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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 
Louise bourque
Catalogue : 2005L?éclat du mal | Film expérimental | 16mm | couleur | 8:0 | Canada | 2005
Louise bourque
L?éclat du mal
Film expérimental | 16mm | couleur | 8:0 | Canada | 2005

Gast bouschet, nadine hilbert. collaboration: stephen o'malley
Catalogue : 2014Tempestarii | Vidéo | hdv | noir et blanc | 38:25 | Luxembourg | 2013
Gast bouschet , nadine hilbert. collaboration: stephen o'malley
Vidéo | hdv | noir et blanc | 38:25 | Luxembourg | 2013

Dawn spreads its luminous rays across the coast of Iceland, revealing a sorcerer standing between wine-dark sea and mountainous black rock. It is Tempestarii, a figure of medieval lore, undertaking a primitive rite manifested to conjure a storm. The tides of the deep ocean breathe heavily, rising and falling across the cinema screen with amplifying power as the weather-maker beats a mysterious sack against the monolithic cliffs with powerful repetition. As a magical tool, this sack contains forceful winds pulled from each corner of world. As an analogy, it is aligned with the revolutionary transformations of nature by water, air, solar radiation, and geological shifts and filled with the vast potential of man’s will in alliance with Nature. As an omen, the tempestarii signals profound change in both physical and metaphysical realms. (Amelia Ishmael)

Gast Bouschet & Nadine Hilbert were both born in Luxembourg and are currently based in Brussels, Belgium. They have worked together since 1990s, using a combination of photography, video, and sound to create potent social, political, and institutional critiques which they have exhibited at major international venues including The Wall Taipei, Taiwan; Cube Space Taipei, Taiwan; Philharmonie, Luxembourg; Muzeum Sztuki Lodz, Poland; Casino Forum d`Art Contemporain, Luxembourg; Trienal de Luanda, Angola; Busan Biennale of Contemporary Art, South-Korea; Camouflage Johannesburg, South Africa; MUHKA Antwerp Belgium, CCA Glasgow, Scotland among others. Gast Bouschet & Nadine Hilbert represented Luxembourg at the Venice Biennale in 2009.

Antoine boutet
Catalogue : 2006Zone of Initial Dilution | Doc. expérimental | dv | couleur | 30:0 | France | Chine | 2006
Antoine boutet
Zone of Initial Dilution
Doc. expérimental | dv | couleur | 30:0 | France | Chine | 2006

"Zone of Initial Dilution" s?intéresse à la transformation urbaine de la région des Trois-Gorges en Chine bouleversée par la mise en oeuvre du plus grand barrage hydraulique au monde. Avant la fin du chantier prévu en 2008, la vidéo dresse un état des lieux des villes et des berges du Yangtze, de celles en ruines ou disparues aux autres en plein essor, et tente de cerner les conséquences sur le paysage et les populations dans la perspective planifiée de l?ultime montée des eaux.

Antoine Boutet est né en 1968. Diplômé de l`Ecole des Beaux-Arts de Pau et de l`Ecole Supérieure des Arts Décoratifs de Paris, il réalise des bandes vidéo expérimentales et documentaires et des installations exposées en France et à l`étranger, dont Conservation-conversation, en 2005. Antoine Boutet vit et travaille actuellement à Paris.

Tim bowditch
Catalogue : 2011Firedive | Doc. expérimental | hdv | couleur | 13:9 | Royaume-Uni | 2010
Tim bowditch
Doc. expérimental | hdv | couleur | 13:9 | Royaume-Uni | 2010

Firedive is a short documentary about La Vallette Bathing Pools on the east coast of the Island of Guernsey. The film describes the Island`s collective memory of the tidal pools, focusing on the floodlit swimming galas and `firedives` that once made the pools a central part of the local community. Bowditch?s mother relayed the almost mythical personal tales of her childhood, which inspired the film. Contributors include locals who all have their own complimentary and contrasting tales adding to the visual portrait presented of the pools. The narrators talk about the decline in usage of the pools before going on to describe the ritualistic ceremony of the torch light processions and ?firedives? that once took place. The film is not a recreation of events but rather documents Bowditch?s own experience and involvement in adding to the collective memory of the location. By staging a floodlit torchlight procession based on the tales and accounts of the inhabitants he adds to the islands history and represents it for a new generation. Production dialogue, filming equipment and crew are therefore included in the edit, showing it was an exploration based on intertwined memories rather than a factual straight re-enactment.

