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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 
Tzu Nyen ho
Catalogue : 2007The Bohemian Rhapsody Project | Film expérimental | dv | couleur | 6:52 | Singapour | 2006
Tzu Nyen ho
The Bohemian Rhapsody Project
Film expérimental | dv | couleur | 6:52 | Singapour | 2006

Le "Bohemian Rhapsody Project" est entièrement basé sur les paroles de la chanson de Queen, "Bohemian Rhapsody", et tourné à la cour suprême de Singapour. Un garçon est accusé, et son coeur est brisé à la vue de sa "mama" en larmes. Au cours des mois de juin et juillet 2006, il a fallu quatre tours d'auditions pour le rôle du personnage principal. La chanson de Queen, écrite en 1975, remplace la structure de la chanson pop de base (couplet-refrain-couplet), par un jeu de rôle multiple et un mélange quasi schizophrénique de styles musicaux différents. Sur les nombreux professionnels et non professionnels auditionnés, 22 ont été invités à un dernier tour d'audition qui s'est tenu dans une ancienne salle d'audience de l'hôtel de ville. Etaient présents des spectateurs spécialement invités, 18 autres membres du casting, ainsi qu'une équipe de film. Sur ces 22 auditionnés, 21 ont été sélectionnés pour le film final, composé uniquement de ces images d'audition. Le film qui en résulte, découpé sur la durée exacte de la chanson (5mn 52), fonctionne en même temps comme enregistrement de cette audition. De plus, le film, qui oscille entre texte parlé et texte chanté, est un moyen de solliciter la mémoire musicale des spectateurs et d'encourager leur participation à un exercice de karaoké mental.

Born in Singapore, Ho Tzu Nyen is a visual artist and filmmaker. His first project was Utama - Every Name in History is I (2003), a film and installation that has been shown in art exhibitions and film festivals such as the 26th Sao Paulo Biennale (2004); the 3rd Fukuoka Asian Art Triennale (2005), before being presented as a performance lecture at KunstenFESTIVALdesArts (2006). In 2005, he scripted and directed 4 x 4 ? Episodes of Singapore Art, a unique hybrid of the art documentary, video essay and drama that was broadcasted over 4 weeks on a public television channel in Singapore. It was last shown at ZKM, Germany (2007). In 2006, he was commissioned by the inaugural Singapore Biennale to produce The Bohemian Rhapsody Project, a film that has since been shown in film festivals such as the 53rd International Short Film Festival Oberhausen, and the 30th Clermont-Ferrand Film Festival. In 2007, he completed a short film called Reflections, based on a 19th Century parable by Lafcadio Hearn, which was exhibited in Zendai Shanghai Museum of Modern Art and the National Gallery of Poznan. Reflections will be shown in 2008 at the 54th International Short Film Festival Oberhausen and the 8th Jeonju International Short Film Festival. He is now making his first feature film, Here. In 2006/2007, he conceptualized and wrote the first and second parts of King Lear ? The Avoidance of Love, a live audition / film shoot / lecture / theatre performance, which he co-directed with Fran Borgia.

Sin Tung ho
Catalogue : 2012Folie à deux | Doc. expérimental | dv | couleur | 73:0 | Hong Kong | 2011
Sin Tung ho
Folie à deux
Doc. expérimental | dv | couleur | 73:0 | Hong Kong | 2011

Ho Sin Tung?s Folie à deux, shows a sequence of 17 people reading a passage with their back to the camera - from a book they have chosen themselves, at different indoor and outdoor locations in Hong Kong, the mainland China and Macau. This deceptively simple video, however, has a psychological tension reflected in its title, folie à deux, a term describing ?a condition in which symptoms of a mental disorder, such as the same delusional beliefs or ideas, occur simultaneously in two individuals who share a close relationship or association.? In the video, the intimate relationship is between the reader and the on-looking viewer of her video, the audience. Each reading situation becomes an almost confessional as the read passage reflects an intimate and potentially embarrassing part of the personality or ?soul? of the reader. The viewer is drawn into the readers? spoken passage, its significance, its meanings, and each reader?s viewpoint appreciated, possibly even absorbed by the viewer.

Ho Sin Tung was born in Hong Kong in 1986, and graduated from the Fine Arts Department of Chinese University in Hong Kong in 2008.  Ho`s recent work predominantly uses pencil, graphite and watercolour in combination with found and ready-made images - such as stickers, maps, charts, rubber-stamps and timelines. These are reinterpreted to narrate stories of places, relationships and periods of time often within a considered, objective historical setting.

