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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 
Goggel erwin, bioho esperanza
Catalogue : 2005Del Palenque de San Basilio | Documentaire | 35mm | couleur | 85:0 | Colombie | 1989
Goggel erwin , bioho esperanza
Del Palenque de San Basilio
Documentaire | 35mm | couleur | 85:0 | Colombie | 1989

Des africains qui ont echappé de l'esclavage en Colombie, comme dans plusieurs autres parties des Amériques, construisent des enclaves de libertés dans des quartiers qu'ils contrôlent. En Colombie, ils sont connus en tant que " palenques". Del Palenque de San Basilio est un voyage à l'intérieur d'un de ces palenques qui existent toujours, et nous donne à voir la musique traditionelle de cette communauté ainsi que sa danse et ses histoires orales.


Felipe esparza
Catalogue : 2015Soga de muerto | Film expérimental | hdv | noir et blanc | 6:26 | Pérou | 2014
Felipe esparza
Soga de muerto
Film expérimental | hdv | noir et blanc | 6:26 | Pérou | 2014

Ayahuasca is a drink used by the Amazonian indigenous peoples, which is commonly called "medicine" to access higher states of consciousness, experimenting with different gods, emotions, fears and egos, `cures`, change habits, thoughts, emotional states . According to tradition, the ayahuasca is the rope that allows the spirit leaves the body without this die.

Graduated in Communications, specializing in audiovisual by the Peruvian University of Applied Sciences. I worked in several agencies like Pragma, McCann Erickson and audiovisual production companies such as 7 Samurai and Cine 70. Film worked as assistant director in two Peruvian films. I was art director for several magazines and independent design and cultural publications in my own studio. Explore the audiovisual language, graphic design and illustration and painting. In my audiovisual work, I have been in the official selection at the Independent Film Festival of Lima (2013-2015). Insurgency displays moving: anthology of Peruvian audiovisual margins. (MALI 2013). Intermittent sample Lima Film Festival (2012). It shows at the Cultural Center Expaña (2011). Latin American projection UnionDocs for Documentary Arts (NY).

Micael espinha
Catalogue : 2014CINZA | Vidéo | hdv | noir et blanc | 10:2 | Portugal | 2014
Micael espinha
CINZA
Vidéo | hdv | noir et blanc | 10:2 | Portugal | 2014

A visual and soundscaped short ambience voyage through an utopian, ghost-like city-state. In this mid twentieth century imaginary Lisbon, the power plants continue to produce energy, brand new subway network locomotives’ engines hum in standby, city lights and neon signs come alive each night and radio receivers spread Salazar’s [Portuguese Dictator] speeches - yet, nowhere is to be found the slightest human presence: there isn’t anyone to see and hear this newcomer modernity’s heartbeat. Only statues and facades inhabit the metropolis. "CINZA" is a short film made entirely from photographs that depict Lisbon during the dictatorial regime installed in Portugal from 1926 until 1974. Their authors were Mário Novais, Horácio Novais and Casimiro dos Santos Vinagre, and the photographs now belong to the Calouste Gulbenkian Foundation Art Library Archive.

Micael was born in 1974 and graduated in ‘Directing’ at the Lisbon Theatre and Film School, in 2003, where he had already obtained his bachelor degree in ‘Editing’, in 1999. He is a partner at the production company Roughcut, where he’s been developing documental projects, television series, fiction and animation short films, being also responsible for the company’s post-production of several projects and works. He co-founded with David Gabriel, in 2012, the colective "Companhia do Inferno", which dedicates itself to the development and production of videoart projects and scriptwriting, under which he already directed several experimental videos. Since 2000, Micael works regularly as a freelance editor in advertising, television, fiction, documentary and music videos, and he worked with such directors as Bruno Ramos, João Nuno Pinto, Júlio Alves, Marco Martins, Miguel Coimbra, Miguel Seabra Lopes, Pedro Cláudio, Pedro Macedo, Pedro Sena Nunes, among others. He directed the television series "KmZero" which was aired on RTP2 (2007/2008), and co-directed the cultural magazine "Câmara Clara", which also aired on RTP2 (2008/2009). Recently, he co-directed the documental series “Tradições – Retalhos da Vida de um Povo”, produced by Roughcut and broadcasted by SIC Notícias (2013/2014). He produced, directed and animated the animation short film "Black Bug", which was one of the finalists of the ZON Awards Creativity in Multimedia (2011/2012). In collaboration with the performing arts, Micael directed the video for the theatre play “Old Times”, staged by Duval Pestana, for ONIMED, and directed the video for the performance “The Lusiads” by António Fonseca, which premiered at Guimarães – European Capital of Culture, in 2012, and was already presented in Lisbon, Coimbra, Almada and Brazil (2013/2014).

Keina espiÑeira
Catalogue : 2016Tout le monde aime le bord de la mer | Doc. expérimental | 4k | couleur | 16:56 | Espagne | 2015
Keina espiÑeira
Tout le monde aime le bord de la mer
Doc. expérimental | 4k | couleur | 16:56 | Espagne | 2015

A group of men are waiting at the fringes of a coastal woodland for the journey to Europe. They are in a temporal and spatial limbo. A film is shot there with the men playing themselves. The landscape changes and where they are is no longer their motherland. The water is not transparent, not clear. Myths from the colonial past collide with present times, memory survives.

Keina Espiñeira (1983, Spain) is a scholar and filmmaker. Her artistic work is related to borders, landscapes and mythologies. She holds a Master`s degree in Direction and Production of Documentary Films, awarded by DOCMA. She has also worked as social researcher in California, Netherlands, Spain and Morocco.

Jon Mikel euba
Catalogue : 2007Gowar | Film expérimental | dv | couleur | 7:0 | Espagne | 2005
Jon Mikel euba
Gowar
Film expérimental | dv | couleur | 7:0 | Espagne | 2005

"Godard-Warhol This would be in short what the video is about: One minute of carrying One double minute One minute of silence One minute of rock One minute of star : gowar"


Jon Mikel Euba est né en 1967 à Bilbao, Espagne. Il vit et travaille à Berlin et à Bilbao.Il s`apprête à présenter à Bucarest ses vidéos, dont la dernière intitulée "One minute of Silence" mais aussi des plus anciennes comme "K.Y.D." (2001). Il travaille actuellement sur sa prochaine vidéo. Jon Mikel Euba a à la fois recours au texte et à l`image dans ses ?uvres "utilisant la vidéo, le dessin et les mots pour construire des récits ambigus et mettre en scène des incidents ou des situations mystérieuses dans lesquelles le paysage suscite des fragments d`actions récurrentes, qu`une répétition à l`infini transforme en icônes abstraites. À partir du montage d`images provenant de ses archives personnelles, d`arrêts sur image, de phrases et des passages récupérés, il génère un nouveau texte cinématique, une nouvelle structure qui transcende de telles unités informationnelles pour décrire de nouveaux modes de comportements." (Nuria Enguita Mayo).

