirs : la « table des objets », véritable promontoire sinon décor unique de cette nature morte en mouvement relie entre eux les portraits et personnages fantômes d’une histoire qui est celle de la part manquante. Elle est constituée de voyages entremélés : voyage dans les restes du réel, voyage dans le domaine de l’hallucination entre lumière et poussière, voyage dans le domaine des spectres générationnels et autres. Mais ces voyages croisent également la réalité spectrale de l’Histoire : dans les archives familiales subsistent d’autres restes, ceux de la colonisation du Congo et ceux de la Seconde Guerre mondiale.


Martine Wijckaert, née à Bruges, travaillant à Bruxelles, auteur, metteur en scène (Théâtre de la Balsamine, Bruxelles), abordant depuis 2002 la photographie, et Jacques André, né en Bretagne, vivant entre Paris et la Belgique, réalisateur, metteur en scène, dramaturge et concepteur de dispositifs multimédia, tous deux formés à l’INSAS (Inst. Nat. Sup. des Arts du Spectacle, Bruxelles), collaborent depuis 2012, d’abord pour Enfer / alcool / traversée, vidéo intégrée dans Trilogie de l’Enfer, pièce de Martine Wijckaert (La Balsamine, Bruxelles, 2014, Théâtre de Liège, 2015), puis pour Inventaire avant disparition, film photographique explorant la mémoire associée aux objets d’un héritage (2016).

Ingrid wildi
Catalogue : 2008Los Invisibles | Doc. expérimental | betaSP | couleur | 30:0 | Suisse | 2007
Ingrid wildi
Los Invisibles
Doc. expérimental | betaSP | couleur | 30:0 | Suisse | 2007

Cinq immigrés colombiens résidant clandestinement en Suisse depuis de nombreuses années évoquent leur situation, leurs souffrances, leurs craintes et les raisons qui les ont conduits à quitter leur pays. Par un montage discontinu et la fragmentation des récits de ses interlocuteurs, l?artiste Ingrid Wildi construit un discours arborescent au sujet des problématiques inhérentes au statut de la clandestinité ? les conflits d?identité, les questions d?appartenance culturelle et linguistique, les difficultés d?intégration sociale. Afin de préserver leur anonymat, les personnes interrogées ne sont représentées à l?écran que par un fragment de leur corps ? le torse et les bras ?, ce dispositif évoquant à la fois la part manquante des sujets filmés et leur situation d? « invisibilité ».


Ingrid Wildi naît en 1963 à Santiago du Chili et émigre en 1981 en Suisse. Elle vit à Biel et Genf, étudie à l?Ecole pour d?art et de réalisation de Zurich puis elle suit une formation de post-diplôme à Genève à l?Ecole supérieure d?art visuel. Elle présente son travail lors d?expositions au Kunsthaus Aargauer de Aarau et au Centre d?Art contemporain de Genève en 2004, puis lors de la 51ème Biennale de Venise dans le pavillon Suisse. En 2007, elle présente une exposition individuelle au Musée d?Art contemporain de Santiago du Chili sous le nom « Historias breves ».

Eduardo wiliams
Catalogue : 2013Que je tombe tout le temps ? | Fiction | 16mm | couleur | 15:0 | Argentine | France | 2013
Eduardo wiliams
Que je tombe tout le temps ?
Fiction | 16mm | couleur | 15:0 | Argentine | France | 2013

À la recherche d`une graine, un jeune homme sort du souterrain où il passe du temps avec ses amis. Il débute avec eux un long voyage digestif.


Eduardo Williams a étudié le cinéma à l`Universidad del Cine à Buenos Aires. Il à fait partie de Le Fresnoy, Studio National des Arts Contemporains pendant 2012-2013. Quatre court métrages à lui ont être montrés en octobre à la Cinématheque Française et à Londrina Film Festival, Brésil. Trois ont été montré ensemble à TRANSCINEMA Film Festival à Pérou et à Kinemastik Film Festival, Malte. Actuellement il viens de tourner un nouveau court métrage au Vietnam. Il a réalisé les court-métrages Tan atentos (2010), Alguien los vio (2011), Pude ver un puma (2011, sélectionné à la Cinéfondation 2012) et El ruido de las estrellas me aturde (2012, première en CinemaXXI, Rome International Film Festival).

Tina willgren
Catalogue : 2007Wood Report | Art vidéo | dv | couleur | 1:57 | Suède | 2006
Tina willgren
Wood Report
Art vidéo | dv | couleur | 1:57 | Suède | 2006

A video inspired by television news and its techniques to portray and dramatize significant events. Camera movements, graphics, and a jingle are used to highlight the content: events taking place in the Nacka Reserve, Stockholm, during May 2006. During the time of filming nothing of hot topic news value really took place, instead the every day action of the forest area, for example, dangling leaves and swaying tree branches, bird movements and the mere appearance of plants and objects in front of the camera create the actual "drama".

Tina Willgren was born in Tierp, Sweden in 1972. She lives and works in Stockholm, where she studied at the Royal University College of Fine Arts from 1999-2005. In residencies in Turku, Finland and Schöppingen, Germany during 2007, she will be working with new material for the fictitious TV channel "New Side Channel".

Teddy williams
Catalogue : 2012Pude ver un puma | Fiction | hdv | couleur | 17:0 | Argentine | 2012
Teddy williams
Pude ver un puma
Fiction | hdv | couleur | 17:0 | Argentine | 2012

An accident leads a group of young boys from the high roofs of their neighbourhood, passing through its destruction, down to the depths of the earth.

Eduardo Williams (b. 1987, Argentina) studied film directing at Universidad del Cine in Buenos Aires and directed films Arrepentirse (2006) or Beware (2011), which won the special BAFICI prize at International Film School Festival at Buenos Aires.

Blake williams
Catalogue : 2015Red Capriccio | Vidéo | hdv | couleur | 6:59 | USA | Canada | 2014
Blake williams
Red Capriccio
Vidéo | hdv | couleur | 6:59 | USA | Canada | 2014

An anaglyph 3D found footage film about machines and landscape that interlaces motion with stasis, crescendos with glissandos, and reds with blues. Its three movements depict a parked Chevy Caprice police vehicle, Montréal’s Turcot Interchange, and an empty rave room.

Blake Williams is a filmmaker, film critic, and PhD student living and working in Toronto. His films have shown at the Toronto International Film Festival, New York Film Festival, Internationale Kurzfilmtage Oberhausen, Images Festival, and the Pacific Film Archive.