 Apart from painting, ho also do writing, installation and video work. Her work uses a lot of literature and cinema references. "Folie à deux" is an obvious combination of both themes.

Wei-ming ho
Catalogue : 2014Over my dead country | Vidéo | hdv | couleur et n&b | 11:11 | Taiwan | 2013
Wei-ming ho
Over my dead country
Vidéo | hdv | couleur et n&b | 11:11 | Taiwan | 2013

Is this the 100th anniversary celebration of a country or a prediction of doom, the last rays of a sun that is setting beneath the shadow of threats? Mixing the firework display and the self-immolation of freedom fighters, this work not only presents visual paradoxes but also re-visits the ghosts of history. Fusing tragedy and celebration, it reflects concerns about media monopolies and the current situation of the country. A historical process, repetition or an ending – what will be revealed through the flames?

Wei-Ming Ho was born in Taipei, Taiwan as a visual artist and filmmaker. He works across the fields of experimental film, video installation and media art. His works have been presented in cinemas and also in artistic contexts such as Museo Nacional Centro de Arte Reina Sofia, Egyptian Theater in Hollywood, National Taiwan Museum of Fine Arts and numerous art & film festivals in 40 countries.

Do hoang
Catalogue : 2014Tôi muốn rao lên | Fiction expérimentale | hdv | noir et blanc | 20:0 | Viet nam | 2014
Do hoang
Tôi muốn rao lên
Fiction expérimentale | hdv | noir et blanc | 20:0 | Viet nam | 2014

The movie is about traces, disintegration, and the feeling of being adrift. Two people are in love with each other through the tangible objects. The film opens with a break-in and several stolen objects. A sense of losing traces, filled with shadows of violence and unexpectedness is provoked, foreseeing a disintegrated future. In theanxious space remained an old cloth - a hidden, humble and sensitive trace. The story tells the journey of the old cloth with the Man – the Woman and the Anonym, challenging their sensitive and hard-to-identify existences.

DO VAN HOANG 26/6/1987 Director, Screenplay, Actor Mobile: + 84(0)1668606403 Email: EDUCATION Documentary and Experimental Film-making Course, Hanoi DOCLAB, Goethe Institute, 2010-2011 Faculty Cinema, The HaNoi Academy of Theatre & Cinema, 2007-2011

Jan hoeft
Catalogue : 2014Exit Strategies | Vidéo | hdv | couleur | 18:0 | Allemagne | 2014
Jan hoeft
Exit Strategies
Vidéo | hdv | couleur | 18:0 | Allemagne | 2014

In Exit Strategies an endless sequence of industrial fire escapes is shown. While somebody tells us how his life would change in case of a disaster, we see more and more examples of architecture that prepares us for the worst.

Jan Hoeft (b. 1981) is a visual artist based in Cologne. He was a researcher at the Jan Van Eyck Academy Maastricht in 2013/14. He is a graduate of the Academy of Media Arts Cologne and the Karlsruhe Institute of Technology.

Philippine hoegen
Catalogue : 2014Arena | Vidéo | dv | couleur | 65:0 | Pays-Bas | 2014
Philippine hoegen
Vidéo | dv | couleur | 65:0 | Pays-Bas | 2014

Arena is part of an on-going examination into the nature of display, and the ways in which objects and bodies are made to perform, through their display. The material for this work was shot at the Mission Museum of Steyl near Venlo in The Netherlands. The museum holds a collection of animals and artifacts that were collected by missionaries from the Steyl Monastery during their travels all over the world in the 19th and early 20th centuries. The museum was built specially to house the collection and its display has never been changed since it was first installed in the 1930’s and it uniquely reveals and exemplifies the perceptions and views of its time, many of which persist in the present. The animals’ bodies, stuffed and stiffly set in eternal grimaces, growls and howls, are made to perform these perceptions, ideas and ideologies that are projected upon them. The film is made of slow vertical pans that map the entire collection. The camera’s position is close up; skin fur and feathers take equal attention, as do painted backdrops, stones and attributes. As we stand before the projection, larger than life, of these animals, what becomes unclear and what is questioned is: Who is displaying what and for whom? Who is looking at whom?