Tirtza even
Catalogue : 2006Icarus | Doc. expérimental | dv | couleur | 12:0 | Israel | Espagne | 2004
Tirtza even
Icarus
Doc. expérimental | dv | couleur | 12:0 | Israel | Espagne | 2004

Icarus / Tirtza Even Icarus fut abattu à Cartagène, en Espagne. La ville de Cartagène située sur la côte Méditerranéenne, a été un site de grandeur et de décadence (où alternaient manifestations de pouvoir et troubles politiques), site idéal pour un déploiement de cultures et de régimes. Romains, Byzantins et Ottoman, tout comme l'Église Épiscopsale et la République Espagnole s'y sont mêlés. Durant cette période la ville servait (entre de longs moments de décrépitude, d'épidémies, de guerres, de destruction puis de récupération) de port fructueux, de base militaire à valeur stratégique et de centre industriel et commercial riche en minerais, mines de plomb et d'argent. De nos jours, c'est une petite ville périphérique, habitée en grande partie par une communauté émigrante du Maroc, des travailleur d'un jour, elle aboute pour élargir le tourisme et l'attrait culturel de ses exhumations avec des restes d'un théâtre romain, et d'un amphithéâtre situé sous des arènes, et d'un grand nombre militaires, marines et sites culturels historiquement pointus , tout comme son Université renommée (qui réside dans un hôpital militaire rénové) -- une série de maisons sont démolies, sous surveillance, dans des sites par intermittence dispersés dans le centre de la ville, afin d'être ré-occupés dans un futur proche par des appartement-hotel de luxe. Au moment de la réalisation d'Icarus, les signes variés de pouvoir et d'entropie, de centralité et de marginalité, qu'elle soit militaire, politique, éthnique, économique, culturelle ou sociale, étaient exposés de façon éclectique dans l'architecture superposée et fracturée et dans l'arène humaine. La vidéo éditée pour Icarus, consiste en 12 min. de plan inversé- un impossible re-tour ou "torchon temporel" -- à travers des sites circulaires filmés à Cartagène, chacun cousu ensemble comme rapiécés, dans l'espace et le temps, du paysage urbain d'une ville. L'acte de tisser: des moments et des en- et hors- scènes , trahit des fissures inédites dans lesquelles différents personnages glissent, dans lesquelles ils convergent, ou disparaissent. Ainsi le paysage pêle et se déplie, se retournant sans vraiment arriver à ce moment intact d'aspiration et d'origine. L'oeuvre est formellement engagée dans le louvoiement de paysages fragmentés, utilisant les mouvements de la caméra comme moyen pour commenter - ou occuper et ainsi interrompre -- ces déterminants politiques et sociaux du paysage.


Tirtza Even, Bio Vidéaste en pratique et documentariste durant ces dix dernières années, Even a réalisée des travaux vidéo à la fois linéaires et intéractifs représentant des manifestations complexes peu évidentes et quelquefois des dynamiques socio-politique extrêmes, dans des endroits spécifiques (comme par exemple la Palestine, la Turquie,l' Espagne, les États Unis, et l'Allemagne parmi tant d'autres). Son oeuvre est parue au Musée d'Art Moderne de New York, à la Biennale de Whitney, Johannesburg ainsi que d'autres festivals, galeries, et musées aux États-Unis, en Israël, et en Europe, et a été acheté pour des collections permanentes par le Musée d'Art Moderne (New York), le Musée Juif (New York), Le Musée d'Israël (Jérusalem), pour ne citer qu'eux. Elle a été invitée et oratrice lors de nombreuses conférences et de programmes universitaires, dont "the Whitney Museum Seminar series", "the Digital Flaherty Seminar", "Art Pace annual panel", "ACM Multimedia"," The Performance Studies International conference" (PSI), "The Society for Literature, Science", and "the Arts conference" (SLSA) et autres.

Lieselot everaert
Catalogue : 2018sans titre | Doc. expérimental | mp4 | couleur | 13:0 | Belgique | 2018
Lieselot everaert
sans titre
Doc. expérimental | mp4 | couleur | 13:0 | Belgique | 2018

Untitled is a documentary in which four actors are waiting. While waiting in silence, their presence raises questions about the border between reality and fiction.

Lieselot Everaert (Bruges, 1993) is a Belgian filmmaker based in Ghent. She is currently finishing her Master of Fine Arts at KASK School of Arts in Ghent.

Kevin everson
Catalogue : 2007emergency needs | Film expérimental | 16mm | couleur | 7:0 | USA | 2007
Kevin everson
emergency needs
Film expérimental | 16mm | couleur | 7:0 | USA | 2007

Commandé par le festival du film de Rotterdam de 2007 en hommage à l'oeuvre de Gus Van Sant, "Emergency Needs", réalisé par Jerome Everson, est une réinterprétation sous forme de pastiche d'un événement de l'histoire afro-américaine: les émeutes de Cleveland de 1968. En utilisant à la fois des séquences d'archives et des images originales, le film déconstruit la chaîne d'événements dans laquelle est pris le maire Carl Stokes. Assailli de questions par la presse locale et nationale, Stokes lutte pour garder la face. L'actrice qui incarne Stokes reproduit ses mots, sa façon de s'exprimer et ses gestes, dirigeant le film vers la fiction / reconstitution historique. Comme dans d'autres oeuvres d'Everson, les histoires de la diaspora africaine sont réexaminées de façon à révéler des stratégies et des rythmes de travail. Les séquences d'archives de la conférence de presse et des émeutes révèlent un homme engagé dans l'art politicien, quelque chose se rapprochant du jeu d'acteur. Les séquences originales avec l'actrice récréant la conférence de presse en split screen ajoutent une qualité répétitive, étrangement Warholienne, à l'oeuvre.


Kevin Jerome Everson est né à Mansfield Ohio, où il a grandi. Il est réalisateur et artiste visuel. Son oeuvre étudie les conditions, les tâches, les gestes des communautés de travailleurs noirs. Il enseigne actuellement à l'université de Virginie, Charlottesville. Everson est diplômé de l'université de l'Ohio et de l'université d'Akron. Il a réalisé deux longs- métrages salués par la critique et plus de quatante courts- métrages couronnés de prix. En 2006, il a été élu par Filmamaker Magazine comme l'un des vingt-cinq nouveaux visages les plus importants du cinéma indépendant. En 2005, son premier long- métrage "Spicebush", une enquête sur les rythmes de travail et le passage du temps dans les communautés de travailleurs noirs, a été montré pour la première fois au festival international du film de Rotterdam et remporté le prix du jury du meilleur documentaire au festival du film underground de New York. "Cinammon" (2006) a été découvert au festival du film de Sundance et au festival de Rotterdam, ainsi que dans d'autres festivals internationaux. Avec sa compagnie Trich Arts, Everson développe actuellement deux projets de longs- métrages avec la productrice Madeleine Molyneaux de Pictures Palace Pictures, dont "The Golden Age of Fish" (en post-production), une étude scientifique sur la culture de consommation à la fois meurtrière et suicidaire, et le biopic expérimental "Rhino", sur les vies et mythes entourant le Duc de Florence du XVIe siècle Alessandro della Medici, né d'une servante africaine, et sur l'actrice afro-américaine Gail Fisher ("Mannix"). Everson développe également "Lowndes County", en collaboration avec la dramaturge Talaya Delaney, sur une communauté d'adolescents noirs dans les années 50, au Mississippi, à la veille de la déségrégation de l'école. Ses photos, sculptures et films ont été montrés à travers le monde, au MOMA de New York, au Whitney Museum of American Art, au Cleveland Museum of Art, au Studio Museum de Harlem, au Armand Hammer Museum de Los Angeles, au REDCAT (L.A.), au Palm Beach Institute of Contemporary Art, à la William Busta Gallery de Cleveland, Ohio, à la Spaces Gallery de Cleveland, à la Whitechapel Gallery de Londres, l'American Academy de Rome, en Italie, en France, en Chine et en Allemagne. Ses films ont été présentés au festival de Sundance en 1998, 2000, 2003, 2004, 2006, au festival de Rotterdam en 2003, 2005, 2006, au Festival International du Documentaire de Marseille, au Munich International, au Cinematexas, au Ann Arbor Film Festival, au LA Film Festival, au New York Underground Film Festival, à l'International Center of the Arts de Londres, à la New School of Social Research, au Black Maria Film Festival (meilleur film 2004), à l'Athens International Film Festival, au Shorts International de New York, au Siskel Theater de Chicago, au Virginia Film Festival de Charlottesville, à l'université de Floride Centrale, à l'université de Princeton, et au South by Southwest Film Festival (prix du meilleur film expérimental pour "Thermostat").