Eduardo williams
Catalogue : 2014Tôi quên rồi ! | Doc. expérimental | hdv | couleur | 29:0 | Argentine | 2014
Eduardo williams
Tôi quên rồi !
Doc. expérimental | hdv | couleur | 29:0 | Argentine | 2014

Grimpez-là, sautons, les champs sont verts et les maisons grises. Nous sommes tous petits. Je sens que les pores de ma peau deviennent géants.


Eduardo Williams studied at the Universidad del Cine in Buenos Aires (Argentina), then at Le Fresnoy, Studio National des Arts Contemporains (France). Tôi quên rồi ! (I Forgot !) is his sixth short film. He previously directed the following short films : Que Caigo ? (That I`m falling ?), 2013 El ruido de las estrellas me aturde (The sound of stars dazes me), 2012 Pude ver un puma (Could see a puma), 2011 Tan Atentos (Beware), 2010 Alguien los vio (They were seen), 2010

Jane wilson, louise wilson
Catalogue : 2014Toxic Camera | Doc. expérimental | hdv | couleur | 20:59 | Royaume-Uni | 2013
Jane wilson , louise wilson
Toxic Camera
Doc. expérimental | hdv | couleur | 20:59 | Royaume-Uni | 2013

The Toxic Camera is a new short film for cinematic screening by British artists Jane and Louise Wilson, former Turner Prize nominees. The film reflects on the 1986 Chernobyl disaster, inspired by the film Chernobyl: A Chronicle of Difficult Weeks made by Soviet filmmaker Vladimir Shevchenko in the days immediately following the accident. On processing his film, Shevchenko noticed sections of it were heavily pockmarked and affected by static interference, coinciding with the sound of his Geiger counter measuring radiation, and realised that radiation was effectively ‘visible’ on the film material itself. The Wilson’s film explores interconnecting stories from the interviews conducted with Chernobyl ‘veterans’ and with Shevchenko’s film crew, 25 years after the incident. The narrative includes the story of the camera that Shevchenko used which became highly radioactive that it was subsequently buried on the outskirts of kiev. The film is a reflection on the material nature of the film and considers the human impact of disasters such as Chernobyl.