Philippine Hoegen lives and works in Brussels and Amsterdam. Her work consists of installations and performance. She is currently a participant of apass artistic research program in Brussels and tutor of visual art at AKV St Joost Academy for Visual Art, Breda/Den Bosch, NL. With Carolien Stikker she runs BREW, a space in Brussels, which organises and hosts events in the field of contemporary art. She is founder and board member of Calcite Revolt, a transnational platform of exchange for artists, curators, critics and theoreticians, and with Banu Cennetoglu she conceived, produced and edited Bent, a series of artists’ books from Turkey. Recent projects, presentations and performances include: 2014 Kunstallmend (Transnational Art Commons: collective on-going project), Bern Biennial, Bern CH; Masist Gül by Banu Cennetoglu and Philippine Hoegen, KunstraumLakeside, Klagenfurt AT; 2013 Performative lecture Exterior Monologue followed by a workshop, University of Art and Design, Cluj-Napoca, RO; Exhibition; Exhibition and public discussions Adaptations, with Banu Cennetloglu, The Collective Gallery, Edinburgh SCO. Recent publications include: 2013 ‘Going Underground”, review by P. Hoegen and S. van Stein on the Sarajevo Biennale, Metropolis M online, April 2013, Kunstwordtterugkunst, Cahier for Contemporary Art, (artist’s contribution). 2012 Mutualisms Proximity Edition, magazine for contemporary art and culture, Public Media Institute, Chicago, artist’s contribution P. Hoegen and C. Stikker.

Catalogue : 2018Crossed Wires | Doc. expérimental | hdv | couleur | 23:44 | Pays-Bas | Belgique | 2018
Philippine hoegen
Crossed Wires
Doc. expérimental | hdv | couleur | 23:44 | Pays-Bas | Belgique | 2018

This document is an exploration of the Belgian art scene. It shows a series of conversations, with an informal, subjective mapping of the scene as a backdrop. In the conversations, questions are approached through the specificity of peoples' own trajectories: their practical, artistic or social paths, how such trajectories shaped certain practices and how these practices connect to the biotope of the art scene within its contemporary societal and political context. In preparation of the film numerous people were asked the question which persons, places or practices are important for them. We asked every interlocutor to suggest new interlocutors, so that every conversation generated new conversations. We let ourselves be guided by the suggestions we received, resulting finally in a varied assortment of interviewees. The notes for the informal preparatory conversations became the set for the film: they were drawn up on the walls, creating a haphazard, subjective mapping. The set functions as a performative space, as the interviewees are immersed in this unruly apparatus which they begin to correct, add on to, disagree with and debate

Philippine Hoegen is an artist living in Brussels. Her multi-stranded practice engages with issues of objectness and personhood, through the notion of versioning: How we create different versions of ourselves, the processes and technologies we use for that and what the existence of those multiple versions means for our understanding of self. Her work consists primarily of performance and performative interventions or events. She is researcher at CARADT, Avans University, NL; teacher at AKV St Joost, Breda and on an irregular basis mentor at apass, Brussels. Recent activities include: "Being as Becoming", a residency / exhibition and collaborative research project at Onomatopee, Eindhoven (2018); "Ventriloquists III", solo performance, at Plymouth University in the SAR conference Artistic Research Will Eat Itself and at the University of Twente in the conference Narrative Matters (2018); "Crossed Wires", a film commissioned by and launched at Art Brussels (2018); "The Many Machine", a performative collaborative event at AKV St Joost, Breda (2018). Recent publications include: "Ventriloquists III", a contribution to Proceedings 9th SAR Conference: Artistic Research Will Eat Itself (2018); "Body of Books: The BAS Collection", essay on the artists' run space BAS in Istanbul, published by Collectorspace, Inc, New York/Istanbul (2017).

Peter hoffmann
Catalogue : 2011La dernière année | Doc. expérimental | 16mm | noir et blanc | 78:0 | Allemagne | France | 2010
Peter hoffmann
La dernière année
Doc. expérimental | 16mm | noir et blanc | 78:0 | Allemagne | France | 2010

Gerard holthuis
Catalogue : 2005Careless Reef: 1. preface | Film expérimental | 16mm | noir et blanc | 3:50 | Pays-bas | 2004
Gerard holthuis
Careless Reef: 1. preface
Film expérimental | 16mm | noir et blanc | 3:50 | Pays-bas | 2004

"Preface" est un film sur notre vision des choses. Que voit-on dans un visage, et comment nous décodons ce que nous voyons. En introduction à "Careless reef", 6 films sur le monde sous la surface.

Gerard Holthuis est un cinéaste indépendant.