Kevin Jerome everson
Catalogue : 2014Workers Leaving the Job Site | Film expérimental | 16mm | couleur | 6:50 | USA | 2013
Kevin Jerome everson
Workers Leaving the Job Site
Film expérimental | 16mm | couleur | 6:50 | USA | 2013

Workers Leaving the Job Site is another take on the Lumiere Brothers classic 1895 film. Shot in Columbus, Mississippi, the hometown of the filmmaker's parents.

Kevin Jerome Everson (b.1965) was born and raised in Mansfield, Ohio. He has a MFA from Ohio University and a BFA from the University of Akron. He is currently a Professor of Art at the University of Virginia, Charlottesville. Everson was awarded the prestigious 2012 Alpert Award for Film/Video and was the subject in spring 2012 of a mid-career retrospective at Visions du Reel, Nyon Switzerland, a solo exhibition at the Whitney Museum of American Art in 2011 and a retrospective at Centre Pompidou in 2009. He is slated for a solo exhibition at the Cleveland’s MoCA in late 2014. His films have screened at 10 consecutive IFFR editions, since 2005. His artwork--paintings, sculptures, and photographs--and films, including six features (Spicebush, 2005; Cinnamon, 2006; The Golden Age of Fish, 2008; Erie, 2010; Quality Control, 2011; The Island of St. Matthews, 2013) and over 100 short form works, have been exhibited internationally. From April-September 2011, a solo exhibition of 17 short form works, More Than That: Films of Kevin Jerome Everson, was featured at the Whitney Museum of American Art. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011. The feature film Quality Control (2011) was included in the 2012 Whitney Biennial and the short Emergency Needs (2007) in the 2008 Whitney Biennial. Everson has received numerous fellowships and academic awards including the Guggenheim, NEA, American Academy Rome Prize, and grants and residences from Creative Capital, Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony.

Catalogue : 2014Tygers | Film expérimental | 16mm | noir et blanc | 2:0 | USA | 2014
Kevin Jerome everson
Tygers
Film expérimental | 16mm | noir et blanc | 2:0 | USA | 2014

Tygers (2014) is a glance at the fancy moves by the Mansfield Senior High football team in Mansfield, Ohio, the alma mater of the filmmaker.

Kevin Jerome Everson: Filmmaker Biography Kevin Jerome Everson (b.1965) was born and raised in Mansfield, Ohio. He has a MFA from Ohio University and a BFA from the University of Akron. He is currently a Professor of Art at the University of Virginia, Charlottesville. Everson was awarded the prestigious 2012 Alpert Award for Film/Video and was the subject in spring 2012 of a mid-career retrospective at Visions du Reel, Nyon Switzerland, a solo exhibition at the Whitney Museum of American Art in 2011 and a retrospective at Centre Pompidou in 2009. He is slated for a solo exhibition at the Cleveland’s MoCA in late 2014. His films have screened at 10 consecutive IFFR editions, since 2005. His artwork--paintings, sculptures, and photographs--and films, including six features (Spicebush, 2005; Cinnamon, 2006; The Golden Age of Fish, 2008; Erie, 2010; Quality Control, 2011; The Island of St. Matthews, 2013) and over 100 short form works, have been exhibited internationally. From April-September 2011, a solo exhibition of 17 short form works, More Than That: Films of Kevin Jerome Everson, was featured at the Whitney Museum of American Art. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011. The feature film Quality Control (2011) was included in the 2012 Whitney Biennial and the short Emergency Needs (2007) in the 2008 Whitney Biennial. Everson has received numerous fellowships and academic awards including the Guggenheim, NEA, American Academy Rome Prize, and grants and residences from Creative Capital, Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony.

Nir evron
Catalogue : 2009Oriental Arch | Art vidéo | | couleur | 18:0 | Israel | 2009
Nir evron
Oriental Arch
Art vidéo | | couleur | 18:0 | Israel | 2009

The video was shot at the "Seven Arches" hotel in East Jerusalem. Built in 1962 by the Royal Jordanian family, it hosted the first meeting of the P.L.O (Palestinian Liberation Organization) in 1964 and the first signing of the Palestinian charter. Currently managed by Israel`s ministry of justice - department of missing person`s property, its almost empty all-year. The hotel is kept in a state of near death where employees and tourists seem like ghosts. The video follows the hotel`s spaces and halls for 24 hours, focusing on the futile actions of the staff, expecting arrivals that never come.