JANE AND LOUISE WILSON BORN 1967 Great Britain They live and work in London. EDUCATION 1996 Deutscher Akademischer Austauschdienst Berliner Kunstlerprogramm (Jane and Louise) 1993 Barclays Young Artist Award 1990-92 Goldsmiths College, London, MA Fine Art (Jane and Louise) 1986-89 Duncan of Jordanstone College of Art, Dundee, BA Fine Art (Louise) Newcastle Polytechnic, BA Fine Art (Jane) TWO PERSON EXHIBITIONS 2010 Gul Benkian, Lisbon Helga de Alvear, Madrid EMPAC, Troy, New York 2009 “Animate”, British Film Institute Gallery, Southbank, England Talbot Rice Gallery, Edinurgh, Scotland Musée dʼArt Contemporain de Montreal 2008 303 Gallery, New York 2006 "The New Brutalists", Lisson Gallery, London Haunch of Venison, Zurich JANE AND LOUISE WILSON TWO PERSON EXHIBITIONS (continued) 2004 De Appel, Amsterdam Bergen Art Museum, Bergen, Norway Socrates Sculpture Park, New York “Erewhon”, 303 Gallery,New York Fondazione Davide Halevim ʻA Free and Anonymous Monumentʼ, Pori Art Museum, Pori, Finland Umea Bildmusset, Umea, Sweden 2003 ʻA free and anonymous monument”, BALTIC, England (travelling to Kunsthaus, Bregenz) Lisson Gallery, London Centro de Fotografia, Salamanaca 2002 Kunst-Werke, Berlin, Germany 2000 “Las Vegas, Graveyard Time”, Dallas Museum of Art, Dallas, Texas “Star City”, 303 Gallery, New York Bernier/Eliades, Athens, Greece “Stasi City & Crawl Space”, MIT List Visual Arts Centre, Cambridge, MA 1999-2000 “Turner Prize”, Tate Gallery, London 1999 “Jane & Louise Wilson”, Serpentine Gallery, Kensington Gardens, London, U.K. “Gamma”, Lisson Gallery, London, U.K. 1998 “Stasi City”, 303 Gallery, New York, NY Hamburg Kunsthalle, Hamburg, Germany Milwaukee Art Museum, Milwaukee, WI H & R Projects, Brussels, Belgium “Film Stills”, Aki-Ex Gallery, Tokyo, Japan 1997 “Stasi City”, Kunstverein Hannover, Germany, travelling to Kunstraum Munich, Germany; Museum of Contemporary Art, Geneva, Switzerland; and Kunstwerke, Berlin, Germany “Jane and Louise Wilson”, LEA, London JANE AND LOUISE WILSON TWO PERSON EXHIBITIONS (continued) 1996 Galleria S.A.L.E.S., Rome, Italy, as part of the British Art Festival (exh. cat.) 1995 “Normapaths”, Chisenhale Gallery, London, U.K., and Berwick Gymnasium Gallery, Berwick-upon-Tweed, U.K. (exh. cat.) “Crawl Space”, Milch Gallery, London, U.K. 1994 “Routes 1 & 9 North”, AC Project Room, New York, NY “Crawl Space”, British Project II, Galerie Krinzinger, Vienna, Austria JANE AND LOUISE WILSON GROUP EXHIBITIONS 2010 ʻStar City – The Future Under Communism”, Nottingham Contemporary, England “Imaginario da Paisagem”, Centro de Artes Visuais, Coimbra, Portugal “The Science Of Imagination” Ludwig Museum, Budapest, Hungary 2009 "Of Other Spaces", Columbus College of Art & Design, Columbus, OH Sharjah Biennial 9, United Arab Emirates 2008 Quad Gallery, Derby, England 2007 “Sounding the Subject”, MIT List Visual Arts Center, Cambridge, Massachusetts, October 11–December 21 "Crossing Walls", Centro Atlantico de Arte Moderno, Grand Canary Palms, Spain "Temptation of Space", Louis Vuitton, Paris "Reconstruction #2", Sudeley Castle, Winchombe, Gloustershire "Double Vision", Deutsche Bank, New York 2006 "Out of Time", Museum of Modern Art, New York "Serpentine Gallery Marathon", London "Space is the Place", Cranbrook Art Museum, Bloomfield Hills, Michigan 2004 “The Raft of the Macumba”, Les Abattoirs, musée d`art moderne et contemporaine, Toulouse “Dream Extensions”, S.M.A.K. Museum of Contemporary Art, Belgium “Printemps du Septembre”, Toulouse “Shhh….”, Victoria and Albert Museum JANE AND LOUISE WILSON GROUP EXHIBITIONS (continued) 2003 “Unlimited Edition”, Millais Gallery, Southampton “VideoMix”, Arario Gallery, Korea “Here is Elsewhere”, MOMA, Queens, NY “Crosscurrents at Centuryʼs End: Selections from the Neuberger Berman Art Collections”, Henry Art Gallery, University of Washington, Seattle, WA (travelling To Norton Museum of Art, West Palm Beach, Florida; Tampa Museum of Art, Tampa, FL; and the Chicago Cultural Center, Chicago, IL) “Bewitched, Bothered, andBewildered”, Migros Museum fur Gegenwartskunst, Zurich “25 Hours”, TheVideoArtFoundation & UNXposed, Barcelona, Spain 2002 Baltic Centre for Contemporary Art, England, inaugural exhibition “The GAP Show; Young Critical Art from Great Britain”, Museum am Ostwall, Dortmund, Germany “Screen Memories”, Contemporary Art Center, Art Tower Mito, Japan “Outer & Inner Space: Pipilotti Rist, Shirin Neshat, Jane & Louise Wilson and the History of Video Art”curated by John B. Ravenol, Virginia Museum of Fine Arts, Richmond, VA “Wallflowers”, Kunsthaus Zurich, Switzerlan 2001 “Beau Monde”, curated by Dave Hickey, SITE Sante Fe, NM “W”, Musée des Beaux-Arts, Paris, France “Hypermental Rampant Reality 1950-2000 from Salvador Dali to Jeff Koons”, curated by Bice Curiger, Kunsthaus Zurich, Zurich, Switzerland “Public Offerings”, MOCA, Los Angeles “Double Vision”. Galeri für Zeitgenössische Kunst, Leipzig “EGOFUGAL”, The 7th International Instanbul Biennial, Instanbul, Turkey (traveled to Tokyo Opera City Art Gallery, Tokyo, Japan),(exh.cat) “Zero Gravity: Art, Technology and New Spaces of Identity”, Palazzo delle Esposizioni, Rome, Italy Magazin 3, Stockholm, Konsthall, Stockholm “The Wastland, Desert and Ice: Barren Landscapes in Photography”, Atelier Augarten, Wien, Austria, (exh.cat) “No world without you…Reflections of identity in New British Art”, Herzliya Musuem of Art, Israel “2001 A Space Oddity”, The Colony Room Club, London (exh. cat) JANE AND LOUISE WILSON GROUP EXHIBITIONS (continued) 2000 “Art Science & Technology”, New Greenham Enterprise, Newbury “Point of View – Works from a Private Collection”, Richard Salmon Gallery, London, UK “Age of Influence: Reflections in the Mirror of American Culture”, curated by Francesco Bonami and Elizabeth Smith, Museum of Contemporary Art, Chicago “Dream Machines”, curated by Susan Hiller, Dundee Contemporary Arts, Scotland, touring to Mappin Art Gallery, Sheffield and Camden, Arts Centre “Images Festival”, Toronto MIT List Visual Arts Center, Cambridge, MA “Film/Video Works – Lisson Gallery at 9 Keane Street”, Lisson Gallery, London, “A Shot in the Head”, Lisson Gallery, London, U.K. “Annika von Hausswolf, Jane & Louise Wilson and Weegee”, Magasin 3, Konsthall, Stokholm, Sweden “Media City Seoul”, Korean Biennial “Vision and Reality”, Lousiana Museum for Modern Art, Copenhagen, Denmark Historisches Museum Frankfurt, Germany “Trace”, Liverpool Biennial, Tate Gallery, London “This Other World of Ours”, TV Gallery, Moscow “Chac Mool Contemporary Fine Art, in collaboration