Barbara holub
Catalogue : 2008Make News Instead of | 0 | dv | couleur | 22:0 | Allemagne | Autriche | 2008
Barbara holub
Make News Instead of
0 | dv | couleur | 22:0 | Allemagne | Autriche | 2008

La double projection vidéo « Make news instead of » est basée sur la double projection diapositive d?une exposition de l?artiste, « More Opportunities », à l?Arts Center de Plymouth (Royaume-Uni) en 2007- 2008. Cette ?uvre traite de la question de la transformation de la ville de Plymouth, comme un exemple de changement d?une ville industrielle mise au service de l'économie, dans le contexte de la mondialisation. Il traite du changement d?identité rapide et radical d'une ville et ses habitants, dans un docu-fiction réalisé à partir du collage de matériaux divers, notamment « A Voyage to the Bottom of the Sea », film de Science-fiction de Irwin Allend (1961), un film-documentaire en 16 millimètres sur la grève du chantier naval de Plymouth du Southwest Filmarchive Plymouth (1969), « The Way We Live », documentaire de Jill Craigie sur l?architecte Abercrombie (1946), ou « More Opportunities », une manifestation mise en scène de Barbara Holub (2007).

Parallèlement à son travail d'artiste, la carrière de Barbara Holub comprend notamment la Présidence de la Sécession de Vienne depuis 2006-2007. De 2004-2007, elle a été membre du Comité d'Art Public de Basse-Autriche. En 1999, elle a créé la compagnie d'architecture et d'urbanisme Transparadiso, avec son associé Paul Rajakovics. Leur travail expérimental reflète l'architecture et le développement urbain dans le contexte des questions posées par la mondialisation, en même temps qu?il développe de nouveaux outils pour ce que Transparadiso appelle l?« urbanisme direct ». Parmi les récentes expositions de Barbara Holub, signalons notamment « This is a Gallery and a Gallery is Many Things » à l?Eastside Projects de Birmingham (Royaume-Uni), « Orientierungen » au Regionale 08 de Styria, « Periscope Elevator » à Amsterdam/Ijburg (Pays-Bas), « Ganz nah so fern » à Vienne (en collaboration avec Grita Insam Gallery), ou « More Opportunities » à l?Austrian Cultural Forum du London Festival of Architecture.

Heidrun holzfeind
Catalogue : 2009Friday Market | Installation vidéo | betaSP | couleur | 8:0 | Autriche | Egypte | 2008
Heidrun holzfeind
Friday Market
Installation vidéo | betaSP | couleur | 8:0 | Autriche | Egypte | 2008

LONG SHOT: In one long shot the camera travels along the section of Cairo?s Friday market that is set up on railroad tracks. Here, framed by the highway and the Al-Imam As Safi?i cemetery, every Friday locals and vendors from all over the city offer their products for sale, set up on tables or spread on the ground. The camera moves at a steady, slow paste along the tracks, like a train passing a closed down station. The people inhabiting the market ? the sellers and buyers, and the people living at its edge become the protagonist of the film, collapsing the borders between performance, documentary and fiction film. The slow paste of the shot allows the viewer?s attention to oscillate between the market in the foreground ? the goods for sale, the dynamics between sellers and buyers, and the many (informal) architectural layers of the housing area and cemetery directly behind. I am equally interested in the complex and multilayered architectural constructions as in the informal economy of the market. The range of products for sale questions our western concepts of what holds value, and the very notion and definition of a ?product? in itself: What we easily label as trash - useless or broken parts - are being recycled and offered for sale, a sign not only of desperation and economic need, but also of faith in the creativity of the buyer to find a possible new use for these items. MAKING-OF: The making-of documents the film shoot during the course of the day (from 6 am to the early afternoon when rain and a sandstorm hit the market) and offers glimpses into the socioeconomic context of the market, the location and its inhabitants through close ups of sellers, buyers and products, and short interviews with locals.

Heidrun Holzfeind studied at the Academy of Fine Arts in Vienna and at Cooper Union in New York. She lives and works in New York. solo exhibitions include CCA, Ujazdowski Castle, Warsaw (2010); De Vleeshal, Middelburg, The Netherlands (2009); Sala de Arte Público Siqueiros in Mexico City (2008), Galerie im Taxispalais, Innsbruck (2007); Lado b, MUCA Museum Mexico City (2005), Artists Space (project room), New York (2005), W139 in Amsterdam (2004) Recent group shows and screenings include CASM, Barcelona; Manifesta7, Trentino; Photocairo4, Cairo; MOMA, New York; Zendai Art Museum, Shanghai; Goethe Institute Dublin; OK Centrum Linz, Austria; Grazer Kunstverein; Festival der Regionen 2007; Exit Art, New York; Architecture Museum Basel; Salzburger Kunstverein, Austria; Bronx Museum of the Arts, New York; Swiss Institute New York; BAK Utrecht, and others. Festivals include European Media Arts Festival, Osnabruck; Assim Vivemos Festival Brazil, Rio de Janero & Brasília; Duisburger Filmwoche, Germany;
 Diagonale, Graz, Austria; Impakt Festival, Utrecht; Transmediale Festival Berlin; Videoart Center Tokyo; SKIF Festival, St. Petersburg; SNIFF Int. Short Filmfestival, Novo Mesto, Slovenia, and others.

