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Les Lois de Non-Conservation est un projet artistique et curatorial sur les questions de temporalité, d`émergence et d`obsolescence, dans le cadre des circuits de production-distribution-consommation du capitalisme de réseau. Il s`intéresse notamment aux processus de consommation de l`art sur différentes échelles de temps, des plus courtes aux plus longues, aux durées de vie des ?uvres, à leurs pannes, leur disparition, leur réincarnation... à l`intrication entre observabilité et usage, entre sacré et profane. Il scrute des phénomènes mal identifiés, qui sont dans un no man`s land entre la pérennité de l`objet et le caractère éphémère de la performance, entre la déchéance de l`aura et sa résurrection. http://www.cosmolalia.com/non-conservation-laws Le dispositif se développe parallèlement avec le projet ArtWar(e), collaboration entre Christophe Bruno et le philosophe Samuel Tronçon. Artwar(e) est une plate-forme de « gestion des risques artistiques » dont l`ambition est de reformuler l`histoire de l`art, les attitudes performatives et relationnelles, ainsi que les pratiques curatoriales, en utilisant des concepts récents issus du marketing, comme les « courbes de Hype ». Artwar(e) a été produit avec l`aide de LES CAPUCINS ? centre d?art contemporain (ville d?Embrun) www.lescapucins.org (direction artistique Caroline Engel) dans le cadre du projet européen SMIR (eSpaces Multimédia pour l?Innovation et la Recherche en production culturelle) / programme Alcotra. http://www.artwar-e.biz

Christophe Bruno vit et travaille à Paris. Son travail propose une réflexion critique sur les phénomènes de réseau et de globalisation dans les champs du langage et de l?image. Primé au Festival Ars Electronica en 2003 pour le Google Adwords Happening, une performance globale sur le « capitalisme sémantique », et au Share Festival à Turin pour Human Browser, il a aussi remporté le Prix ARCO nouveaux media 2007 de la Foire d?art contemporain de Madrid, avec son installation Internet Fascinum. Il est lauréat de deux aides du DICREAM (Ministère de la Culture et de la Communication - Centre National de la Cinématographie) en 2004 et 2006, pour ses projets Dreamlogs et Logo.Hallucination. A partir de mars 2011 il sera commissaire d`exposition pour l`espace virtuel du Jeu de Paume. Il partage son temps entre ses activités artistique et curatoriale, enseignement, conférences et publications. Ses ?uvres ont été présentées internationalement dans de nombreux festivals, musées, galeries et foires d?art contemporain : Jeu de Paume à Paris, ARCO Madrid, FIAC Paris, Biennale de Sydney, Palais de Tokyo à Paris, MOCA Taipei, Musée d?Art Moderne de la ville de Paris, New Museum of Contemporary Art à New-York, Rencontres Internationales Paris-Berlin-Madrid, Biennale d?Art Contemporain de Tirana, HMKV Dortmund, Diva Art Fair à New-York, ArtCologne, Share Festival à Turin, Transmediale à Berlin, Laboral Cyberspaces à Gijon, galerie Sollertis à Toulouse, Gallery West à La Haye, Vooruit Arts Center à Gent, ICC Tokyo, Nuit Blanche de Paris, File Festival à Sao Paulo, f.2004@shangai, ReJoyce Festival à Dublin, P0es1s.net à Berlin, Microwave Media Art Festival à Honk-Kong, Read_Me Festival à Dortmund et Aarhus, Vidarte Mexico City? http://www.christophebruno.com

Based on Xavier de Maistre’s “Voyage autour de ma chambre”, it has been entirely shot withing a single room working at its relation to the camera, seen as another enclosed space. Between the camera and the walls, between the lenses and the window, between the furniture and the room, between a rock and a hard place. Some of the texts printed on the film: "I hope that I have made a film, a method [procédé]. Blue is also a method. [...] Cinema? Yes, it's a method. Red is also a method." (Marcel Broodthaers, Cinéma, p. 66) « …a thousand agreeable visions float before my eyes. Yes, there is that mansion, that door, that staircase! I thrill with expectation. / In like manner the act of slicing a lemon gives you a foretaste that makes your mouth water. / Poor animal! Take care! » (Xavier de Maistre, A Journey Round my Room, chapter XLII, p. 152 )

Bruno Delgado Ramo (Sevilla, 1991) is an experimental filmmaker, researcher and architect. Both his artistic and academic work focuses mainly on the moving image. He describes his often interdisciplinary work as research that is grounded in artistic practice. Dealing with materialistic site-specific cinema and the spatial questions involved in it, he works from a wide understanding of cinematic language.