Tim Bowditch (b.1986 Guernsey, Channel Islands) graduated from the University of Portsmouth in 2008 with a BA Hons Degree is Photography. Bowditch moved from his childhood home of Guernsey to begin a career as a photographer in London in the Autmn of 2008. He has kept his ties with Guernsey by annually applying and receiving funding to make new work incorporating the Island in someway. The last two years have been spent working on a project entitled Firedive (submitted as a multimedia piece). Firedive saw Bowditch follow the current trend of the digital SLR film makers to shoot a short documentary about the about La Vallette Bathing Pools on the east coast of the Island. The film describes the Island`s collective memory of the pools, focusing on the floodlit swimming galas and `firedives` that once made the pools a central part of the local community. This year the film was premiered at a special open air screening at the pools accompanied by a swimming gala and torch light procession. Three Artists were invited to the Island to make work in response to the screening and gala. The third phase of the project is a proposed exhibition at the greenhouse gallery in Guernsey next Spring. I will curate an exhibition from the work made at the screening.

Bryan boyce
Catalogue : 2005America's Biggest Dick | Vidéo expérimentale | dv | couleur et n&b | 4:0 | USA | 2004
Bryan boyce
America's Biggest Dick
Vidéo expérimentale | dv | couleur et n&b | 4:0 | USA | 2004

Le vice-président des Etats-Unis Dick Cheney dit enfin la vérité.

L'indien de San Francisco Bryon Boyce est un réalisateur-vidéaste dont les oeuvres ont parcouru le monde entier mais aussi dans des lieux tels que le Sundance, NY Underground, Cinematexas, RESfest, MTV et le Pacific Film Archive.

Velibor bozovic
Catalogue : 2015My Prisoner | Vidéo | hdv | couleur | 21:41 | Canada | Bosnie-Herzégovine | 2014
Velibor bozovic
My Prisoner
Vidéo | hdv | couleur | 21:41 | Canada | Bosnie-Herzégovine | 2014

My Prisoner is a video work that reconstructs the event that occurred on 3 April 1994 in war-torn Bosnia by intermixing archival footage with contemporary reimagining of the occasion. It shows a young man being escorted by an army intelligence officer to visit his imprisoned father. As the men travel side-by-side in the back seat of a car Shine on You Crazy Diamond by Pink Floyd begins to play on the car radio. The young man acknowledges the music and tries to make conversation but the officer does not even recognize the track. A composite of autobiography, documentary and fiction, My Prisoner navigates through the space where the historical, the personal and the fictional simultaneously interfere with and enhance one another.

Velibor Božović grew up in Sarajevo, Bosnia-Herzegovina. When he was in his twenties, the country of his youth became a war zone and he spent the duration of the siege of Sarajevo honing his survival skills. In 1999, Velibor moved to Montréal where he worked, for eight years, as an engineer in aerospace industry until he gave up his engineering career to devote his time fully to art practice. Subsequently, Velibor completed a Master of Fine Arts degree in Studio Arts at Concordia University. He is the recipient of the Claudine and Stephen Bronfman Fellowship in Contemporary Art (2015), Concordia International Mobility Award (2014), the Bourse de Maîtrise en Recherche from FRQSC - Fonds de recherche sur la société et la culture Quebec (2012) and Roloff Beny Foundation Fellowship in Photography (2011). His work has been exhibited in the United States, Cuba, Canada, and Bosnia-Herzegovina. His images appeared in The New York Times, The Paris Review, Descant, International Herald Tribune, Chicago Tribune, Granta, BH Dani and others.