Nir Evron Born 25/7/1974, Herzeliya, Israel Lives and works in Tel Aviv, Israel Tel: (00-972) 0544576028 E-Mail: nir_evron@yahoo.com Education: 2005 MFA Fine Art Media Department, Slade School of Fine Art, UCL, London 2001 BFA Photography and Media Department, Bezalel Academy for Art, Jerusalem 1999 Ecole Nationale Superieure Des Beaux-Arts, Paris (Atelier Jean-Marc Bustamante) Solo Exhibitions: 2008 Generator, The Artists` Studios Gallery, Tel Aviv 2007 Serpentine, The Artists` Studios Gallery, Tel Aviv 2006 Herzelia Museum of Contemporary Art, Herzeliya, Israel (curator: Dalia Levin) 2003 Schwartz, The Photographers Gallery, Bezalel Academy, Jerusalem Group Exhibitions and Screenings: 2009 The 2nd Herzeliya Biennial, Israel (Curated by Picnic Magazine) Our Time, Small Box 28, Centro Hospilatar Psiquiatrico de Lisboa, Lisbon, Portugal Zulu, Nahum Gutman Museum, Tel Aviv (Curator: Tali Tamir) (Catalogue) Hidden Secrets, The Jerusalem Film Festival, Israel (curator: Galit Eilat) Echoes Of Time And Place, The Jerusalem Cinematheque. The Age Of A Different Re-Action, Galerie Davide Gallo, Berlin, Germany 2008 Pulse Miami Contemporary Art Fair, Miami, USA Europa Neurotisch, Petersburg Project Space, Amsterdam, Holland Overcast & Flowers, D&A Gallery, Tel Aviv Visits To (Some)Where, BWA Gallery, Zielona Gora, Poland (curator: Adi Englman) Untamed Paradises, MARCO Vigo & CAAC Sevilla, Spain (curator: Virginia Torrente) The Prize Winners 2007, Haifa Museum of Art (Catalogue) Click-Clack, University of Haifa, The Art Gallery (Catalogue) (curator: Ruti Direktor) Snap-Shot, Ramle Art Gallery, Ramle, Israel Vergescapes, Tivom Memorial Center Gallery, Tivon, Israel. 2007 Passage, Video Art screening at the Artistsʼ Studios Gallery, Tel Aviv 2006 The Third Generation, Minshar Gallery, Tel Aviv We Are So Much Better Than This, Studio 27, San Fransisco. USA The Impossible Landscape, UMASS Gallery, Amherst, USA (curator: Mark Godfrey) VideoZone 3. The International Video-Art Biennial in Tel Aviv, Israel Black-Implication Flooding, Colony Gallery, Birmingham, U.K Cortisane - Short Film, Video and New Media Festival, Ghent, Belgium Athens Video Art Festival, Greece 2004 SNAP! Diorama Gallery, London 2003 Artik 5, Ramat Gan Museum of Art, Israel 2002 Florocent 5, Florocent Gallery, Tel Aviv Collapse, Bezalel Gallery, Tel Aviv. Awards and Scholarships: 2008 The Tel Aviv Museum ʻSam Givonʼ Prize for Young Artist. Video Art Fund, Center For Contemporary Art, Tel Aviv, Israel 2007 Israel`s Minister Of Culture Prize for Young Artist, 2005 Video Art Fund, Center For Contemporary Art, Tel Aviv, Israel 2005 Project Award, Slade School of Fine Art, London 2004 The Thomas Scholarship, Slade School of Fine Art 2003 America Israel Cultural Foundation Award for Young Artist Collections: Amos Schocken `Haaretz` Publishing Group Collection Private Collections - Tel Aviv Private Collection - Zurich Teaching: 2005-Present The Photography Department, Minshar Art School, Tel Aviv 2007-Present The Photography Department, Bezalel Academy of Art, Jerusalem, Israel 2009-Present Hamidrasha School of Art and Education, Beit Berl, Israel

Catalogue : 2011A Free Moment | Film expérimental | 35mm | noir et blanc | 4:0 | Israel | 2011
Nir evron
A Free Moment
Film expérimental | 35mm | noir et blanc | 4:0 | Israel | 2011

" A Free Moment was made in Tell el-Full in Jerusalem. The site, which before 1967 was in Jordan, had been chosen as the location for King Hussein?s summer palace. The framework of the palace was constructed before the occupation of East Jerusalem after the Six Day War and it remains a kind of ruin to this day. Evron gained access to the site and eventually determined to make a film within the building with a camera which would simultaneously perform three operations: it would pan in a 360 degree circle; it would tilt in another 360 degree circle, and it would undertake these two motions while traveling along a dolly track on a north-south axis. In other words, the camera would exhaust the repertoire of its mechanical motions and ?see? everything possible around it. The film also would last four minutes, being the length of one 400 foot film cartridge. In order to make this work, Evron worked with technical advisors to construct a track within the shell of the abandoned 1967 palace, and to programme the motions of the camera. The resulting film begins simply enough, with a view over Jerusalem. It is a view from a summit, and one we associate with notions of control and ownership ? the kind of view that we could well expect a king to enjoy from a palace. We would not be surprised if this view were accompanied or followed by a panoramic movement, so that the landscape all around was surveyed, but as Evron?s camera begins its journey, a completely unfamiliar motion begins since the camera starts looking up and around while moving backwards. Soon enough it points towards the rough concrete blocks of the floor above it, which, because of the way they are filmed, seem to lose their material identity. It seems as if we are looking down at a strange landscape, rather than upwards at rough breezeblocks. A few seconds later, the initial viewpoint out to the city reappears, but this time it is inverted. As the camera continues its backwards journey, it begins to record the track on which it is moving and the floor beneath the track, another rough surface that appears like a desert or lunar surface. Eventually the motion stops with a return to the orientation with which the film opens. ‏Evron?s film relates to the late 1960s in more ways than the date of the palace: this was the moment of structuralist film, when artists such as Michael Snow, Anthony McCall, Paul Sharits and others began to interrogate the apparatus of cinema, looking at the nature of a zoom or panning movement, the conical shape of a projected film, and the material properties of celluloid. A Free Moment is deeply indebted to this legacy and throughout the film, however unworldly the motion of the camera, Evron emphasizes the construction that has to be in place for this motion to occur: the camera necessarily records the track along which it moves, and even the mechanism between it and the track. But what is much more interesting than its structuralist credentials is the way Evron deploys these formal ideas in order to re-imagine the site in which he works. Through its elaborate structures, the film produces another way of seeing and thinking about the space in which it is set. We are not invited to ?see? Jerusalem as the Jordanian king once hoped to see it, nor as many Israelis now hope to see it, panning around a ?united Jerusalem?, all of which is hoped will remain under Israeli control. Instead, we are invited to loosen our ways of looking at architecture and landscape, to turn our way of looking on its head. The invitation and utopianism of this work is the idea that this way of looking might mean thinking about the city and its future in completely new ways. " excerpt from a text by Mark Godfrey

Nir Evron, born 1974 is a video artist and film maker. He graduated from the Bezelel Academy of Art and Design in Jerusalem in 2001 and completed a MFA degree at The Slade School of Art in London in 2005. Since then he exhibited extensively in Europe and Israel. He participated in the 2010 Berlin Biennale, The Jerusalem Film Festival (2011) where he won The Ostrovsky Family Fund Award for his piece `A Free Moment`. His solo Show `Here-Afrer` at the Tel Aviv Center for Contemporary Art was received with critical acclaim. His video works and film were purchased by museums and private collections, among them The Israel Museum, Jerusalem, The Tel Aviv Museum and The Zabludovicz Collection, London. He teaches video art at the Bezalel Academy and Hamidrasha College.

Ali eyal
Catalogue : 2018 | Fiction | 0 | | 14:3 | Iraq | Liban | 2017
Ali eyal
Fiction | 0 | | 14:3 | Iraq | Liban | 2017

`Tonight’s programme` toys with history to construct a new realm in between, merging Duke Ellington’s 1963 performance at Khuld hall in Baghdad with Saddam’s bloody coup in the same space 16 years later. Eyal creates a fictional space to provide a different history and a different world for those victims in the hall, a gate of annunaki through which the dead and lost can reclaim their place. “Don’t let anyone kill your daughter in the underworld. don’t let your precious metal be alloyed with the dirt of the underworld. don’t let your precious lapis lazuli be split there with the mason’s stone. don’t let your boxwood be chopped up there with the carpenter’s wood.” – Words by inana of the underworld, the land of no return.