The film focuses on the formation and representation of ideology, the position of the intellectual, and forms of re-presentation, actualisation of historical complexities. Galindez departs from the theatre play El Señor Galindez, written by Argentine psychoanalyst, dramaturge and actor Eduardo Pavlovsky in 1972.

Born in 1978 in Argentina, Diego Bruno lives and works in Helsinki. He studied History of Art at the University of Buenos Aires, holds a BA in Fine Arts from the Escola Massana, Barcelona and an MFA in Fine Arts from the Finnish Academy of Fine Arts. Bruno’s work has been shown at Wiels Center for Contemporary Art, Brussels; Museum of Latin American Art, Buenos Aires; Centre d ́Art Santa Monica, Barcelona; Manifesta 08 Murcia; Hudson Valley Center for Contemporary Art, New York; Center for Contemporary Art Celje; Extra City, Antwerp; The Solo Project, Basel; Museum of Contemporary Art, Barcelona and Malmö Kunsthalle, among others.

On the outskirts of the small town of Gommern, a heath garden has been inviting visitors for a walk since 1996. This was once the site of Ernst Reindel's rendering plant, who executed numerous people as an executioner during the Nazi era. The insistent camera view shows images in the here and now, while a stoic narrative voice recites original documents from Ernst Reindel's biography. What do we remember? How do we commemorate? What remains? The term "Begehung" is ambiguous in German. The title can be understood as "Begehung eines Ortes" (site visit) as well as a term from jurisprudence: "Begehung eines Verbrechens" (committing a crime). Since a corresponding translation in English seemed insufficient, we decided to keep the German title as the international title.

Thomas Brück was born in Zapopan (Mexico) in 1988. He studied time-based arts at the Burg Giebichenstein University of Art and Design in Halle and media art and cinematography at the Havana University of the Arts in Cuba in 2017. After graduating, he completed the Professional Media Master Class for artistic documentary shortfilm at the Werkleitz Gesellschaft in 2022 and was recipient of the Graduate Scholarship of the State of Saxony-Anhalt. In his artistic and cinematic work, he deals with concepts and constructions of reality and identity as well as the relationship between objectivity and aesthetic illusion. He is currently developing his first feature-length documentary film about historical and contemporary narratives of the appocalypse as a speculative vision of the upcoming end of the world. Thomas Brück lives and works in Halle and Leipzig.

Images from the private sphere of the world wide web. "The video has been removed due to its inappropriate nature". (Sat, 03. Mar 2007 14:06:25 -0800, YouTube | Broadcast Yourself?)

Born in Münster, Germany, 1959. Studied in Freiburg, Rome and Berlin. Master degree Fine Arts at the Braunschweig School of Art in 1991. Experimental poems, texts, paintings, fotography, fotocopies, performances, installations and exhibitions since 1977. Over 60 experimental short films and videos since 1981, four feature films. Digital art in interactive media since 1995 (CD-ROM, DVD and internet). Film exhibitions at the Museum of Modern Art New York (1987, 1992 and 1999). Numerous international exhibitions and film / media art awards. Organisation of avantgarde and gay film events for museums, institutions and international film festivals. Publications on Super8 and Off-Off-Cinemas. Several guest lectures. Since 1990, workshops, project advising and apprenticeship counselling in the area of media production and film (e.g. at Beijing Normal University Zhuhai/China). Since 2006 Professor for Film/Video at Braunschweig University of Art. - The artist lives and works.