Tomas bozzato
Catalogue : 2010Avant l'horizon | Documentaire | betaSP | couleur | 61:0 | Italie | France | 2010
Tomas bozzato
Avant l'horizon
Documentaire | betaSP | couleur | 61:0 | Italie | France | 2010

Igor boŠnjak
Catalogue : 2013Hotel Balkan | Film expérimental | | couleur | 10:25 | Bosnie-Herzégovine | 2013
Igor boŠnjak
Hotel Balkan
Film expérimental | | couleur | 10:25 | Bosnie-Herzégovine | 2013

?It is not the literal past that rules us, it is images of the past...? George Steiner Hotel Balkan is meditative and ambiental video which defines borders between futuristic memory of past and present thinking of future. I?ve been wondering about something: Why is it that images from the past - the actual past - often feel more futuristic than our current images of an imagined future? But if the future doesn?t look much like the future, the past often does. There are pictures from the past that, while you immediately recognize them as being from the past, nevertheless feel futuristic. It?s as though there?s something in your brain that wants to read them as images from the future. In this concept there is an idea that Tito?s nuclear bunker is equivavelnt for some kind of motel, or maybe even a hotel. Nowadays, Tito?s nuclear bunker wants sunshine instead of fluorescent lights, the sound of wind blowing through trees instead of the dull noise of its massive air-conditioning unit. It looks forward to the chatter of people and the sound of their footsteps instead of the noise produced by the closing of its steel antinuclear doors.

Born 1981 in Sarajevo, former Yugoslavia. Lives & work in Trebinje, Bosnia & Herzegovina. He is mainly working within the fields of film, video, concept, installation & photography. Also works as a video curator & freelance theoretician. Curently works as a asistant professor at Academy of Visual Arts in Trebinje. Education 2005 Academy of Visual Arts (BA) in Trebinje, Department of Painting 2006 Founder and the curator of the international namaTREba project biennial 2008 Interdisciplinary master (MA) studies at the University of Arts in Belgrade, Theory of Art & Media Department 2011 Interdisciplinary (PhD) studies at the University of Arts in Belgrade / Theory of Art & Media Department His works shows and exhibited at Kunsthal Charlottenborg, Copenhagen, Moscow Museum of Modern Art, Moscow, Atopia Film & VideoKunst Gallery, Oslo, CAM Casoria, Contemporary Art Museum, Naples, Kunst Museum, Bonn, Galleria d? Arte Moderna Palazzo Forti, Verona, Museum of Contemporary Art RS, Banja Luka, Point Ephemere, Paris, Contemporary Music Centre, Dublin, Espacio Center Canarias, Tenerife, Fabbrica del Vapore, Milan, Center of Contemporary Art, Plovdiv, Budapest Art Fair Mucsarnok, Budapest, Spazio Monitor, Museum of Contemporary Art, Rome, Tapetenwerk Halle C, Leipzig, A+A Galerie, Art Verona, Venice, Gallery Remont, Belgrade... more info:

Brigitta bÖdenauer, miguel carvalhais
Catalogue : 2005Can I have two minutes of your time? | Vidéo expérimentale | dv | couleur | 2:0 | Autriche | 2005
Brigitta bÖdenauer , miguel carvalhais
Can I have two minutes of your time?
Vidéo expérimentale | dv | couleur | 2:0 | Autriche | 2005

Commençant avec un plan séquence de deux minutes sur le cadran d?une horloge, la vidéo a été réalisé en temps réel, dans un environnement conçu pour la vidéo. Les cadres furent imprimés individuellement sur papier et postérieurement redessinés, images par images au fusain et à la peinture à l?huile, scannées à nouveau, pour être enfin animées dans la vidéo finale. Cette vidéo a été commandé pour la compilation "Essays on Radio : Can I have 2 minutes of your time?" produite par le label media Crónica et qui proposa à tous les artistes de l'audio et du visuel de refléter la technologie et la culture de la radio dans le début de la pellicule 21ème siècle. Le but de cette vidéo fut ensuite d?explorer l?idée de temps dans l?analogie croisant les techniques digitales : en commençant en deux minutes, réduisant la vidéo à 6 images et les étirant à nouveau sur deux minutes, restaurant la perte de qualité induite par le procédé de recréation numérique/mécanique et par l?utilisation de diverses recréations analogues/manuelles dans chaque image, discrète. À la fin, la représentation symbolique du temps n?est plus lisible, mais les mécanismes qui le représentent et le capturent se font sentir tout au long du morceau.