Ali Eyal`s (b. Baghdad, 1994) work spans across different media. He holds an undergraduate degree from the Institute of Fine Arts in Baghdad. His work explores the complex relationships between community and politics using different media such as video, photography and painting, in order to examine social attitudes, particularly in the context of Baghdad and Iraq. Eyal has exhibited in several group shows in Baghdad, Egypt, Lebanon, USA, Greece, and Cuba, among others.

Simo ezoubeiri
Catalogue : 2015Ladder | Fiction | hdv | couleur | 7:26 | Maroc | 2015
Simo ezoubeiri
Ladder
Fiction | hdv | couleur | 7:26 | Maroc | 2015

After living together for more than thirty year, a woman decided to leave her husband suddenly. The man sits in grieve contemplating what’s next as he looks back.

After his fellowship at the prestigious LaRochelle Film Festival in 2002, Simo Ezoubeiri directed two short films ( Terrace & Under the table) that both became an international artistic hits, being widely screened in Santa Monica Art Center in Barcelona, LaSala Una in Roma and chosen as the best film of the month by videoart.net editor in New York. In 2007, Simo moved to live and work in Chicago and directed a short thriller “Popcorn” that received The Second Best award by Chicago Filmmakers. Between 2009 and 2014, Simo received wide acclaim for his film trilogy (The Daily Show, Inner Marrakech and A Day in Life). These projects were a representation of artistic themes on experimental films particularly his portrayals of the Marrakech he knows and loves. In June 2015, He wrote, edited and directed his first narrative film “Ladder”. The film has already received accolades in accomplished film festivals such as les Inattendus Film Festival in Lyon, Wiper Film festival in New York and Goldensun festival in Malta.

Mélissa faivre
Catalogue : 2016Song for Being Alone | Vidéo | hdv | couleur | 6:26 | France | Pays-Bas | 2014
Mélissa faivre
Song for Being Alone
Vidéo | hdv | couleur | 6:26 | France | Pays-Bas | 2014

Song for Being Alone is a one shot video-performance where sounds and images are brought together within a physical place- no digital editing technique was used. In this space-related performance the sound builds up subtly along a mysterious corridor. The camera discovers this rather unusual place but also plays the role of the listener. The path it follows activate and pass by the sound. Space and distance create a unique sound piece - bounding together both mediums of sound and video in a unique perceptive experience.

Mélissa Faivre, born 1989 in France, is an experimental video artist based in Berlin. Her contemplative and mesmerising work seeks to provoke questions on the nature of perception. Exploring notions of movement, repetition, performance and memory, she creates images that present blended and distorted realities that seek to test the temporal and spatial co-ordinates foundational to the perceptive experience. Mélissa’s videos demand an active viewer prepared to engage with the images she presents. Guided by aspects of performance and action, her films reject easily apparent and conventional narrative structures in favour of a visual-poetic experience in itself.

Bojan fajfric
Catalogue : 2011Theta Rhythm | Fiction expérimentale | hdcam | couleur | 17:0 | Slovénie | Pays-Bas | 2010
Bojan fajfric
Theta Rhythm
Fiction expérimentale | hdcam | couleur | 17:0 | Slovénie | Pays-Bas | 2010

On September 24th 1987, the Serbian League of Communists in the former Yugoslavia held its 8th Session. The 8th Session was a meeting in which Slobodan Milosević won a significant vote over his main political rivals on his rise to power. The whole event was broadcast live on Yugoslav television. The 8th Session was an historical turning point, starting an era of ethnic conflict which ultimately lead to the break-up of Yugoslavia . Theta Rhythm is a meticulous reconstruction of that day, from the perspective of one of the administrators of the 8th Session, Mirko Fajfrić. Mirko is interpreted by his son Bojan Fajfrić, the director of this film.

Bojan Fajfrić was born in 1976, in Belgrade, Yugoslavia. His professional development has not been linked to Yugoslavia, which he left in 1995, when he went to study visual arts in the Netherlands. He graduated from the Royal Academy in The Hague and was the resident of the Rijks Academy in Amsterdam. However, in his works he has always referred to the country he grew up in, its political inheritance, as well as other social circumstances. His work presents a certain way of looking at history, one which stands at the intersection of personal memories, collective historical consciousness and the inevitable course of events. He uses mostly video installations as a form of expression. His works have been exhibited in many art galleries/spaces and museums: the Salon of the Museum of Contemporary Art, Belgrade; the Tirana Contemporary Art Biennial; De Appel, Amsterdam; MUHKA, Antwerp; Tim Van Laere Gallery, Antwerp; ARCUS, Japan; Spaport, Banja Luka, October Salon, Belgrade. Film Theta Rhythm was shown at the International Film Festival Rotterdam, International Short Film Festival Oberhausen, Seoul international NewMedia Festival, Viennale-International Film Festival Vienna, Human Rights Film Festival PRAVO LJUDSKI Sarajevo, Noordelijk Film Festival Leeuwarden, Impakt Festival Utrecht and Film Institute Netherlands.

Ivan faktor
Catalogue : 2009DAS LIED IST AUS | Doc. expérimental | dv | couleur | 18:0 | Croatie | 2008
Ivan faktor
DAS LIED IST AUS
Doc. expérimental | dv | couleur | 18:0 | Croatie | 2008

``He has no coherent idea of himself, but all that he remembers is somehow connected to the city, although he has never lived, nor was born in the city, nor did he die in the city, or anybody else, as far as he knows. `` (Georgio Manganelli) Documentary scenes of wartime Osijek and a sound recording of Fritz Lang`s M create a macabre portrait of the city devastated by irrational forces and an invisible killer.

Born in Crnac (Croatia) in 1953. He is working on experimental film, photography, video, and video-installations. From 1975 to 1977 he was the editor of The Film-lovers panel in Osijek, than went on to direct film program of the Students` Centre (1981-1988), and since 1992 he has been the editor of the film program of Osijek Cinema. He has been shooting films and video works since 1975. Since 1979, he has regularly participated in conceptualist activities and exhibitions, held video and film performances, built installations and made multimedia presentations. In 1995, he participated at the Venice Biennale (A Case/At Home2), and in 2002, he represented Croatia at the 25th biennale in Sao Paolo. He won numerous awards, including the Grand Prix at 11th Days of Croatian film, the 2002 "Vladimir Nazor" award, and the Grand Prix of the 39th Zagreb salon in 2005. He was the founder and manager of the "Kazamat" gallery in Osijek (2001-2004) and organizer of the Performans art festival since 2001. Lives and works in Osijek.

Catalogue : 2009Kangaroo court | Vidéo | dv | couleur et n&b | 7:40 | Croatie | 2007
Ivan faktor
Kangaroo court
Vidéo | dv | couleur et n&b | 7:40 | Croatie | 2007

Kangaroo Court is the second part of the multimedia reconstruction of the sequence from Fritz Lang`s famous movie M (1931), which began with the photographic replica of the scene of the illegal trial of the psychopathic murder in Berlin underground. In the first phase, the Berlin half world was revived by two hundred costumed actors, rounded up in a devastated former Zagreb factory. Two film cameramen kept a look out on the process of their costumed retro-initiation to Lang`s universe, which was in the film ?reconstruction of reconstruction? additionally underlined by the counter-point of documentary material and fragments from the sound track with dialogues from M.