with Lisson Gallery, West Hollywood, CA “Clues”, Monte Video – Netherlands Media Art Institute, Amsterdam 1999 “Carnegie International 1999/2000”, Carnegie Museum of Art, Pittsburgh, PA “Seeing Time: Selections from the Pamela and Richard Kramlich Collection of Media Art”, San Francisco Museum of Modern Art, San Francisco, CA “Gamma”, Serpentine Gallery, London, UK “View 1”, Mary Boone Gallery, New York, NY “In the meantime”, Galeria Estrany de la Mota, Barcelona, Spain “Spectacular Optical”, Thread Waxing Space, New York, NY “Earth, Water, Air”, DC Moore, New York, NY “Then and Now”, Lisson Gallery, London, UK “Mise en Scène”, Grazer Kunstverein, Austria (exh. cat.) “Black Box”, touring exhibition (exh. cat.) “Malos Habitos”, Soledad Lorenzo Gallery, Madrid, Spain “Poor Manʼs Pudding; Rich Manʼs Crumbs”, AC Project Room, New York, NY “Turner Prize Exhibition”, Tate, Britain JANE AND LOUISE WILSON GROUP EXHIBITIONS (continued) 1998 “View 1”, Mary Boone, New York “In the meantime”, Galeria Estrany de la Mota, Barcelona “Spectacular Optical” Threadwaxing Space, New York “Earth, Water, Air”, DC Moore, New York “Then and Now”, Lisson Gallery, London 1997 “Mise en Scène”, Grazer Kunstverein , Austria (exh cat). “Black Box”, touring exhibition (exh. cat) “Malos Habitos”, Soledad Lorenzo Gallery, Madrid, Spain, (cat.) “Hyperamnesiac Fabulations”, The Power Plant, Toronto, Canada (exh. cat.) “Remake -- Re-model”, Centrum Beeldende Kunst, Rotterdam, The Netherlands (exh. cat.) “Ein Stuck vom Himmel”, Kunsthalle Nuremburg, Nuremburg, Germany “Follow Me, Britische Kunst an der Unterelbe”, billboards between Buxtehude and Cuxhaven, Germany “Pictura Britannica”, Museum of Contemporary Art, Sydney, Australia; Art Gallery South Australia, Adelaide, Australia; and City Gallery, Wellington, New Zealand “Broken Home”, Greene Naftali, New York, NY “Hospital”, Galerie Max Hetzler, Berlin, Germany “Instant”, Green Room, Manchester, UK “Young British Artists”, Roslyn Oxley 9 Gallery, Paddington, Australia “More Than Real”, Palazzo Reale, Caserta, Italy (exh. cat.) 1996 “Co-operators”, Southampton City Art Gallery, Southampton City, U.K.; and Huddersfield Art Gallery, Huddersfield, U.K. (exh. cat.) “Ace! Arts Council New Purchases”, Hatton Gallery, Newcastle, U.K.; Harris Museum, Preston, U.K.; Ikon Gallery, Birmingham, U.K.; Mappin “NowHere”, Louisiana Museum, Humlebaek, Denmark (exh. cat.) “Auto Reverse 2”, Le Magasin, Grenoble, France “Trailer”, Ynglingagatan Gallery, Stockholm, Sweden “Der Umbau Raum”, Künstlerhaus Stuttgart, Germany “British Artists”, Rhona Hoffman Gallery, Chicago, Il “Nach Wiemar”, Kunstsammlungen zu Weimar, Germany (exh. cat.) JANE AND LOUSIE WILSON GROUP EXHIBITIONS (continued) 1996 “Quatros Duplos”, Fundaçao Calouste Gulbenkian, Lisbon, Portugal (exh. cat.) “Files”, Bunker, Berlin, Germany “Full House”, Kunstmuseum Wolfsburg, Germany (exh. cat.) “Attitude Adjustment”, 5th New York Video Festival, Lincoln Center, New York, NY “Dei Popoli”, Filmfestival, Florence, Italy (exh. cat.) 1995 “The British Art Show 4”, South Bank Exhibition Centre, Edinburgh, Scotland; Manchester, U.K.; and Cardiff, U.K. (exh. cat.) “Young British Artists”, Eigen + Art, Independent Art Space, London, U.K. “Corpus Delicti: London in the 1990ʼs”, Kunstforeningen, Copenhagen, Denmark (exh. cat.) “Kine Kunst ʻ95”, Casino Knokke, Belgium “Speaking of Sofas...”, Soho House, London, U.K. “Mysterium Alltag”, Kampnagel, Hamburg, Germany, with Jane Wilson, Gillian Wearing, Tracey Emin, and Tacita Dean (exh. cat.) 1994 “General Release”, British Council selection for Venice Biennale, Scuola San Pasquale, Venice, Italy (exh. cat.) “Here and Now”, Serpentine Gallery, London, UK “Fuori Uso”, Stabilimenti Ex-Aurum, Pescara, Italy “Wild Walls”, Stedelijk Museum, Amsterdam, The Netherlands (exh. cat.) “Interno 1”, Galleria Raucci/Santamaria, Naples, Italy “Gang Warfare”, Independent Art Space, London, UK “Kunst aus London, Mysterium Alltag”, Hammoniales Festival der Frauen, Hamburg, Germany “Beyond Belief”, Lisson Gallery, London, UK “Domestic Violence”, Gio Marconi, Milan, Italy “Facts of Life”, Galerie 102, Düsseldorf, Germany “Audience 0.01”, Trevi Art Museum, Trevi, Italy “New Reality Mix”, 18 Högbergsgatan, Stockhom, Sweden “The Ecstasy of Limits”, Gallery 400, University of Illinois, Chicago, IL; and Galerie Valeria Belvedere, Milano, Italy “Use Your Allusion: Recent Video Art”, Museum of Contemporary Art, Chicago, IL “Le Shuttle”, Künstlerhaus Bethanien, Berlin, Germany JANE AND LOUSIE WILSON GROUP EXHIBITIONS (continued) 1993-94 “BT New Contemporaries”, Cornerhouse, Manchester, U.K.; Orchard Gallery, Derry, U.K.; Mappin Art Gallery, Sheffield, U.K.; City Museum and Art Gallery, Stoke-on-Trent, U.K. (exh. cat.) 1993 “Barclays Young Artists”, Serpentine Gallery, London, U.K. (exh. cat.) “Underlay”, Renwick Street, New York, NY “The Daily Planet”, Transmission Gallery, Glasgow, Scotland “Over the Limit”, Arnolfini, Bristol, U.K. (exh. cat.) “Summer Show”, David Zwirner Gallery, New York, NY “Wonderful Life”, Lisson Gallery, London, UK “Lucky Kunst”, Silver Place, London, UK “Close Up”, 42nd Street, New York, NY “Walter Benjaminʼs Briefcase”, curated by Andrew Renton, Moagens, Oporto, Portugal 1992 “Inside a Microcosm, Summer Show”, Laure Genillar Gallery, London, U.K. “Into the Nineties 4”, Mall Galleries, London, U.K. JANE AND LOUISE WILSON BIBLIOGRAPHY 2010 “Jane & Louise Wilson” Art Review, April Schwabsky, Barry, review, Artforum, January 1 2009 Sherwin, Skye, “Jane & Loise Wilson”, Art Review, March, p.25 Brown, Mark, “Kubrick Holocaust Film to be told in installation”, The Guardian, January 3 2008 Review, “War Works in Walsall”, Art World, Dec. 2007-Jan. 2008 2006 Hubbard, Sue, "What`s Behind the Screens?", The Independent, May 24, p. 20 Ebner, Jorn, review, Frieze Jan/Feb 2004 Avgikos, Jan, review, Artforum, December, p. 192 Vanderbilt, Tom, “Best of 2004”, Artforum, December, p. 170 Schwendener, Martha, review, Time Out, Oct 28-Nov4, p. 77 Smith, Roberta, review, The New York Times, Oct 29, p. E38 Driel, Anne van, “Het mooie van falende architectuur”, de Volkskrant, January 22nd, p. 16-17 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2003 Smith, Roberta, “When an Artistʼs Eye Guides a Museum Show”, The New York Times, December 12th, E43 Dillon, Brian, Frieze, issue 78, October, p.129-130 “Jane and Louise Wilson: A free and anonymous monument”, The Art Newspaper Searle, Adrian, “You are here”, The Guardian, September 16 Lunn, Felicity, “Bewitched, Bothered, and Bewildered”, Artforum, September, p. 