Kerstin honeit
Catalogue : 2017My Castle Your Castle | Doc. expérimental | hdv | couleur | 14:47 | Allemagne | 2017
Kerstin honeit
My Castle Your Castle
Doc. expérimental | hdv | couleur | 14:47 | Allemagne | 2017

my castle your castle Set up as a somewhat retro TV talk show my castle your castle operates from within the skeleton of the Prussian castle that is currently being re-built in the center of Berlin. Erected on the foundations of the dismantled GDR parliament building called Palace of the Republic, the castle is not only an imperialist architectural remake, in its future function as exhibition space for the “ Ethnographic Collections ” of Berlins National Museums it literally embodies Germany’s legacies of colonial violence. The video engages with the building site as a stage for the material and social construction “ as well as the queer contestation ” of “ nation ” and (white) “ masculinity”: Interviewed by a talk show host over a piece of cake from porcelain dishes with reproductions of the castle and its disappeared counterpart, two construction workers evoke an opaque third in a language of structural matter. Peter Friedrich had supervised the construction (1973-76) of the Palast der Republik, and Gunter Teichert worked as the head of its deconstruction (2006-08). In the matter of fact conversation between the “ makers of the palace ”, their body of work “ in other words architecture, political representation, memory ” disintegrates in the builder’s jargon. However, the material and machinic vocabulary of construction site itself resonates the massive urban reconstructions, redistributions of properties and redefinitions of political meaning through architecture that have followed the disappearance of state socialisms in Europe. This vocabulary is emphasized and queered in short interludes to the talk show in which the talk show host, who is performed by the artist Kerstin Honeit herself incorporating elements of drag, appears sitting on a huge excavating machine or between metal poles that stabilize casts for concrete. (Text by Suza Husse)

Kerstin Honeit was born in Berlin, where she still lives and works. She studied Fine Art and Theatre Design at the Kunsthochschule Weissensee in Berlin. Since 2014 Honeit has been teaching at the Kunsthochschule Kassel (künstlerische Mitarbeiterin, class of Bjørn Melhus). Using video works, performance and installations in her artistic research, Honeit examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms. Her recent work has been shown at Berlinische Galerie - Museum of Modern Art, Haohaus Taipei, Stuttgarter Filmwinter - Festival for Expanded Media, Bärenzwinger Berlin, SixtyEight Art Institute Copenhagen, Kunstverein Leipzig, International Short Film Festival Oberhausen, Arsenal - Institut für Film u. Videokunst Berlin, Monitoring Dokumentarfilm- u. Videofest Kassel, Neuer Berliner Kunstverein, Videonale.15 Kunstmuseum Bonn, Les Complices* Zurich, Gallery 400 Chicago, CCNY New York, Site Gallery Sheffield.

Catalogue : 2018PANDA MOONWALK or WHY MENG MENG WALKS BACKWARDS | Doc. expérimental | 4k | | 8:0 | Allemagne | 2018
Kerstin honeit
Doc. expérimental | 4k | | 8:0 | Allemagne | 2018

Since 2017 the Giant Panda Bears Meng Meng and Jiao Qing have been hired out to the Berlin Zoo from China to attract more visitors and to therefore increase profit. Unfortunately for the Berlin Zoo this advertising campaign did not work out as planned - in fact it worked backwards. Meng Meng, the female Panda will only walk backwards - probably protesting the fact that she is kept in captivity and in a totally different continent from her origins. But instead of rethinking the problematic concepts of zoos in general, international media is taking on a different debate: blaming Meng Meng’s behavior on the fact that she has not bred yet and is just looking for attention. Kerstin Honeit’s video aligns Meng Meng’s protest with other performances of protesting bodies using movement in public space to address grievances.

Kerstin Honeit studied fine arts and stage design at the Berlin Weissensee School of Art. She has been teaching at Kunsthochschule Kassel since 2014. Using video works, performance an d installations in her artistic research, Honeit examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms. Most recently, her works were shown at Off Biennale Cairo (2018); Videoart at Midnight, Berlin (2018); Moscow Museum of Modern Art (2018); La Centrale, Montreal (2018); Bärenzwinger, Berlin (2018); Schwules Museum, Berlin (2018); Rencontres Internationales Paris / Berlin (2018); International Short Film Festival Oberhausen (2017); Berlinische Galerie (2017); SixtyEight Art Institute, Copenhagen (2017).