Née en 1972, elle travaille et vit à Vienne, en Autriche où elle est étudiante en critique du théâtre et des médias mais aussi artiste et photographe. Videojockey et DJ, elle enseigne pour le moment la manipulation vidéo dans l?école multimédia privée de Vienne. En 1999, son travail est exposé pendant 3 mois, par "Cinemasonic-Lounge", un festival de vidéos expérimentales. Elle met de côté la photographie analogique pour se tourner vers la vidéo numérique. Avec son travail elle repense la géométrie et l?anatomie qui dominent les images de collection en un processus de composition récursif qui utilise un ensemble de vidéos. Avec ses vidéos elle essaie de produire des séquences émotionnelles provenant d?images fixes rassemblées (photographies, images, graphiques, sketches, etc..) en des trajectoires animées derrière leur contexte original.

Marco brambilla
Catalogue : 2010Civilization (MEGAPLEX) | Vidéo | dv | couleur | 3:22 | Italie | 2008
Marco brambilla
Civilization (MEGAPLEX)
Vidéo | dv | couleur | 3:22 | Italie | 2008

Sebastian brameshuber
Catalogue : 2015Of Stains, Scrap & Tires | Documentaire | 16mm | couleur | 20:0 | Autriche | France | 2014
Sebastian brameshuber
Of Stains, Scrap & Tires
Documentaire | 16mm | couleur | 20:0 | Autriche | France | 2014

Of Stains, Scrap & Tires is a calm, documentary miniature that chooses the auto export business of three young Nigerians in the Erzberg region as a point of association and departure for formulating something more fundamental about the first and third worlds, movement and standstill, business, space, and freedom.

Sebastian Brameshuber studied scenography at the Vienna University of Applied Arts and contemporary arts at Le Fresnoy - Studio National des Arts Contemporains in France. His earlier films are in the tradition of Austrian avant-garde cinema and examine the nature of the moving image. In his documentary works, he maintains a strong interest in form, while emphasising human relationships and sociopolitical issues. His work has been presented at major film and media art festivals such as the Berlinale, Viennale, FID Marseille, BAFICI, Karlovy Vary Film Festival, Sarajevo Film Festival, EMAF Osnabrueck, Impakt Utrecht, Media Art Friesland, etc. He currently lives and works in Vienna.

Nicolás branca
Catalogue : 2006Las Nuevas Aventuras de Tom y Jerry | Fiction expérimentale | dv | couleur | 17:50 | Uruguay | 2005
Nicolás branca
Las Nuevas Aventuras de Tom y Jerry
Fiction expérimentale | dv | couleur | 17:50 | Uruguay | 2005

La relation qu'entretiennent Tom et Jerry n'est pas claire. Sont-ils amis, ennemis, ou forment-ils un couple ? Peu importe, la vidéo montre l'amour, la haine, la tristesse et la tendresse qui existent dans leur relation si particulière.