234 Glover, Michael, review, ARTnews Summer, Vol. 102, No.7, p.170-171 2002 Metzger, rainer, “The Waste Land”, Kunstforum International, January-March, No. 158, Lamm, April Elizabeth, review, tema celeste, May-June, No. 91, p. 87 Simmermon, Jeff, (interview), “the ghosts of paranoia”, Punchline, June 27, Is.203, p. 8-11 Gopnik, Blake, “Here&Now”, The Washington Post, June 16, p. G3 “Art in Review (date book)”, The New York Times, Friday June 28 Jones, Steven L., “Art Meets Technology”, Style Weekly, July 10 Katy Deepwell, “Egofugal, Woman artists at the 7th Istanbul Biennal”, n. paradoxa, international feminist art journal, (Eco) Logical, vol. 9/2002, p. 74-83, interview with Louise Wilson, p. 79-81 Paul Usherwood, “B. Opened”, Art Monthly, No. 259, September 2002, p. 1-4 Campbell, Clayton, “Spotlight: Beau Monde”, Flash Art, October, Vol XXXIV, No. 220, p. 98 Israel, Nico, review (ʻPublic Offeringsʼ, MOCA,L.A.), Artforum, September, Vol. XL, No. 1, p. 189 V Magazine, No. 11, May-June, p. 38 2001 Cash, Stephanie, review (303 Gallery), Art in America, Vol. 80, No. 5, May, p. 175-6 Ichikawa, Akiko, review, NYArts, Vol. 6, No. 2, February, p.30 Bonascossa, Ilaria, review (303 Gallery), tema celeste: contemporary art, XVIII, No. 83, January -February, p.92 Clifford, Katie, review, Art News, January, p.149 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2000 Schwendener, Martha, review (303 Gallery), Artforum, Vol. XXXIX, No. 4, December, p. 144 Arning, Bill, “Carnegie Dilly: A Remarkable Exhibition in Pittsburgh Breathes New Life into the Mega-Show”, Time Out New York, November 25 Luyckx, Filip, “Critical Review: Jane and Louise Wilson”, Sint-Likasgalerij, Brussel, No 2, November, p.10-11 Levin, “Part: Jane & Louise Wilson”, review, The Village Voice, October 31, p. 102 Young, Laura, “Stargazing” (review), Washington Square News, New York, NY, October 27-29, p.9 Griffin, Tim, “Back in the U.S.S.R”, Time Out New York, October 26, Is. 266 Johnson, Ken, “Art in Review” (303 Gallery), The New York Times, Friday, Caniglia, Julie, “New Sensation”, Harperʼs Bazaar, September, pp. 436-38 Williams, Gilda, “Jane & Louise Wilson in the Light of the Gothic Tradition, Parkett, No. 58, pp. 15-18 Godfrey, Tony, “London, Roni Horn, Craigie Horsfield, and Contemporary Artistsʼ Video”, Burlington Magazine, July, p. 456 -58 McQuaid, Cate, review, Art News, June, p. 152 Hillman, James, “Plural Art”, tema celeste, Italy, May-June, p. 108-182 Glover, Michael, “The Back Half”, New Statesman, May 22, p. 43 Dixon, Andrew Graham, “The Art od Success”, Vogue, London, May, p. 179-92 Packer, William, “Screening Time”, Financial Times, London, May 6 “Cocker to Judge New Brit Art Award”, D-Pict, London, April/May “This World of Ours”, Contemporary Visual Arts, Is. 25, p. 8 Moynes, Jojo, “Film of car trip win £24, 000 art award”, The Independent, London, April 19, p. 7 IOʼR, “The New Brits on the Block”, Tate, The Art Magazine, London,Spring, p. 8 JL, “Dream On”, Tate, The Art Magazine, Spring, p. 14 “1999 Carnegie Itnternational”, Masterpiece, Spring, p. 88 2000 Kissick, John, “Feelinʼ Mighty Real: The 1999/2000 Carnegie International”, New ARTE Examiner, March, p.38 Lubbock, Tom, “Has Modern At Lost its Bottle”, The Independent Review, London, March 11, p. 11 Leffingwell, Edward, “Carnegie Ramble”, Art in America, No. 3, March, p. 86-94 Temin, Christine, “Disquiet, please”, The Boston Globe, February 11 Mc Milan, Duncan, “Like a Dream”, The Scotsman, February 11, p. 24 Jones, Jonathan, “Warning: this woman is inside your head”, The Guardian, London, February 10, p. 10 Siegel, Katy,Carnegie International, Artforum, pp.106 Jones, Jonathan, “Liverpool Biennial”, frieze, Is. 50, January/February, p. 96-7 “Biennale di Liverpool”, Tema Celeste, February Boyer, Charles-Arthur, “Je est un Autre”, Beaux Arts, Nr, 189, February, p. 48 Carrier, David, “Pittsburgh Carnegie International”, Burlington Magazine, Feb. Lewison, Cedar, “Turner Prize”, Flash Art, January – February, p. 61 Gorucheva, Tanya, “This World of Ours”, Flash Art, January – February, p.62 Schwabsky, Barry, “Twins who share an enigmatic vision “, The New York Times, January 2, p.44 “Very New Art 2000, Bijutsu Techo, Japan, vol. 52, no. 782, January Hickey, Dave, “Double or Quits”, frieze, pp. 65-66, Issue 50, Jan-Feb Sherman, Mary “Twin Brit Video Artists Delight in Shades of Dark Visual Arts”, The Boston Herald, January 30 Schwalb, Harry, “Carnegie International: Carnegie Museum of Art, Pittsburgh”, Art News, January Dailey, Meghan, “Pittsburgh, 1900/2000 Carnegie International”, Art Press nternational, Is. 253, January, p. 12-14 Wu, Chin-Tao, “Special Report”, Art China, January 1999 “1999 Turner Prize Feature”, Zoo, Lonson, January, Is. 4, p. 155 Leith, Caoimhin Mac Giolla, “Liverpool Biennial Of Contemporary Art”, Artforum International Special Issue ʻBest of the 90ʼsʼ, December, p. 158 Turner, G, “Pittsburgh: The Carnegie International”, Flash Art, Nov – Dec, Is. 209, p. 57 Villers, Sarah, “A Thought that Counts”, The Herald, Glasgow, Dec.16, p. 19 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) Thomas, Mary, “11 videos, Two-Films Are Among Highlights”, Post Gazette, November 28 Shearing, Graham, “Reviewing the Carnegie International”, Tribune Review, Londond, November 28 Arning, Bill, “Carnegie Dilly”, Time Out New York, November 25 1999 Falkenstein, Michelle, “Whatʼs So Good About Being Bad”, ART News, November , p.159-163 Reardon, Valerie, “Trace”, Art Monthly, November, No. 231, Potter, Chris, “The Carnegie International Explores Boundaries in a Complicated World”, Pittsburgh City Paper, November 3 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2000 Smith, Edward Lucie, “Edward Lucie Smith is sickened by the rumors over ʻSensationʼ […]”, Art Review, November 1, p. 26 Clay, J, “Artist Aiming to Clean Up”, Leicester Mercury, London, October 29, p. 19 Walter, Natasha, “Itʼs Time for Emin to make her bed and to move on”, The Independent, London, October 25, p. 5 McEwen, John, “Eminence Without Merit”, Sunday Telegraph, London, October 24, p. 11 Miler, Catherine, “Real Turner stands up to prize namesakes”, Sunday Telegraph, London, October 24, p. 11 Gibbons, Fiachra, “Controversy Over Bed will not rest”, The Guardian, London, October 23, p. 10 Johnson, Paul, “For 1,000 years art has been one of our great civilizing forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all”, Daily Mail, London, U.K., October 23, p. 12 Lusher, Tim, “All Aboard the Turner Bandwagon”, Evening Standard, London, October 