Jun-yuan hong
Mike hoolboom
Catalogue : 20183 Dreams of Horses | Vidéo | 16mm | couleur et n&b | 5:30 | Canada | 0 | 2018
Mike hoolboom
3 Dreams of Horses
Vidéo | 16mm | couleur et n&b | 5:30 | Canada | 0 | 2018

Film is made out of gelatin that comes from horses. They’re waiting to be slaughtered, so that pictures can be made.

Mike Hoolboom is a Canadian media artist and writer.

Mike hoolboom
Catalogue : 2007Fascination | Vidéo expérimentale | dv | couleur et n&b | 70:0 | Canada | 2006
Mike hoolboom
Vidéo expérimentale | dv | couleur et n&b | 70:0 | Canada | 2006

Artiste majeur de la scène canadienne des années 70, Collin Campbell, maître du "drag" dans ses vidéos, était un provocateur du genre. Bien plus qu`un simple portrait d`un artiste et de son époque, le film est une réflexion captivante sur le désir d`images et sur l`emprise qu`exercent celles-ci. Mike Hoolboom cinéaste expérimental prolifique et passionnant nous livre ici un film à la narration innovante et d`une exceptionnelle beauté. Mais "Fascination" est avant tout un film sur vous...

Mike Hoolbloom est un vidéaste et réalisateur canadien, souvent considéré comme l'un des réalisateurs expérimentaux les plus talentueux de sa génération. Il est l'auteur de deux livres : "Plague Years" (1998) et "Fringe Film in Canada" (2001). Co-fondateur du collectif de programmation Pleasure Dome, il a été directeur artistique du Images Festival et coordinateur de la section cinéma expérimental du Canadian Filmmakers Distribution Centre. Il a remporté plus de trente récompenses internationales. Ses ?uvres ont notamment été présentées au Musée d'Art Moderne, au Centre Pompidou et dans des festivals majeurs. Neuf retrospectives lui ont été consacrées, la dernière à Buenos Aires.

Mike hoolboom
Catalogue : 2005Public lighting | Doc. expérimental | dv | couleur et n&b | 76:0 | Canada | 2004
Mike hoolboom
Public lighting
Doc. expérimental | dv | couleur et n&b | 76:0 | Canada | 2004

« Public Lighting est une méditation sur la photographie et la création d'images, qui peuvent capturer, remplacer nos expériences, et leur survivre. Le film est divisé en 7 parties. Chaque chapitre est une étude de cas, de différents types de personnalités identifiés par le jeune auteur, qui nous guide dans le prologue. Le premier, homme gay, nous emmène faire la tournée des bars et des restaurants, où il a vécu des ruptures amoureuses. Il nous raconte sur le mode ironique ses histoires avec ses ex amants. Un hommage à Philipp Glass est suivi, de manière plutôt incongrue, par Hey Madonna, lettre de confession adressée à la chanteuse par l'un de ses fans, séropositif. Amy célèbre un autre anniversaire, mais avoue qu?elle n?a aucun souvenir de ce qu?elle voit à la télévision. Ceci dit, au moins elle a une caméra : "Je prends des images non pour m?aider à me souvenir, mais pour enregistrer mes oublis" . Hiro vit sa vie à distance, et s'aventure rarement au-delà de l'objectif. Un jeune mannequin anxieux raconte des événements poignants de son passé. Peu de réalisateurs se réapproprient le footage de manière aussi forte : à la fois drôles et incisives, ces images nous ramènent à des parties de nous-mêmes. Le travail récent de Mike Hoolboom a une telle empathie avec la condition humaine qu'il nous parle directement au c?ur. » Mark Webber, London film festival

Mike Hoolboom vit et travaille à Toronto, vidéaste et cinéaste, il a aussi écrit plusieurs livres, dont Plague Years en 1998, et Fringe Film in Canada en 2001. Il est membre fondateur du collectif Pleasure Dome, et a travaillé comme directeur artistique de l?Images Festival et dans le comité de direction de Canadian Filmmakers Distribution, pour le cinéma expérimental. Son travail a été montré notamment au festival de Berlin, de Rotterdam, de Locarno. Il a eu plusieurs rétrospectives dans huit grandes villes européennes.