Nicolas Branca Rosse est un artist visuel, un photographe, un artiste vidéo et un réalisateur né en 1972 à Montevideo en Uruguay. Parmi ses oeuvres les plus récentes on trouve "OVNI", une fiction de 21 mn, réalisée en 2002-2003. "Panamericano" est une oeuvre expérimentale, une boucle d'une minute exposée au Centre Culturel d'Espagne de Montevideo en 2004. En 2005 il fait "Victima", une oeuvre expérimentale de trois minutes exposée au Bar Tasende, une entreprise artistique. Il réalise également "Las Nuevas Aventuras de Tom y Jerry" (les nouvelles aventures de Tom et Jerry), une vidéo expérimentale de 18 mn montrée au Festival de Cine y Video Latino de Buenos Aires en 2005 où elle remporte le premier prix dans la catégorie "expérimental". En 2006, il est sélectionné pour l'exposition Zemos98 au Festival ACCION PARALELA et il réalise "El Teorico", une installation vidéo composée d'une boucle de 2 mn et exposée au Centre Culturel Ex Teresa, à Mexico au Mexique.

Ulu braun
Catalogue : 2007Südwest | Art vidéo | | couleur | 1:45 | Allemagne | 2006
Ulu braun
Art vidéo | | couleur | 1:45 | Allemagne | 2006

Südwest est une construction détaillée et utopique d'un paysage, qui unit des aspects de la tradition et de la globalisation. La vidéo combine des scènes idylliques de la culture européenne avec les promesses cataloguées de l'industrie du tourisme moderne pour créer un panorama qui recréé la mystique poétique de choses pourtant si courantes à nos yeux.

Bio: geboren 1976 in Schongau. Lebt in Berlin und Helsinki. 1996-2000 Studium der Malerei und Grafik an der Universität für angewandte Kunst in Wien. 2001-2006 Filmstudium an der HFF-Potsdam 1999 & 2007 Stipendium am Time & Space Department, University of Fine Arts Helsinki, seit 1997 Zusammenarbeit mit Roland Seidel als BitteBitteJaJa.

Ulu braun
Catalogue : 2009WESTCOAST | Vidéo | | couleur | 7:20 | Allemagne | 2009
Ulu braun
Vidéo | | couleur | 7:20 | Allemagne | 2009

Westcoast is a panorama-video consisting of interweaved scenes mounted on a coastline - somewhere between Rotterdam and Sydney. Starting from a bubbling primordial soup the view pans along a waterfront in the style of a late transnational financial eclecticism and passes mystical spots such as a giant hippo eating carrots and hectically spinning rubber boats. After a dark spiritual waterway recalling Hieronymus Bosch atmospheres, the panorama ends in a cave with refuse-Jacuzzi in which a white woman gazes about herself melancholically.

Ulu Braun (1976) is belonging to a new generation of artists that entered the field of digital film with a background in visual arts and street art. In his works he integrates various production methods to form sceneries that play between Hollywood, Prado and periphery. In most of his works he observes the tragic of reality from different angles. Braun exhibits internationally including recent solo shows in Germany, Belgium, USA and group shows in Germany, Spain, France, Finland, Estonia and Greece. His works have been screened at the major experimental Film and Media Art Festivals. Collaborations with Roland Seidel as BitteBitteJaJa and finnish artist group YKON. He is currently living in Berlin.

Adriana bravo, ivanna terrazas
Catalogue : 2017Beso de chola (Chola Kiss) | Vidéo | hdv | couleur | 4:0 | Bolivie | 2016
Adriana bravo , ivanna terrazas
Beso de chola (Chola Kiss)
Vidéo | hdv | couleur | 4:0 | Bolivie | 2016

On connait cet art du détour que Sophie Roger pratique pour nous mener par des chemins inattendus avec l’amitié comme fil, déplié avec Le Point aveugle (FID 2012) ou Les Jardiniers du petit Paris (FID 2010). Ici ce sera, tissée tout en délicatesse à l’écran, l’amitié avec Mohamed, réfugié soudanais au Havre. Faite de partage, d’attention, d’écoute et de rire, et de vagues en vagues, celles du texte éponyme de Virginia Woolf qu’elle lui lit, à celle de Courbet au musée du Havre, qu’il animera de son regard. (FIDMarseille)

Karolina bregula
Catalogue : 2016Wieza | Fiction expérimentale | hdv | couleur | 78:0 | Pologne | 2016
Karolina bregula
Fiction expérimentale | hdv | couleur | 78:0 | Pologne | 2016

`The Tower` is an opera musical about a group of people who live in the same concrete block of flats and who plan building a sugar tower together. Full of absurd and anxiety, the story of the utopian project is addressing the history of post war housing architecture analysing it from the position of its user, the inhabitant of a modernist city. The dreams and desires are juxtapositioned with difficult reality of life in the blocks and contradictions inscribed in the modernists` plans.