23, p. 34 Searle, Adrian, “Traceyʼs pants but McQueenʼs the real pyjamas”, The Guardian London, October 20 Alberge, Dalya, “Itʼs not a dirty bed, itʼs a Turner prize enrty”, The Times London, October 20 Watson-Smyth, Kate “Artistʼs abortion tape and unmade bed lead Turner prize short list”, The Independent, London, October 20 Kitchen, Clare, “ The dirty bed that could bring Emin a Turner prize”, The Daily Mail , London , October 20 Smith, David, “Is this art? We think weʼll just sleep on it”, The Express, London, October 20, p. 35 Gibbons, Fiachra, “Scandal sheets envelop Turner prize”, The Guardian, London, October 20, p. 5 Cork, Richard, “Celluloid Heroes and Video Villains”, The Times, London, October 20th Dormant, Richard, “Pick me, Iʼm Tracy”, Daily Telegraph, London, October 20, p. 23 Reynolds, Nigel, “Soiled bed shortlisted for Turner art prize”, Daily Telegraph, London, October 20, p, 5 Alberge, Dalaya, “Itʼs not a dirty bed, itʼs a Turner Prize entry”, Daily Telegraph, London, October 20, p. 7 Sumpter, Helen, “Off the Walls”, The Big Issue, October 18, p. 25 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2000 “Double Take”, The Daily Telegraph, London, October 13, p. 11 “Magnetic North attracts the crowds”, The Journal, Newcastle, October 12, p. 17 “Fameʼs mized blessing when your house is destroyed”, Sunday Herald, London, October 10, p. 6 Adams, Tim, “Eyes on the Prize”, The Observer, Life Magazine, London, October 10, p. 30 “The Lowdown”, Mail on Sunday, London, October 10, p. 39 Glazebrook, Mark, “Keep it Underground”, The Spectator, London, ctober 9 Wired Magazine, review, October Searle, Adrian, “Venice on the Mersey”, The Guardian, London, September 28 Cumming, Laura, “Stasi headquarters twinned with greenham common”, The Observer, London, September 26 “La Biennale di Liverpool: Tracce”, Flash Art, Sept –Oct, Is. 218 Kent, Sarah, “Twin Peeks”, Time Out London, September 22 Dorment, Richard, “ Down the corridors of power”, The Daily Telegraph , London, September 22 Cork, Richard, “A marathon of horrors - but is it safe?” ,The Times, London, September 22 Lubbock, Tom, “ Dreams in the corridors of power “, The Independent, London, September 21 Kent, Sarah, “ Who dares twins”, Time Out , September 15-22, 1999 Darwent, Charles, “ Are you seeing double yet?”, The Independent London, September 19, Januszczak, Waldemar, “ Having a bad trip”, The Times, London September,19 Moore, Rowan, “Fearful symmetry”, Evening Standard , London, September, 19 Russel, John, “The Big Show: Jane and Louise Wilson”, The Times, London, September 18, p. 42 Glancey, Jonathan, “ A ratʼs eye view of the commons”, The Guardian London, September, 15 Caplan, Nina, “Jane and Louise Wilson”, Metro, September 13, p. 18 Williams, Murphy, “ Double Exposure”, The Daily Telegraph, London September 4 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1999 Van der Wyck, Edina, “Double Exposure”, Telegraph Magazine, London, Sept. 4 Jones, Jonathan, Cover “Ghostbusters”, article “Seeing double”, The Guardian, London, Friday review cover story, September 3 Shone, Richard, preview, Artforum, September, p. 45 Shone, Richard, “Turner Points”, Artforum, September, p. 48 Brenson, Michael, “Fact and Fiction”, Artforum International, September, p. 67 Graham-Dixon, Andrew,”Twin Peaks”, British Vogue,Sept. pp.316-321 Poynter, Phil, “Twin Peaks”. Vogue, September, 1999, pp. 318-321. Manby, Joe, “Dossier of a Madwoman”, Make ʻUnder Surveilanceʼ, London, August , No. 84 Leith, William, “We are a Camera”, The Independent , London August 29, 1999 Bishop, Claire, review, Flash Art, summer, p. 13 Marlow, Tim, “Gamma”, Sight & Sound, London, July 28 Wainwright, Jean, “Dual Perspectives”, Hot Shoe International, London, July Krygler, Irit, “Letter fromm L.A.”, artnet.com Cumming, Laura, “The juryʼs still out…”, The Observer, London, June 6, p.10 Thorncroft, Anthony, “Turner contendors focus on moving image”, Financial Times, London, June 4, p. 12 Gibbons, Fiachra, “Artists in camera for Turner prize”, The Guardian, London, June 4, p.7 “The art rebels are turning respectable”, Daily Telegraph. London, June 4, p. 10 Alberge, Dalya, “Turner Prize officially round the bend”, The Times, London, June 4, p.5 Burdon, Jackie, “Painters shunned as Turner Prize short list favours moving images”, The Scotsman, June 4, p.8 “Vine, Andrew,“Shortlist adds to the role of notoriety”, Yorkshire Post, June 4, p.10 “Artists chase £20,000 prize”, Daily Post, (Liverpool), U.K. June 4, p.10 Slotover, Mathew, “Young British Art: The Saatchi Decade”, frieze, Is. 47, June, July, August, p. 112 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1999 Schwabsky, Barry, review, Artforum,May, p. 187 Williams, Gilda, “Jane & Louise Wilson”, Art Monthly, April, No, 225, p. 26-7 Coronelli, Marconi and Chiara, “Le Gemelle Wilson – Nel Labirinto della Paranoia”, photo (Edizione Italiana), April, No. 25 Buck, Louisa, “UK artists Q & A: Jane and Louise Wilson”, The Art Newspaper, London, March Smithson, Helen, “Legacy thatʼs not common”, Hampstead & Highgate Express, London, March 26 Costa, Maddy, “Jane and Louise Wilson”, Hot Tickets / Evening Standard,4/ 25 “Kunstmarkt”, Frankfurt Allgemeine Zeitung, Germany, March 20, p.52 Exhibition diary, World of Interiors, London, March “Jane and Louise Wilson: Gamma”, The Guardian, London, March 2 Jones, Jonathan, “Meet the Wilson sisters, with Stasi in their eyes”, The Observer, London, February 14 Kent, Sarah, “Art”, Time Out, London, February 17, No. 1487, p.5 IOʼR, “Twin Peak”, Tate Magazine, Spring, issue 17, pp. 6-7 “Installation Gamma”, The Times/Metro, London, February 13, p.4 Searle, Adrian, “Absolutely Bunkers”, The Guardian, London, February 20, p.5 Aldersey-Williams, Hugh, “Bunker Mentality”, New Statesman, London, February 26 Jones, Jonathan, “Be confident. Be happy. Splash it all over”, The Observer, London, January 3 1998 Adams, Brook, review, Art in America, October, p. 131 Wakefield, Neville, “Jane & Louise Wilson”, Artforum, October, p.112-113. Smith, Roberta, review, The New York Times, June 5, p. E37 Review, The New Yorker, June 15 Voice Choices review, The Village Voice, June 9, p. 102 Newton, Douglas, review, New York Contemporary Art Report, June, p. 82 Review, New York Now, http://www.nynow.com/arts_eats/ 1997 Kyriacou, Sotiris, “The Rise and Rise of British Video”, Contemporary Visual Arts, Issue 14 “Jane & Louise Wilson, Stasi City”, Kunstverein Hannover, No. 1, pp. 8-9 Barrett, David, “First LEA Gallery Exhibition”, Art Monthly, London, Issue 212, p. 33-34 