Born in Crnac (Croatia) in 1953. He is working on experimental film, photography, video, and video-installations. From 1975 to 1977 he was the editor of The Film-lovers panel in Osijek, than went on to direct film program of the Students` Centre (1981-1988), and since 1992 he has been the editor of the film program of Osijek Cinema. He has been shooting films and video works since 1975. Since 1979, he has regularly participated in conceptualist activities and exhibitions, held video and film performances, built installations and made multimedia presentations. In 1995, he participated at the Venice Biennale (A Casa/At Home2), and in 2002, he represented Croatia at the 25th biennale in Sao Paolo. He won numerous awards, including the Grand Prix at 11th Days of Croatian film, the 2002 "Vladimir Nazor" award, and the Grand Prix of the 39th Zagreb salon in 2005. He was the founder and manager of the "Kazamat" gallery in Osijek (2001-2004) and organizer of the Performans art festival since 2001. He lives and works in Osijek.

Ivan faktor
Catalogue : 2010PUSTARA | Film expérimental | betaSP | couleur | 26:0 | Croatie | 2010
Ivan faktor
PUSTARA
Film expérimental | betaSP | couleur | 26:0 | Croatie | 2010

?Pusta? or wasteland (aftre the Hungarian word ?puszta?), designates a spacious, level steppe in Hungary; it is a spacious, lever terrain which is not worked, but used for raising livestock, horses and pigs in the open. The puszta is a form of organised, planned, collective habitation, specific to Hungary, Slavonia and Baranja, constructed in 18th and 19th centuries on the nedless Slavonian plains owned by well-to-do aristocratic families. The wasteland was always inhabited by those who had no land, settlers, rstless spirits, wanderers unable to stay in one place, but there were those who stayed in the wasteland for generations. The film was shot by hand-held camera, and is all in subjective takes. The main ?character? in the film is light. Light reveals characters and objects, without care for the composition of the shot ou using artificial lighting. Simultaneously with the shooting of the refraction of light, the spreading ? ringing of sound is recorded. And the most important ? silence, because in the wasteland, on that ?island? with no visiable boundary between the sky and the eart, in that prison with no fences, silence is louder than the noise of any city.

Faktor was born in Crnac, Slavonia, in 1953. He deals with experimental film, photography, video and video installations. He has shot films and subsequenly videos ever since 1975. Since 1979 he has taken part in conceptualist actions and exhibitions, film and video performances, mounted installations and done multimedia shows. In 1995 he took part at the 46th Venice Biennale (A Casa/At Home 2) and in 2002 was representative of Croatia at the 25th Biennial in Sao Paolo. He has won numerous prizes and awards, including the Grand Prix at the 11th Croatian Film Days, 2002, the annual Vladimir Nazor Prize for film, 2002, and the Grand Prix of the 39th Zagreb Salon, 2005. From 1975 to 1977 he was the editor of the panel of the Film Lovers Club in Osijek; from 1981 he ran the film programme at the Student Centre, and from 1992 to 2006 was the editor of the film programme of Osijek Cinematography. He is the founder of the Kazamat Gallery in Osijek and managed it from 2001 to 2004, and has run the Performance Art Festival since 2001. Since 2001 he has been the director of Osijek?s City Galleries. He lives and works in Osijek.

Mahmoud farag
Catalogue : 201104-02-2011 | Vidéo expérimentale | hdcam | couleur | 5:0 | Egypte | 2011
Mahmoud farag
04-02-2011
Vidéo expérimentale | hdcam | couleur | 5:0 | Egypte | 2011

Synopsis: Les coups sur la porte ne révélaient pas ce qui se cachait derrière... J`aurais souhaité être mort, mourir entre leurs mains, avant que la peur ait raison de moi.


My name is Mahmud Farag, I am 28 years old, from Alexadria, Egypt. In 2005 I graduated from the faculty of Education in Arabic Language and Education at Al-Azhar University in Cairo. My interest in cinema started when I was a teenager but as a student in Al Azhar school I was not allowed to study cinema. So, in these years I cultivated my passion for cinema by reading and watching movies, and attending workshops (Script writing workshop at French Cultural Centre in Alexandria, 2004). In 2005 I made my first digital video experiment, which is film Fabrica, based on the debut poetry collection Bel-Amsy Faqadtu Zirran (Yesterday I Lost A Button) written by the Alexandrian poet Tamer Fathy (Sharqyat, Cairo, 2005) In 2006 I wrote and directed the film Kurras Kharayt (Blank Note), which tells about the inner thoughts of an intellectual, his relation with girl-friend and his friends, and his inner conflict with himself and the society.Both the films are mini-dv, their duration is 15 minutes and have been shown in Cairo and Alexandria in the Cinema Cultural centre, Syndicate of Journalists and at the Indipendent Film Cairo Festival. In 2006 I enrolled the High Cinema Institute and I obtained my second degree in Scriptwriting and Cinema Studies in 2010. During this four year study period I wrote and directed some documentaries (Nubat Sahyan (Sudden wake) and Al-dar darak (The center is yours). I also wrote scripts for the graduation movies of some students from the direction department in the academy. My last scriptwriting work is "Pale Red", which has been awarded with many prizes inside and outside Egypt ( Best short film prize for in Alexandria International Film Festival (2010) - Best short film prize in Carthage Film Festival, Tunis (2010) - Best short film prize in Kazan International Film Festival, Russia (2010)- Best film in the Independent film festival at the French Cultural Centre in Cairo, 2011). In the last year I also worked as Assistant Script-writer of Dr. Rafiq El-Sabban for the next-coming film As-Samt (The silence) and for the next-coming series Akhir Ayyam Ghrnata (The last days of Granada). This year, I also had a very interesting experience from my work as assistant with two photographers. The first one wanted to meet the new generation of the revolution, the youth of the new Cairo. My second work was about the families of the martyrs of the revolutio. Beside my interest in cinema, I also have a passion for visual arts. Painting, to me, is the unloading extra energy process, and the teacher of patience. Later I started making pieces of arts from old garments and unused plastic pieces. In May 2010, I was awarded the best painting prize in the ?Funny Nature? artistic competition organized by the association L?Arbre des égrégores, Paris, France.