Karolina Bregula(born 1979) is a visual artist and filmmaker. She has performed and exhibited in places such as “the VeniceArt Biennale” the Jewish Museum in New York and the National Museum in Warsaw.She has received numerous awards including The Golden Claw at Gdynia Film Festival, the Views 2013 and Videobrasil 2015. She has been awarded multiple scholarships including the Polish Ministry of Culture Scholarship, the Visegrad Scholarship and the UNESCO scholarship. She lives and works in Warsaw.

Dietmar brehm
Catalogue : 2016Hallo Mabuse | Film expérimental | hdv | couleur | 5:0 | Autriche | 2016
Dietmar brehm
Hallo Mabuse
Film expérimental | hdv | couleur | 5:0 | Autriche | 2016

First, a view of nature: an overcast sky, the chirping of birds. This plays the part of a colorful overture, still open to the world. Steps and the sound of a pushbutton telephone lead acoustically into one of Dietmar Brehm’s "intrusion films": Hallo Mabuse. Here, arriving at the other end of the line, intruding into the image means reversing polarity to negative and concentrating on the schematic through a type of circular aperture. A man’s profile and facial features lose their contours in the heavy light-dark contrasts, yet also emerge expressively. A dialogue of cryptic gestures unfolds. The source: several scenic miniatures from The Testament of Dr. Mabuse, Fritz Lang’s famous crime film about hypnosis and terror created in the interwar period. Brehm already included this material once before, in a shorter version, in tape 14 of the Praxis series; now he presents it as an autonomous member of the series; decelerated, with a new editing sequence, and also additional pictorial motifs. Hallo Mabuse captivates through its reduction, in which a conspiratorial narrative takes place, but even more so, the images themselves appear ambiguous, obscure, untrustworthy. A nod of the head, which seems treacherous in its mechanical repetition, meets the profile of a bearded man who does not appear to react at all in a suggested counter shot. The slight flickering of the image further intensifies the impression of an illicit agreement, of witnessing a crooked handshake. The ringing of the unseen telephone and the constant ticking of a clock lend the events a limited temporality. Something is running out, and in doing so, is also already reaching its end, a ghostly final act, which is anticipated by an explosion and breaks off with the sound of a falling guillotine. (Dominik Kamalzadeh)

Dietmar Brehm is born in 1947 in Linz 1967-72 studied painting at the University of Fine Arts/Linz. Professor at the University of Fine Arts/Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad.

Catalogue : 2018Inside - The Color Version | Vidéo | hdv | couleur | 5:0 | Autriche | 2017
Dietmar brehm
Inside - The Color Version
Vidéo | hdv | couleur | 5:0 | Autriche | 2017

It hisses, it blinks. A virtual, two-dimensional anaglyph flickers in red and green, unfolding a visual space true to the Brehmian aesthetic. Concentratedly condensed collisions occur between everyday life and the world, being and performing, symbols and icons. A human skull, human bodies, Castle Grafenegg as an architectonic stand-in for the uncanny … Sex and crime, art and pop culture flicker at pixilated speed – the stuff of dreams – most penetrating however brief. The mundane alternates with the fetish, glimpsed in the blink of an eye, intersected by a long drag on a Chesterfield cigarette while the full-bodied, tube-amped slow-motion reverb sound of a guitar swings in the background.

Dietmar BREHM Born in 1947 in Linz. 1967-72 studied painting at the Academy of Fine Arts/Linz professor at the Academy in Linz. Since 1973 teaches at the Academy in Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad, various awards for his work.