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1996 Williams, Gilda, review, Art Monthly, London, No. 193, February, pp. 25-26 Savage, John, “Jane and Louise Wilson”, Frieze, Issue 27, March-April, p. 66-67 Bevan, Roger, “Lotta Action with Jake and Max”, The Art Newspaper, London, March, p. 37 Tozer, John, “Co-operators”, Art Monthly, London, No. 194, March, pp. 26-28 Stange, Raimar, “Im Banne des Mediums?”, Kunst-Bullettin, Zurich, No. 5, May, p. 16-21 Barrett, David, “Co-operators”, Frieze, Issue 28, May, p. 64 1995 “Jane + Louise Wilson”, Blok Notes, Paris, No. 8, Winter, pp. 62-63 Norman, Geraldine, “Turning the Tide in Venice”, The Independent on Sunday, London, U.K., March 12 Baerwaldt, Wayne, “Crawl Space: Jane and Louise Wilson”, Art and Text, No. 52 Newman, Michael, “Beyond the Lost Object: From Sculpture to Film and Video”, Art Press, Press, Paris, No. 202, May, pp. 45-50 Archer, Michael, “Home and Away”, Art Monthly, London, No. 188, Jul-Aug, p. 8-10 “Speciale Anteprima Fuori Uso ʻ95”, Segno, Pescara GuignoLuglio, No. 141, June-July, p. 20-25 Kent, Sarah, “Sound and Vision”, Time Out, London, No. 1306, Aug 30-Sept 6, p. 24-27 Di Raddo, Elena, “General Release”, Tema Celeste, No. 53-54, Autumn, p. 88 Lutyens, Dominic, “Jane & Louise Wilson, Chisenhale Gallery”, Whatʼs On In London, London, December 13, p. 17 1994 Mooring, Letty, “Sister Act”, Womenʼs Art, No. 56, Jan/Feb, pp. 10-11 Choon, Angela, “Rebels of the Realm”, Art and Antiques, April, pp. 56-64 Lillington, David, “Monkey Business”, Time Out, London, U.K., No. 1235, April 20-27, p. 41 Wigram, Max, “British Art Special”, The Face, No. 68, May, pp. 56-72 Graham-Dixon, Andrew, “The dying of the light”, The Independent, Tuesday, April 26, p. 23 Cork, Richard, “All human life is misssing”, The Times, Tuesday, April 26, p. 37 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1994 Stallabrass, Julian, “Beyond Belief”, Art Monthly, No. 177, June, pp. 29-30 Kastner, Jeffrey, “Beyond Belief”, Flash Art, Vol. XXVII, No. 177, Summer, p. 61 “Tales of Not So Unexpected”, Hampstead and Highgate Express, May 6 Hilty, Greg, “Beside Themselves”, Frieze, Issue 18, Sept-Oct, pp. 40-43 Muir, Gregor, “Beyond Belief”, World Art, Vol. 1, No. 2, June, p. 109 “Wonderful Life”, Nikkei Art, Japan, No. 61, October, p. 97 Jaio, Miren, “Construyendo la Identidad”, Lapiz, Spain, No. 106, pp. 12-19 1993 Lillington, David, “True Brit, David Lillington on Wonderful Life at the Lisson”, Time Out, London, U.K. , July 28 Dorment, Richard, “Hypnotised by a Handful of Stars”, The Daily Telegraph, London, U.K., August 11 Cottingham, Laura, “Wonderful Life, Lisson Gallery”, Frieze, Issue 12, September-October Wilson, Andrew, “Wonderful Life, Lisson Gallery, London”, Forum International, Belgium, Vol. IV, No, 19, Oct/Nov “Itʼs a Wonderful Life at the Lisson”, Flash Art News, Vol. XXVI, No. 172, p. 60 Harada, Ruiko, “From London”, Bijutsu Techno Monthly Art Magazine, Vol. 45, No. 678, pp. 148-9 Jones, Gareth, “Ouverture: Jane and Louise Wilson”, Flash Art, Vol. XXVI, No. 173, Nov/Dec, p. 103 JANE AND LOUISE WILSON BOOKS AND CATALOGUES 2004 Jane and Louise Wilson: A Free and Anonymous Monument, Film and Video Umbrella, Baltic, Lisson Gallery UK. text by Giuliana Bruno Jane and Louise Wilson, De Appel Amsterdam (exh catalog) 2003 Crosscurrents at Centuryʼs End: Selections from the Neuberger Berman Art Collection, Neuberger Berman, New York Lajer-Barcharth, Ewa, “Spaces of the Self: Some Recent Video Installations and the Notion of the Woman Artist”, Biographien des organlosen Korpers, p. 133-150 JANE AND LOUISE WILSON BOOKS AND CATALOGUES (continued) 2003 Installations II lʼempire des sens, Nicolas de Oliveira, Nicola Oxley, and Michael Petry, Thames & Hudson, Paris, 136 2002 “Outer & Inner Space: Pipilotti Rist, Shirin Neshat, Jane & Louise Wilson and the History of Video Art” (exh.cat) curated by John B. Ravenol, with texts by Laura Cottingham, Eleanor Heartney, and Jonathan Knight Crary, Virginia Museum of Fine Arts, Richmond, VA “The GAP Show, Young Critical art from Great Britain”, Mueseum am Ostvall, Dortmund, text by Claire Doherty and Alexander Broun “Beau Monde: Toward a Redeemed Cosmopolitalism”, SITE Santa Feʼs Fourth International Biennial (exh. cat.), curated by David Hickey, text by Louis Grachos 2001 “Hypermental Rampant Reality 1950-2000 from Salvador Dali to Jeff Koons”, curated by Bice Curiger, Kunsthaus Zurich, Zurich, Switzerland, p. 124, 141 “2001 A Space Oddity”, The Colony Room Club, London, UK, text by George Melly and Louisa Buck 2000 Carnegie International 1999/2000: Artists Reader, Carnegie Museum of Art, Carnegie Institute, Pittsburgh, PA, p. 213 “Jane and Louise Wilson: Las Vegas, Graveyard Time”, Dallas Museum of Art, Dallas, Texas, (exh.cat), text by Suzanne Weaver “Das Gedächtnis der Kunst”, Historisches Museum Frankfurt, in colaboration with Kunsthalle Schirn Jane & Louise Wilson, Serpentine Gallery, London, U.K. (exh. cat) Young British Art, The Saatchi Decade, Both – Clibborn Editions Video cult/ures, ʻGammaʼ, Museum for Contemporary Art, Karlsruhe, Germany The British Art Show 4, National Touring Exhibitions, Arts Council Collection and Hayward Gallery, Cornerhouse Publications, London, (exh.cat) 1999 Seeing Time: Selections from the Kramlich Collection, San Francisco Museum of Modern Art, pp. 66-69 1998 Black Box, Film and Video Umbrella, touring exhibition (exh. cat.) 1997 Jane and Louise Wilson: Stasi City, (exh.cat), Kunstverein Hannover, Germany JANE AND LOUISE WILSON BOOKS AND CATALOGUES (continued) 1996 Co-operators, exhibition catalogue, Southampton City Art Gallery, Southampton, U.K. and Huddersfield Art Gallery, Huddersfield, UK NowHere, (exh.cat), Louisiana Museum, Humlebaek, Denmark 1996 Artisti Britannici a Roma, (exh.cat), Turin, Umberto Allemandi & C. 1995 Here and Now, (exh.cat), text by Sarah Kent, Serpentine Gallery, London, U.K. General Release, (exh.cat), British Council selection for the Venice Biennale, Scuola San Pasquale, Venice, Italy (exh.cat), Chisenhale Gallery, London, U.K. The British Art Show 4, (exh.cat), South Bank Art Centre 1994 New Contemporaries, (exh.cat), text by Stuart Morgan, New Contemporaries, London, U.K., Cornerhouse, Manchester, U.K., Orchard Gallery, Derry, U.K., Mappin Art Gallery, Sheffield, U.K. (exh cat.) 1993 Over the Limit, (exh.cat), text by Andrew Renton, Arnolfini, Bristol, U.K. MAGAZINE PROJECTS 1994 Aitken, Doug, “Fashion”, Ray Gun, Santa Monica, CA, Issue 22 VIDEO PROJECTS 1994 “Use Your Allusion: Recent Video Art”, Museum of Contemporary Art, Chicago, IL