Catalogue : 2015Scrapbook | Doc. expérimental | 16mm | noir et blanc | 18:0 | Canada | 2015
Mike hoolboom
Doc. expérimental | 16mm | noir et blanc | 18:0 | Canada | 2015

Lensed in Ohio’s Broadview Developmental Center in 1967 by secret camera genius and audio visual healer Jeffrey Paull, Scrapbook tells the story of audacious autistic Donna Washington in her own words, as she encounters pictures of one of her former selves fifty years later.

Born: Korean War, the pill, hydrogen bomb, playboy mansion. 1980s: Film emulsion fetish and diary salvos. Schooling at the Funnel: collective avant-geek cine utopia. 1990s: experimentalist features, transgressive psychodramas, questions of nationalism. 2000s: Seroconversion cyborg (life after death), film-to-video transcode: feature-length-found-footage bios. Fringe media archaeologist: copyleft author 7 books, co/editor 12 books. Curator: 30 programs + Occasional employments: artistic director Images Fest, fringe distribution Canadian Filmmakers. 80 film/vids, most redacted. 10 features. 70 awards, 15 international retrospectives. 3 lifetime achievement awards.

Catalogue : 2017Nursing history | Film expérimental | hdv | noir et blanc | 4:0 | Canada | 2017
Mike hoolboom
Nursing history
Film expérimental | hdv | noir et blanc | 4:0 | Canada | 2017


Mike Hoolboom is a Canadian artist working in film and video. He has made over eighty films and videos, though most have been withdrawn from circulation, approximately a dozen remain on view. His work has appeared in over four hundred festivals, garnering thirty awards. He has been granted the Tom Berner Award for community service and two lifetime achievement awards, the first from the city of Toronto, and the second from the Mediawave Festival in Hungary. He has enjoyed retrospectives of his work at the Images Festival (Toronto), Visions du Reel (Switzerland), Xenix (Switzerland), Cork International Festival (Ireland), Cinema de Balie (Amsterdam), Mediawave Festival (Hungary), Impakt Festival (Holland), Vila do Conde Festival (Portugal), Jihlava Documentary Festival (Czech Republic), Stuttgarter Filmwinter (Germany), Musée des Beaux-Arts de Caen (France), Sixpack Film (Vienna), the Buenos Aires International Festival (Argentina), Pacific Cinematheque (Canada) and A Million Different Loves Festival in Poland.

Mike hoolboom
Catalogue : 2016Spectator | Film expérimental | super8 | couleur | 6:0 | Canada | 2017
Mike hoolboom
Film expérimental | super8 | couleur | 6:0 | Canada | 2017

Is it the oldest dream? Giving birth to my father. Shot on a single starry afternoon.

Mike Hoolboom is a Canadian media artist living in Toronto.

Devin horan
Catalogue : 2010BOUNDARY | Doc. expérimental | dv | couleur | 16:46 | USA | Lettonie | 2009
Devin horan
Doc. expérimental | dv | couleur | 16:46 | USA | Lettonie | 2009

Set among an isolated community in a remote landscape near the Russian border, BOUNDARY evokes a space of ambiguity, a psychogeography, an absence of personal histories. It is the first installment in a tetralogy of films based on a statement by Sadeq Hedayat: ?In life it is possible to become angelic, human, or animal. I have become none of these things.?

Born 1982 in the United States. Graduated in Art History from Columbia University in New York City. Worked for Lithuanian film-maker Sharunas Bartas on the film Eastern Drift (Indigene d`Eurasie) as a camera assistant. BOUNDARY is his first film.

Catalogue : 2011Late and Deep | Fiction expérimentale | dv | couleur | 16:44 | USA | Norvège | 2011
Devin horan
Late and Deep
Fiction expérimentale | dv | couleur | 16:44 | USA | Norvège | 2011

Dark north. Beneath an expanse of sky, a night of flesh absorbed in fever.

Devin Horan was born 1982 in the United States. He got his diploma in Art History from Columbia University in New York City. He also worked for Lithuanian film-maker Sharunas Bartas on the film Eastern Drift as a camera assistant. ?Boundary? is his first film.

(la) horde
Taeko horigome
Catalogue : 2005Facing the dragon | Film expérimental | super8 | couleur | 3:10 | Japon | USA | 2004
Taeko horigome
Facing the dragon
Film expérimental | super8 | couleur | 3:10 | Japon | USA | 2004

Je devais trouver un moyen par lequel ma personnalité consciente et mon côté obscur (inconscient) pouvaient coexister à l'intérieur de moi. J'ai décidé de regarder au plus profond de moi et de projeter cette image de mon côté obscur pour que je puisse l'observer. Pour rendre visible ce qui ne l'est pas.