"quinze Queer Crossover: on a demandé à des cinéastes lesbiennes de Berlin de tourner un court film de contribution sur leurs représentations de l'amour et du sexe entre gays - et à l'inverse, des cinéastes gays devaient tourner un film court sur la sexualité ou l'érotisme entre lesbiennes. "Dans sa contribution BLUE BOX BLUES, Michael Brynntrup montre clairement la différence entre le gestus illusionnant d'une photographie et de processus de fabrication de celle-ci." Au moyen de la reconstitution du processus de création d'une photographie qui montre un couple de lesbiennes tendrement enlacées et suggère la confiance et l'intimité, Michael Brynntrup réussit à démasquer les modèles stéréotypés de perceptions sur lesquels revient la mise en scène: le message contenu dans la photo est en éclatant contraste avec la mise en scène de l'image,banale et fastidieuse, réalisée par de nombreuses personnes dans l'atmosphère stérile d'un studio Blue Box . Ainsi, BLUE BOX BLUES devient le moyen de montrer, dans une optique de critique des médias, une structure de marché qui incorpore des ensembles de sentiments dans un processus industriel de dévalorisation.

"Né en 1959 à Münster (Allemagne). Etudes d?histoire de l?art et de philosophie à Fribourg-en-Brisgau et à Rome. Vit à Berlin depuis 1982, études de cinéma à l?Ecole des Beaux Arts de Brunswick entre 1987 et 1991, cours dans une classe de maître en 1991. Divers genres artistiques et CopyArt depuis 1977. Plus d?une cinquantaine de films et vidéos (dont deux longs métrages) depuis 1981. Arts numériques avec supports interactifs depuis 1995 (CD-ROM et Internet). « Film exhibition » au Museum of Modern Art de New York (1987, 1992 et 1999). Diverses rétrospectives, nombreux prix pour ses films, organisation et présentation de collections de films expérimentaux en Allemagne et à l?étranger. En 1993, obtention d?une bourse d?études du Kunstfonds (Fonds culturel) de Bonn. Publications sur le super 8 et les cinémas expérimentaux et marginaux de Berlin. Workshops, encadrement de projets et activité de formateur dans le domaine de la production médiatique depuis 1990. L?artiste poursuit actuellement son ?uvre créatrice." source: arte-tv.com

"The world is everything that is the showcase." Living in a globalized world - a case study. (Loosely based on Ludwig Wittgenstein, Tractatus logico-philosophicus, sentence no.1) "Case studies" involve a particular method of research. Rather than using large samples and following a rigid protocol to examine a limited number of variables, case study methods involve an in-depth, longitudinal examination of a single instance or event: a case.

Michael Brynntruo was born in Münster, Germany, in 1959. He studied in Freiburg, Rome, and Berlin, and holds a Master degree in Fine Arts from the Braunschweig School of Art in 1991. He has completed experimental poems, texts, paintings, photography, photocopies, performances, installations and exhibitions since 1977, and also over 60 experimental short films and videos since, and four feature films since 1981. Since 1995 he has dine digital art in interactive media (CD-ROM, DVD and internet). His films have been exhibited at the Museum of Modern Art New York in 1987, 1992 and 1999. He has also participated in numerous international exhibitions and won film/media art awards, and organized avant garde and gay film events for museums, institutions, and international film festivals. He has publications on Super8 and Off-Off-Cinemas, and has given several guest lectures. Since 1990, he has led workshops, project advising, and apprenticeship counselling in the area of media production and film (e.g. at Beijing Normal University Zhuhai/China). Since 2006 he has been a professor for Film/Video at Braunschweig Art School.

Just be glad it's not you combines texts sourced from various threads on the topic of narcissism from www.quora.com. Quora is an online forum for crowd sourcing answers to questions that vary vastly in subject matter and are often posted anonymously. Various self-proclaimed experts have listed accounts, definitions, and directives on the theme of narcissism. A selection of these texts are displayed in a synchronized installation across three screens, edited to appear in time to a specially commissioned hard techno track from sound designer Antoine Hureau, accompanied by an integrated LED light installation. This video, sound and light installation creates an environment of information overload that is reflective of the environment of information overload that we find ourselves in within digital culture, and within the wealth of language, accounts, opinions and stories that we find online. Walking a thin line between tragedy and comedy, the work contains an ironic sensibility, allowing complex and difficult issues to be addressed with a light touch.