Andrew Norman wilson
Catalogue : 2014SONE S/S 2014 | | | | 10:46 | USA | 2014
Andrew Norman wilson
SONE S/S 2014
| | | 10:46 | USA | 2014

In "SONE S/S 2014: Chase ATM emitting blue smoke, Bank of America ATM emitting red smoke, TD Bank ATM emitting green smoke /// Invisibility-cloaked hand gestures in offshore financial center jungle", both parts deal with transparency and opacity in relation to finance and multimedia software. The ATMs emitting branded smoke could suggest either an incorporated terrorist act or a sign of distress. The hand gestures evoke Adam Smith's concept of the invisible hand of the market, but bring it back down to earth by locating its operations and breakdowns in an offshore financial center. This video circulates on both the art/film circuit and the stock media market through sites such as Getty Images.

Andrew Norman Wilson has screened work at the New York Film Festival, Centre Pompidou in Paris, Palais de Tokyo in Paris, Ullens Center for Contemporary Art in Beijing, MuseumsQuartier Wien in Vienna, The Hammer Museum in Los Angeles, Images Festival in Toronto, the San Francisco Cinematheque, and the San Francisco International Film Festival. Solo exhibitions include Fluxia in Milan, Project Native Informant in London, Document in Chicago, Reed College in Portland, Oregon, and Art Metropole in Toronto. He has participated in group exhibitions at MoMA PS1 in Queens, NY, Yvon Lambert in Paris, Palazzo Peckham at the 55th Venice Biennale, Betonsalon in Paris, the Ullens Center for Contemporary Art in Beijing, and CCS Bard/Basilica Hudson in Hudson, NY. He has performed and lectured at Oxford University, Harvard University, Berlin University of the Arts, California Institute of the Arts, threewalls Gallery in Chicago, the Academy of Fine Arts, Finland, the School of the Art Institute of Chicago, and the Banff Centre. His work has been featured in Aperture, Artforum, Art in America, DIS Magazine, Frieze, The New Yorker, Tank Magazine, Rhizome, Wired (magazine) and more.

Stina wirfelt
Catalogue : 2013Fire Work | Vidéo expérimentale | hdv | couleur | 22:14 | Suède | Royaume-Uni | 2013
Stina wirfelt
Fire Work
Vidéo expérimentale | hdv | couleur | 22:14 | Suède | Royaume-Uni | 2013