Andreas brehmer
Catalogue : 2013La Reprise. a description | Vidéo | dv | couleur | 16:35 | Allemagne | France | 2010
Andreas brehmer
La Reprise. a description
Vidéo | dv | couleur | 16:35 | Allemagne | France | 2010


Michele bressan
Catalogue : 2013fifth,sixth and seventh floor | Documentaire | dv | couleur | 4:27 | Roumanie | 2010
Michele bressan
fifth,sixth and seventh floor
Documentaire | dv | couleur | 4:27 | Roumanie | 2010

The block across the street, or mirror block, has been for the past 17 years my immediate landscape, a modular display of my closest reality, one I often avoided, as familiar images get skipped, distancing into the background. It happens because repetition eventually subsides the identification process. I chose to recognize the occurrences nearby and regard my quotidian landscapes as a view, put together by architecture and space boundaries, which also cause an involuntary voyeurism to appear.

Michele Bressan (b.1980) in the last few years his works were exhibited in several solo and group exhibitions, including Museum fur Photographie Braunschweig (2013), Centre Wallon d`Art Contemporain (2012), ViennaFair The New Contemporary (2012), Les Rencontres d`Arles photo festival (2011), Musée d`Art Moderne Saint Etienne (2011), Gate11 international departures, Fondazione Fotografia Modena (2011), Biennale di Venezia, Padiglione Italia nel Mondo (2011), Mois de la Photo (2010), National Museum of Contemporary Art Bucharest (2009/2010), Performance Art Institute San Francisco (2010), ESSL Museum Wien (2009), Neuen Museum/ Bauhaus Universitat Weimar (2009). In 2010 he won the Constantin Brabcusi fellowship at the Cité Internationale des Arts Paris. In 2009 he recived the ESSL award for photography, in the same year was nominee for the Henkel award.

Viktor brim
Catalogue : 2019Dark Matter | Doc. expérimental | 4k | couleur | 19:52 | Allemagne | Russie | 2019
Viktor brim
Dark Matter
Doc. expérimental | 4k | couleur | 19:52 | Allemagne | Russie | 2019

A trace of regularly ordered mounds of earth. In the twilight a dump truck is being loaded. A thick veil of mist hangs over the tops of the trees. Dark earth is excavated, loaded and transported off the scenery. In Dark Matter (2020), via the situative arrangement of different picture elements a visual friction surface is created, which is shaped by the figurations of a post-apocalyptic landscape. The images are determined by the processes of extracting raw materials. Without the mineral resources from the numerous diamond and gold mines in the so-called Russian Federation subject Yakutia, the Soviet Union would never have been able to exist until the 1990s. Technology and ideology go hand in hand and leave their mark. Military and economic efforts to secure power are inscribed in this landscape. The extraction of raw materials and the exploitation of nature show their planned economic and geopolitical consequences, which make up the character of the “subjects of the Federation”. Their designation as “subjects” was introduced in the USSR in order to equip and administer different categories of territorial units with different degrees of autonomy. Technological progress and ideological utopias constitute a processual and changeful network of relationships between subject definition and state apparatus.

Viktor Brim was born in 1987 in Tashkent, Uzbekistan. From 2009 to 2011 he studied media art at the HGB in Leipzig, began directing studies at the Filmuniversity Babelsberg KONRAD WOLF and completed a postgraduate course at the Academy of Media Arts in Cologne, where he worked not only with fictional forms but also increasingly with documentary approaches.