Antonello faretta
Catalogue : 2007Just say no to family values | Vidéo expérimentale | dv | couleur | 4:37 | Italie | 2006
Antonello faretta
Just say no to family values
Vidéo expérimentale | dv | couleur | 4:37 | Italie | 2006

John Giorno (né en 1936), poète de la beat generation, récite passionément son poème «Just say no to family values» (1995). Il essaye avec une grande détermination de persuader son auditeur de profiter de la vie au maximum de son potentiel, et de ne pas se satisfaire avec moins. Dans les mots de Giorno, cela donne : « Le tabac est une substance sacrée pour certains, donc même si vous avez arrêté, faites preuve d?un peu de respect. L?alcool est complètement génial, célébrons les glorieuses vertus de la pinaille, et j?ai passé un bon moment avec toi. » Cependant, ses mots sont perdus pour la frêle petite femme qui regarde distraitement ce poète gesticulant, cet étranger. Elle est assise en face de son habitat décrépi, le rideau voguant de temps à autre au gré du vent. Dans ses vêtements dernier cri, Giorno est comme un cheveu dans la soupe au milieu de ce décor simple. La femme et le petit hameau de Tursi représentent précisément tous ces standards et valeurs qui devraient être, pour Giorno, évacués avec l?eau du bain. La région de Basilicata, où se situe Tursi, est sa terre d?origine: ce poète italo-américain qui a fait partie de la scène underground des années 60, jouait le premier rôle dans Sleep, d?Andy Warhol (1963), et fréquentait des personnes comme William S. Burroughs. John Giorno se donna pour mission d?amener la poésie parmi les gens dans l?esprit de la production de masse. Les images lucides d?Antonello Faretta nous montrent sans équivoque que la passion de Giorno pour la poésie est toujours bien vivante.


Antonello Faretta est né en 1973 à Potenza. Il est photographe, réalisateur et producteur. Il a collaboré avec des réalisateurs comme Abbas Kiarostami, Marco Bellochio, Saverio Costanzo, Giacomo Campiotti, Peter del Monte, Babak Payami. Il travaille également pour la Rai, Sat Arte et T9. Il réalise de nombreux films, parmi lesquels Lei lo Sa, Da Dove Vengono le Storie, Il vento, la Terra, Il Grasso sulle mani, 20Venti, Silenced Thoughts, et Just Say No to family values. Ses oeuvres ont été montrées dans de nombreux festivals, chaînes de télévision, galeries et musées de part le monde, et ont reçu de prestigieus prix. En 2002, Antonello Faretta fonde une production indépendante, Noeltan Film, qui produit ses propres oeuvres comme celles de jeunes artistes internationaux : presque 40 films ont été ainsi produits jusqu?à ce jour. En 2004, il fonde l?Atelier del Cinema di Potenza et le festival international du film de Poteza dont il est le directeur, et pour lequel il a reçu en 2006 le prestigieux Targa per Meriti Culturali du Président italien Giorgio Napolitano.

Nooshin farhid
Catalogue : 2011Ellipsis | Fiction expérimentale | dv | couleur et n&b | 9:0 | Royaume-Uni | 2010
Nooshin farhid
Ellipsis
Fiction expérimentale | dv | couleur et n&b | 9:0 | Royaume-Uni | 2010

Ellipsis is part of a trilogy called Conic Trilogy, based on an island called Orford Ness off the Suffolk coast. This small island has been the site of a number of activities over the years which touch upon the political and includes scientific research, espionage, international communications, military equipment testing as well as being a First World War prison camp. In making this video work Farhid implemented a mathematical concept based on a geometry of surfaces and curves: Ellipse (from Greek åëëåéøéó meaning ?to come short?). can also be described as the intersection of a plane with a conic surface when the inclination of the plane to the base of the cone comes short of the inclination of sides to the base. Ellipse through its Greek etymology, also has non geo-mathematical characteristics, ?Ellipsis? refers to: ?missing words in a sentence? which would be needed to complete the grammatical construction or fully to express the sense. Conceptually the video takes the form of a set of fragmented narratives, an eclectic mix of images drawn from a range of different sources and collaged together to make a coherent but inconclusive whole. Whilst images filmed on Orford Ness constitute the main structure these are as it were glimpses of the islands usage , its surveillance equipment, idiosyncratic architecture and ground markings where once secret military equipment was tested. Added to this are a range of images that refer to the act of leaving, escaping, migration and transience perhaps a reference to the instability of what might appear as fixed, stable and even autocratic

Nooshin Farhid was born in Tehran, Iran and now lives and works in London. She came to the UK as a political refugee. She has been involved in a number of exhibitions, film festivals and screenings of her video works internationally. Her work is primarily concerned with the moving image, which takes the form of single screen works, installations, interventions and animation. Her video works whilst employing different subjects and scenarios have a connecting thread, a commonality, namely there is a certain kind of agitation, a restlessness and a deliberate disjuncture that ruptures the familiar trajectory of the traditional narrative. This agitation and an unwillingness to settle for what is ?on offer? (this is the way things are) reflects upon the current state of things socially, politically and ideologically. This work continually picks away at those familiar stabilising forces that we encounter on a daily basis both within the social space of the everyday and also within the domain of contemporary art itself. Farhid?s work is eclectic and conceptually nomadic, she uses the camera as a visual notebook collecting fragments of encounters, events and chance meetings. At the same time she appropriates that form of ?making dumb?, the popular media ? soaps, reality TV, Bollywood, MTV. This raw material is savagely and uncompromisingly edited and undergoes a form of post production, collaged fragments are welded together, each one activating and qualifying its predecessor. It is within this approach to her work that her radical position is to be found, her deliberate lack of regard for status, image hierarchy and historical continuity allows for an essentially tangential trajectory to her subject matter.

Catalogue : 2010Conic study 2 | Art vidéo | dv | noir et blanc | 2:30 | Royaume-Uni | 2010
Nooshin farhid
Conic study 2
Art vidéo | dv | noir et blanc | 2:30 | Royaume-Uni | 2010

Conic Trilogy Study 2 explores the idea of machinery through its rhythmical and continuous production processes, the early association with a human being is quickly supplanted by the power and energy of the heavy machine. Filmed in black and white there is a poetic quality to the images which is added to and emphasized through the early slowing down of the movement. The viewer is lured into this sense of the ?romance? of the machine and its potential for endless production and the efficiency to manage that production without human interference. However the outcome of this reliance on the mechanical is answered in the latter part of the film. This is a powerfully metaphorical work that relates to contemporary political systems and movements.

Nooshin Farhid was born in Tehran, Iran and lives in London. She has been involved in a number of exhibitions, screenings and festivals both nationally and internationally. Nooshin Farhid?s video works whilst employing different subjects and scenarios have a connecting thread, a commonality, namely there is a certain kind of agitation, a restlessness, a sense of things not being right. This agitation and an unwillingness to settle for what is ?on offer? ( this is the way things are ), reflects upon the current state of things socially, politically and ideologically. Though not overtly political, for such a strategy inevitably enables privileged authority to manipulate the artist into the cul de sac of irrelevance, this work continually picks away at those familiar stabilising forces we encounter on a daily basis both within the social space of the everyday but also within the domain of contemporary art itself. Farhid?s work is eclectic and conceptually nomadic, she uses the camera as a visual notebook collecting fragments of encounters, events, chance meetings that collectively question the incessant drive towards normality and conformity through the pressure of state surveillance.