Samuel Brzeski (1988, London) is an artist and writer living and working in Bergen, Norway. He studied English Literature at University of Sheffield, UK (BA) and Fine Art at Bergen Art Academy (MA), and participated in the Mountain School of Arts program in Los Angeles, USA. Recent exhibitions of note include Lydgalleriet, Bergen (2023), Bærum Kunsthall, Oslo (2023), bb15 Space for Contemporary Art, Linz (2022), Meta.Morf, Trondheim International biennale for art and technology (2022), Østre, Bergen (2022), Galleri Box, Gothenburg (2022), Chao Art Centre, Beijing (2021), and KRAFT, Bergen (2021). His work was included in the inaugural exhibition of the New Norwegian National Museum, Oslo (2022) and is in the collection of Haugland Museum, Norway. Samuel was a writer in residence with Contemporary Art Stavanger (2022), and with Lydgalleriet (2020-2021) and has published several artist books. He has co-run the Bergen-based art writing collective and publishing platform TEXST since it was established in 2016. Samuel works as a visiting tutor to Bergen Art Academy and Bergen Architecture School.

?The root of the root (every town has its story)? In the context of a symposium on the nascent problem of drug traffic in Colombia in 1978, Ernesto Samper read a speech in which he was prophesying with an extraordinary clarity what would happen to the country if the taboo built around the topic of legalization was not broken. Samper, who had organized the symposium as president of the ANIF ? invited the ambassador of the United States of that time, between other participants-, and stated, with all clarity, the lost cause of trying to face the problem of the drug as if it was a "war". All the arguments of such a lucid speech keep on being irrefutable, and this becomes evident during this rereading, 30 years later by Samper. What has indeed changed, because of the bloody history of Colombia, is the progressive stigmatization of the topic. The paradoxes of life did make Samper drag the effects of what he himself had watched in the horizon. And as in the Greek tragedy, it is also probable that his initial lucidity ? or his consultation of the oracle ? became the real cause of tragedy. Mariangela Méndez

François Bucher is an artist from Cali, Colombia; he lives and works in New York City. His work has been exhibited internationally in group and solo shows including: Location One, New York, 2002; Empire/State, artists engaging globalization, Whitney Museum Independent Study Program exhibition, 2002; Speaking Truths, Intermedia Arts, Minneapolis, 2002. White Balance (to think is to forget differences), 2002; DVD; 30 min. was included in the special program of the Oberhausen Film Festival, 2002; the 4th Indonesian Independent Film-Video Festival, 2002; Impakt Festival, 2002, Utrecht, Media Arts Festival in Friesland; The New York Video Festival at Lincoln Center, and will be shown at The Tate Gallery in London. He is currently working on a new film, commissioned by Gallery Porta 33, in Maderia, a collaboration with Pedro Paixao. From 1999 - 2000 Bucher attended The Whitney Museum Independent Study Program in New York. He was awarded the Alliance Française prize in Bogotá, Colombia ­ a residency at La Cite des Arts, Paris, commencing 2003. He was also a recipient of The New York City Media Arts Grant of The Jerome Foundation, in 2000. Bucher is a founding co-editor of Valdez Magazine.

Forvere Live: The Case of K. Gun is based on the re-enactment of Franz Kafka?s allegory ?Before the Law?, interpreted live over a telephone line by Katharine Gun. Gun was a translator (specializing in Chinese to English translations), working with the British secret service, who chose to leak information compromising the U.S. and U.K. governments in their push for a U.N. resolution for the invasion of Iraq. Gun disclosed their plans to illegally wiretap the delegations of the Security Council holding the balance of power at the U.N. She was not prosecuted when it became clear to the government of the U.K. that her court case would become a trial on the war?s legality. At the time of Bucher?s recording, Kafka?s text was completely new to Gun, as she translated the allegory live from Chinese to English.

François Bucher is an artis from Cali, Colombia currently living and working between Berlin and Bogotá.