Ondrej brody, kristofer paetau
Catalogue : 2007Artstar | Vidéo expérimentale | dv | couleur et n&b | 3:0 | Tchèque (Rép.) | 2006
Ondrej brody , kristofer paetau
Vidéo expérimentale | dv | couleur et n&b | 3:0 | Tchèque (Rép.) | 2006

Ondrej Brody et Kristofer Paetau forment un couple artistique néo-dadaïste qui recherche les aspects grotesques que l?on peut trouver dans le monde artistique institutionnalisé et dans la production artistique elle-même. Leur stratégie est claire et presque embarrassante de simplicité mais c?est apparemment leur point fort. Les problèmes qu?ils soulèvent et les cibles qu?ils choisissent sont également fondamentaux : la morale quotidienne, pour ne pas dire les codes de conduite sous forme de livrets, sont leur source de vocabulaire sous forme de sujet contenu. Ils mènent avant tout leur enquête en prenant en compte la psychologie du comportement lorsqu?il est influencé ou provoqué par les aspects extérieurs de la vie et de la politique. Leur travail oscille entre l?utilisation et l?abus, la manipulation poussée à l?extrême et l?enregistrement froid et intouchable de la réalité absurde, il est véritablement critique et tente sincèrement de mettre à jour les pathologies et les aspects normaux des relations humaines. Leurs actions sont toujours bien structurées et la mise en scène est pratiquement parfaite, précise et calculée, froide et émotionnellement troublante, audacieuse et vicieuse, elle nous pénètre de part en part. Il manque peut-être seulement un équilibre plus soigné : le scandale désiré utilisé de la bonne manière pour mettre l?accent sur le déclin de certaines valeurs et leur corruption soudaine.

Ondrej Brody est né à Prague, en République Tchèque en 1980, il vit entre Anvers, Berlin et Prague. Lorsqu'il était enfant il a vécu à Guayaquil en Equateur où il est resté jusqu'en 1999. En 2000 il a commencé ses études d'art à l'Instituto Superior de Arte in Havana à Cuba. En 2001, il a demandé son transfert à l'Academy of Fine Arts de Prague où il a obtenu son diplôme en 2005. C'est un artiste visuel qui travaille principalement avec la vidéo et fait des interventions/actions. parmi les expositions qu'il a récemment effectué figurent entre autres la Jiri Svestka Gallery à Prague (2006); le Kunsthallen Brandts à Odense, (2006); le Sammlung Essl à Klosterneuburg/Vienne, (2005); et Jack the Pelican à New York City, (2006). il a notamment reçu es prix suivants : the Essl Award, Sammlung Essl à Vienne, en Autriche (2205), et the International Prize for Performance, Galeria Civica à Trente, en Italie (2006). Kristofer Paetau est né en 1972 à Borga en Finlande. Il a étudié différentes disciplines sur plusieurs années. En 2005-2006, il était à l'Institute for Fine Arts (HISK) à Anvers, en Belgique; en 2000-2001, il a fait une année à l'Internaional ERBAN de Nantes en France; en 1999-2000 il a obtenu un Meisterschüler Diploma en suivant les cours de John M. Armleder à la Hochschule für Bildende Künste (HBK) à Braunschweig, en Allemagne; en 1999, il a obtenu un master en études artistiques à l'Ecole Nationale Supérieure d'Arts de Cergy, en France; en 1993-1994, il a étudié l'histoire de l'art à l'Ecole du Louvre de Paris, en France; et enfin en 1991-1992, il a étudié l'esthétique et le français à l'université d'Helsinki en Finlande. son expérience artistique comprend différents types de projets et de travaux. En 2004, il a organisé le projet "St. Stephanus Church" avec Torsten Prothman à Berlin et Re-Institutionalize #03. Il a également organisé une exposition personnelle appelée "Antigrafittihiphop" qui était une installation accompagnée d'une performance chorégraphique à la Ekaitz 5050 Gallery à Berlin. En 2005, il a participé à une exposition collective appelée "Boundless", il a apporté sa participation au travail de Jan Christensen au Stenersenmuseet à Oslo, en Norvège (catalogue). Il a également effectué une performance intitulée "Belgian Air Guitar Champion", In/Out Space, Open studio, Higher Institute of Fine Arts à Anvers, en Belgique. En 2006, il s'est occupé du projet "Super-Flux" e-mail service avec Ondrej Brody. Il s'occupe avec l'écrivain Rüdiger Heinze d'un projet e-mail appelé "Picturepeople", ainsi que d'un concurrent de courte durée pour e-Flux.