Catalogue : 2009CRISS CROSS | Vidéo | dv | couleur | 7:30 | Royaume-Uni | 2009
Nooshin farhid
CRISS CROSS
Vidéo | dv | couleur | 7:30 | Royaume-Uni | 2009

Criss Cross opens with a single image of a parked car lit only by a street light, although this ?minimal? scene is countered by the imposition of redness, infa red or night vision. This opening image in many ways sets the agenda for what is to follow, the colour red coupled with the overpowering element of water, a double saturation both literally and metaphorically. Criss Cross appropriates images from particular areas of media representation, the video takes genres that would appear to come from areas that might be generally referred to as ?low life? or an underworld of sexual exploitation and criminality. What follows from the opening sequence is a series of image clips, fragments, as if wrenched from more prolonged narrative sources, these visual fragmented elements have in common the night, what goes on in the night, what goes on in the ?after dark?. There is an almost subterranean quality to the series of rolling images, cars being broken into, sex chat line conversations, clandestine meetings in dark streets, empty car parks as sites of secret exchange and the imposing sounds and images of law enforcement, however the latter seem only on the periphery of this darkness.

Nooshin Farhid was born in Tehran, Iran and lives in London, she has been involved in a number of exhibitions, screenings and festivals internationally. She also co curated a number of exhibitions including ?Use this kind of Sky? which manifests as gallery show, video installation, radio broadcast, film/video screening and publication (www.nooshinfarhid.com). Nooshin Farhid?s video works whilst employing different subjects and scenarios have a connecting thread, a commonality, namely there is a certain kind of agitation, a restlessness, a sense of things not being right. This agitation and an unwillingness to settle for what is ?on offer? ( this is the way things are ), reflects upon the current state of things socially, politically and ideologically. This work continually picks away at those familiar stabilising forces we encounter on a daily basis both within the social space of the everyday but also within the domain of contemporary art itself. Farhid?s work is eclectic and conceptually nomadic, she uses the camera as a visual notebook collecting fragments of encounters, events, chance meetings that collectively question the incessant drive towards normality and conformity through the pressure of state surveillance. At the same time she appropriates that other form of ?making dumb? the popular media ? soaps, reality TV, Bollywood, MTV. This raw material is savagely and uncompromisingly edited and undergoes a form of post production, collaged fragments are welded together, each one activating and qualifying its predecessor. This process produces a contemporary surreal space that re-presents the familiar into that which is astonishing and invites the viewer to reconsider.

Catalogue : 2008Sleepwalker | Art vidéo | dv | couleur | 6:0 | Royaume-Uni | 2008
Nooshin farhid
Sleepwalker
Art vidéo | dv | couleur | 6:0 | Royaume-Uni | 2008

« Sleepwalker » se concentre sur un unique personnage, un jeune homme que l?on voit errer dans des espaces urbains banals, apparemment à la dérive, sans aucun but et seul. Toutefois, cette errance fait rapidement place à la prise de conscience qu?il existe un courant sous-jacent d?une autre sorte d?espace psychologique. Le jeune homme commence à étudier son environnement, en touchant les choses, en testant leurs surfaces comme s?il n?était plus certain de leur stabilité matérielle, comme si elles contenaient quelque de chose de menaçant à son égard. Ce faisant, il déclenche un autre type de réalité qui peut être vue comme un flash-back, comme le souvenir d?expériences antérieures ou comme une certaine forme de névrose. Ces images menaçantes, filmées à travers un filtre bleu, proposent un espace liminal de paranoïa, d'anxiété, ou peut-être de fantasmes ; s?instaure alors, de façon progressive mais insistante, une fracturation et un flou entre la notion de réalité et l?espace de la psychose, comme si les règles du jeu qui déterminent notre compréhension du fonctionnement des choses étaient en train d?être brisées.


Les vidéos de Nooshin Farhid s?approprient différentes situations narratives et genres cinématographiques, en les re-présentant dans des scénarios nouveaux et dérangeants. Son point de départ est souvent l'ordinaire, le banal ou le culturellement familier. Elle observe attentivement ces événements banals, en les isolant et en les montant de telle façon qu'il existe une interaction entre la lucidité et la raison, l'obsession et la folie. Structurellement, ces vidéos apparaissent souvent fragmentées et incohérentes. La reconnaissance d?un genre cinématographique est perturbée, de manière à éviter continuellement la sécurité d?un territoire narratif familier, ce qui ne permet donc pas au spectateur de contrôler pleinement ce qu?il est en train d?éprouver. Mais, tout au long de ce voyage « schizophrène », une certaine logique du sens trace son chemin à travers la complexité de l??uvre.

Harun farocki
Catalogue : 2007Respite | Documentaire | dv | noir et blanc | 40:0 | Allemagne | 2007
Harun farocki
Respite
Documentaire | dv | noir et blanc | 40:0 | Allemagne | 2007

"Respite" se déroule à Westerbork, un camp de transit des déportés vers Bergen-Belsen et Auschwitz. À la demande de l?officier SS Gemmeker, le Juif Allemand Breslauer a filmé avec une caméra 16mm un convoi en partance pour les camps de la mort, ainsi que des scènes de travail et de loisir.


Harun Farocki est né en 1944 à Neutitschein en Tchécoslovaquie alors annexée par l`Allemagne. De 1966 à 1968, il étudie à la Deutsche Film and Fernsehakademie de Berlin et est depuis cette date réalisateur freelance, de 1993 à 1999, il est lecteur à l'Université de Californie à Berkeley, depuis 2000 il enseigne à la Hochschule der Künste de Berlin au sein du département Média. Ses films abordent les notions de politique et de mass média à partir d'un travail d'archives, de recherches et de réflexions théoriques sur la société contemporaine. Harun Farocki vit et travaille à Berlin.

Catalogue : 2009Zum Vergleich | Documentaire | 16mm | couleur | 61:0 | Allemagne | 2009
Harun farocki
Zum Vergleich
Documentaire | 16mm | couleur | 61:0 | Allemagne | 2009

Harun farocki
Catalogue : 2005Counter Music | Doc. expérimental | dv | couleur et n&b | 25:0 | Allemagne | France | 2004
Harun farocki
Counter Music
Doc. expérimental | dv | couleur et n&b | 25:0 | Allemagne | France | 2004

"Aux ouvriers d?une société industrielle se substituent les technocrates issus de l?ère informatique. La vision de la gestion des moyens de transport est saisissante : les employés des années vingt s?occupant de la surveillance des transports ferroviaires sont remplacés par des caméras vidéos reliées à des centres où un personnel surveille les écrans et analyse la multitude d?images reçues. Prenant la suite de L?homme à la caméra, les images sans cameraman de Farocki témoignent d?un regard critique sur notre société, où le développement des moyens de communication génère des outils de surveillance toujours plus puissants et conduit à la négation de l?individu."


Harun Farocki est né en 1944 à Neutitschein en Tchécoslovaquie alors indexée par l`Allemagne. De 1966 à 1968, il étudie à la Deutsche Film and Fernsehakademie de Berlin et est depuis cette date réalisateur freelance, de 1993 à 1999, il est lecteur à l?Université de Californie à Berkeley, depuis 2000 il enseigne à la Hochschule der Künste de Berlin au sein du dépatement Média. Ces films abordent les notions de politique et de mass média à partir d?un travail d?archives, de recherches et de réflexions théoriques sur la société contemporaine. Harun Farocki vit et travaille à Berlin.