This video develops from a real event that took place during a theater seminar in the masters degree program at the University of Antioquia in Medellín, Columbia. The seminar occured uring one of the university`s worst periods of violence. Two students in charge of a presentation on the life and work of French author Jean Genet decided to play a hoax on their fellow students - a hoax that involved an armed kidnapping. Their idea was to perform the ethos of Genet`s work rather than to represent it in a conventional way...

François Bucher is an artist from Cali, Columbia, who lives and works in Berlin. He combines a variety of media and sources to consider power, violence, and geography. His work has been exhibited internationally in group and solo shows as installations and single-channel pieces. He also co-founded and co-edits Valdez magazine.

In Plato’s “ Ion ”, poets are portrayed as passive and irrational instruments of the Muses and their craft created in a state of frenzied ecstasy and madness. The Muse has entered them and taken possession of them, using them as a mouthpiece. The poet being a chain of influences, just as the Muse takes possession of the poet, so the poet causes the rhapsode who recites the poetry and also enters into a frenzied state and in turn the rhapsode will put the audience into a wild Bacchic state. Thus a chain of magnetic influence leading back to the Muse. The Muse is likened to a magnet, which has an attractive force on the poet, who has an attractive force on the rhapsode and so on down the chain to the audience. Therefore a chain of creativity is established, with creativity only occurring if the poet is found in a passive irrational state. During this chain of influences under a frenzied state, the poet does not comprehend what he/she utters within his/her craft and thus unable in understanding the nature of the poetry. One could apply Plato’s notion of the Muse’s magnetic force and coupled with effects upon the poet in a chain of influences, to that of social media. Wherein the subject is drawn to the magnetic forces at play through the interaction with technological devices in the palm of the beholder “ The Muse performs for the technological device, the technological device performs for the muse ”. Within our digital age of the 21st century, the notion of the Muse as magnetic force, becomes blurred through an opiate-like state of influence, through our interaction with the technological device. “ Estuary a la mode ” attempts to evoke Plato’s notion of the Muse set within the febricity of our digital age.

Born Essex, UK 1962 1990-95 Studied Kunstakademie-Düsseldorf, Germany. Studied under Nam June Paik/Nan Hoover 1996 Videokunst Preis Bremen 1997 Kunstfonds Stipendium, Bonn 2000 Artist Residency, Bemis Centre for Contemporary Arts, Nebraska, USA 2003 Arts Council England Artist Grant 2013 CCA Andraxt, Mallorca, Spain, Artist Residency 2014 Arts Council England Artist Grant 2016 18th St Arts, Santa Monica, CA, Artist Residency CCA Andraxt, Mallorca, Spain, Artist Residency Arts Council England Artist Grant Berlin Senate for Cultural Affairs, Artist- Research Grant 2018 Berlin Senat Artist Catalogue- Grant

In the garden 2012, DV HD, 07:57:00 The enclosed space of the Neue Nationalgalerie?s Sculpture garden is one that is off limits to us, not only physically but also mentally. This sombre terrain is reminiscent of a relic, one that had had experienced better days, though the absent viewer adds to its enchantment. Within its enclosure of grey granite stone, the sculptures that are found there seem to emit an ontological indifference to their habitat, like that of a cadaver is to its tomb. How ironic that Mies van der Rohe concluded in 1943, ?the first problem is to establish the museum as a centre for the enjoyment of art, not the interment of art?. We know from archival documents, that the conception of the building had certainly not an easy birth. A structure born out of a modernist spirit, of which had been ravaged by totalitarian politics of the past, no doubt such troubled history lends certain pathos to the Sculpture garden?s atmosphere. Within the oasis of calm, the sculptures seem to have an air of aloofness about them, some reflecting, whilst others absorbing their surroundings. They almost seem to gesture at an independence from the viewer?s gaze, a possible asset that seems to give the works added vigour. As Henry Bergson?s states in his major work ?Matter and Memory?, ?the same images can enter at the same time into two distinct systems, one belonging to science, wherein each image, related only to itself, possesses an absolute value; and the other, the world of consciousness, wherein all the images depend on a central image, our body, the variations of which they follow?. In this case the sculptures as images, seem to belong to that of the former, the system of science. ?In the garden?, takes the viewpoint of a floating spirit, with its drunken gait, roaming through the Sculpture garden with a gaze like that of a zombie, and in a manner of uncontrollable restlessness. This phantom is unable to truly reflect the nature of its surroundings. The unfolding images within the film reveal a faux romanticism, which is evident in the mocking artificial reflection and mimicry of the full moon in the sky above and its ambient sound borrowed from other sources. The spluttering fountain drinking from the pool that is its source, negates its present moment in time by striving to return to its place of origin. All of which suggests a phantasmagorical realm, wherein the enchanted garden has become the abode of the spectral.