Milad hosseini-mozari
Catalogue : 2017Standing Nymph and Man | Doc. expérimental | 4k | couleur | 17:22 | USA | 2017
Milad hosseini-mozari
Standing Nymph and Man
Doc. expérimental | 4k | couleur | 17:22 | USA | 2017

In the film Standing Nymph with Man, the Fine Arts Building in Chicago is the protagonist rather than the subject. Originally designed by Spencer Beman in 1884 as a soundproof structure for the Studebaker Company (horse carts and automobiles), the building has for many years been home to artists` studios and services for classical music. This sonic history and presence is constantly evoked in the film`s soundtrack, which brings to the forefront the reverberant acoustic qualities of the building. Another invisible yet audible presence is the occasional voice of the building`s cleaning woman who relates her personal encounters with the building. Her voice is in counterpoint to the elevator operator`s whistling, a leitmotif in the soundtrack that we hear only in reflection, since we only ever see him from behind. This insistence on an invisible yet highly palpable acousmatic presence creates a rich sonic world that embraces the film`s visual mixture of live action footage and LIDAR animation. These visual techniques focus on the details of both the surfaces of the building`s interiors and its three-dimensional forms, tying the intimate upper floors to the first-floor theater, uniting surface, volume, material, reverberation, and resonance, and articulating historical traces that surpass subjects or authors. Anonymity, in fact, permeates both the building and the film, from the anonymous painting that gives the film its title, to the cleaning woman who chooses to remain anonymous in the film`s making, to the numerous lesser known musicians practicing their craft in private behind closed doors that nonetheless allow the seepage of their intermingling music into the resonant hallways of the building.

Milad Mozari’s work moves through concepts of music, belief systems, absence, and structures. His research-based practice often starts with sound or spatial experiments, which then attempt to resonate physically, historically, and experientially. While studying for his BS in International Studies at the University of Utah, he began to make and exhibit work about language and place. He continued his studies at the School of the Art Institute of Chicago, where he received an MFA in the Department of Sound. His work has shown internationally at the Hong Kong Arts Centre, International Symposium of Electronic Arts, Chicago International Film Festival, Litmus Community Space, Chicago Cultural Center, the Studebaker Theater, Roots & Culture and Experimental Sound Studio. Fellowships and residencies include Asian Cultural Council Grant to individuals, ACRE, Tsung-Yeh Artist Village and soundpocket. He currently lives in Chicago where he teaches at SAIC in the Department of Architecture, Interior Architecture, and Designed Objects.

Nadia & Laila hotait
Catalogue : 2015The Night between Ali and I | Vidéo | 4k | couleur | 9:5 | Espagne | Liban | 2015
Nadia & Laila hotait
The Night between Ali and I
Vidéo | 4k | couleur | 9:5 | Espagne | Liban | 2015

“The night between Ali and I”, is a fictional reenactment of one of the key events that happened in Lebanese and Levantine contemporary History: the highjack of 39 hostages at the Bank of America in Beirut, on October 18th, 1973. In this event four armed young fellows from the Lebanese Socialist Revolutionary Movement entered the bank, in Downtown Beirut, and asked from the authorities ten million dollars for the Arab fight against Imperialism in the region and the release of a few Arab political prisoners. They also requested that their demands and manifesto be published in the newspaper. The installation displayed as a tryptich with three main voices: Amer Farrough, one of the 4 men, Mariam, Ali’s sister and our own narration of the events. The images evoke in a particular way what happened during the night of the 26 hours that lasted the hijack but very much as we imagine things happen during the assault, and how the interaction between hostages and guerrilla gunmen in our view with a particular dance, a “deconstructed” dabke.

A collaboration between Nadia Hotait and Laila Hotait. Nadia Hotait is a multimedia artist that has exhibited her work at different international venues among others the Zolla/Lieberman gallery in Chicago, the Biennial of Young art in Moscow, Isabel Igancio Gallery in Seville and Digital Marrakesh. Nadia is recipient of INJUVE art award and the Generaciones 2015 art award and previously she was funded by LaCaixa to study at the School of the Art Institute of Chicago. She studied her BA in audiovisual Communications in between Complutense University in Madrid and Waseda University in Tokyo. Laila Hotait is a filmmaker and artist with a PHD in audiovisual communications as a Fulbright grantee she studied filmmaking at San Francisco State University and her first film, Crayons of Askalan which was supported by AFAC in association with Sundance Documentary Institute, the DFI and Screen Instittute Beirut has played in over twenty international festivals.