Rick Buckley Born Southend-on Sea,Essex, UK 1990-95 Studied Kunstakademie Düsseldorf, Germany. Studied under Nam June Paik/Nan Hoover 1996 Videokunst Preis Bremen 1997 Kunstfonds Stipendium Bonn 2000 Artist Residency, Bemis Centre for Contemporary Arts, Nebraska, USA 2003 Arts Council England Artist Grant 2013 CCA Andraxt, Mallorca, Spain, Artist Residency Exhibitions (selected) 2014 Blackbile 84, Focal Point Gallery, UK (solo) 2013 Mass. En Masse. Mass Medium, CGP, London The Legend of the shelves, Autocenter, Berlin Caution: things may appear different than they are, AEG Halle, Nürnberg 2012 The Hard & The Fast, Book Launch, Motto, Berlin Chains, Horse, Berlin Jack?s Union, Autocenter, Berlin (solo) Thames Delta, Focal Point Gallery, Southend on Sea, Essex, UK Ins Blickfeld gerückt, Galerie de Multiples, Paris 2011 The Black Goddess, Autocenter, Berlin (Curated by Rick Buckley) Wilhelm Reich / Ayn Rand, Essays & Observations, Berlin Point it at Gran, Nationalmuseum, Berlin 2010 Magic Show, Pump House Gallery, London Hayward Gallery London, UK Touring Exhibition, Ins Blickfeld gerückt, Institut Francais, Berlin Haunted Tate, Essays & Observations, Berlin Blattspezial, publication, Berlin, The Watering Hole, Cussler, Berlin (Solo) The Indistinct Seeing, Infernoesque, Berlin 2009 Magic Show, Hayward Gallery London, UK Touring Exhibition, The Incomplete Man, book launch, Motto, Berlin WANT, Arratia/Beer, Berlin Bank of Eden, curated by A.Hopf & R.Buckley, Whitechapel Berlin The Incomplete Man, SOX Schaufenster, Berlin (Solo) Straylight Cavern, Cell-Project Space, London Freundliches Feuer, PR17, Berlin 2008 Facets of Reason, Union Gallery, London (Solo) King Fisher Tales, Union Gallery, London Group Show, Nationalmuseum, Berlin Free Dimensionality, Silver Shed, NYC 2007 Dark Mirror, Netherlands Media Art Institute, Amsterdam 2006 Everything Must Go, VTO Gallery, London Cow Shed / Blakean Shack, 7Hours, Haus 19, Humbolt University, Berlin (Solo) 2005 Scotty oder Madeline?, Center, Berlin 2004 Domestic Civil Wars, VTO Gallery, London (Solo) Whipping Wall & Window With Paint, Center, Berlin (Solo) Ideals, Uncertainties & Consequence, Galerie Mirko Mayer, Cologne (Solo) Works on Paper, SOUTHFIRST, Brooklyn, NYC Drawn By Reality / Encapsulated in Life, Wood St Galleries, Pittsburgh, PA, USA 2003 Entranced, VTO Gallery, London 2002 Multitude, Artist Space, NYC Majik, VTO, London Three Dimensional Disaster, Galerie Mirko Mayer, Cologne (Solo) 2001 10 jahre Bremer Videokunst Preis, GAK, Gesellschaft für Aktuelle Kunst, Bremen 2000 Certain Things Are Never Said / Said Things Are Never Certain, Galerie Mirko Mayer, Cologne, (Solo) Works on Paper, Martin Kudlek Galerie, Cologne, 1998 We Love You / We Love You Not, Neues Museum Weserberg, Bremen (Solo) Give & Take Again, Whitechapel Gallery, London, To call unto those who prey & beg, Artothek, Colonge, (Solo)

A Visitor, 2017, takes as a starting point the modernisation of a somewhat neglected memorial site at a former mass killing site in Germany. The video documents the replacement of older information panels and the changes to the landscape over an extended period of time. The video also draws on both a chance encounter with a beekeeper sent to contain and collect a “ stray ” swarm of honey bees at the site, and an archive interview conducted by historians at the nearby home of Maria Seidenberger. Seidenberger was a teenager at the time of the mass killings. She secretly helped concentration camp prisoners to smuggle and hide items that included clandestine photographs, letters, a heart and a death mask. The emerging portrait of the site exposes a multiplicity of narratives and reflects on themes such as subversion, guilt and remembrance. The persistence of material objects is questioned while resisting a linear view of history and memory.

Jamie Buckley is an artist who is originally from Kerry, Ireland but is now based in Munich, Germany. He completed an MFA at the University of Ulster, Belfast in 2012. Screenings and exhibitions include: LUX, London (2018); AMINI, Belfast (2017, 2015); Rencontres Internationales, Paris/Berlin (2014, 2012); Golden Thread Gallery, Belfast (2013); Bloomberg New Contemporaries, Institute of Contemporary Art, London and Liverpool Biennial, Liverpool (2012).

DORF is the second film in a continuing series that concentrates on the grounds of the 1972 Munich Olympic Games. It is informed by a practice that is rooted in contemporary visual art but which draws on documentary filmmaking strategies. The film points to the site a few months after the events of ’72. This was the transitional “ghost town” that existed before the more permanent residents moved in. The site is also shown at an unspecified but possibly contemporary time, when it is a place seemingly full of life. The film clips act as spacial and temporal coordinates that are assembled as a sequence of ordered pairs. Themes that interest me are evident, such as migration, residential space, and the absence of spectacle. A narrative is not explicitly dictated, instead it is allowed to be unpacked by the viewer. The persistence of material objects is brought into question.

Jamie Buckley (b.1980) is an Irish artist based in Munich. He completed an MFA in 2012 with First Class Honours at the University of Ulster, Belfast. In 2005 he completed a BA in Fine Art at the Limerick School of Art and Design with First Class Honours. His work was selected for “Bloomberg New Contemporaries 2012” and was then shown as part of the Liverpool Biennial and at the ICA in London. His work was shown at Rencontres Internationales in Paris in December 2012 and in Berlin in June 2013. His work was selected for the Aesthetica Short Film Festival and longlisted for the Aesthetica Art Prize.

"MUC 72" sits somewhere between lens based contemporary art and documentary film-making. Two temporal positions from one location are represented; one from the time of the Munich Olympics in 1972, the other a contemporary view of the ?Olympic Village?. The work explores the slippage between these different positions and points to issues regarding memory while refusing to represent the spectacular, the iconic.

Jamie Buckley (b.1980) is an Irish artist who lives and works in Munich. He completed a Master of Fine Art (MFA) in June 2012 with First Class Honours at the University of Ulster in Belfast. In 2005 he completed a BA in Fine Art at the Limerick School of Art and Design with First Class Honours. Buckley works predominantly in digital video. His works are often installed as single or multi-channel projections. Navigating significant historical locations and the memory attached to them, Buckley questions the position and formulation of their representation in terms of the hidden driving motives informed by political and social realities. He has exhibited both nationally and internationally; most recently his work was shown at Bloomberg New Contemporaries as part of the Liverpool Biennial 2012.

The project that Dorota Buczkowska develops does unveil only with a lot of attention; the multiplicity of the means and the treatments that populates this work could blur the apprehension. Fain physical, carnal, sometime close to morbid, it can also be decline in light figures, minimal, images of mist where balloon vanishing. The formal treatments, essentially videos, carving and drawing, doesn?t always belong to the same universe, they might be almost clumsy carving stroke, somehow thick drawing strokes, or images almost stills where motion is imperceptible. The coherence of such a project will so forth easily flew : this appearing dissolution can b explain maybe by what does the work by Dorota Buczkowska is nourished by the real, develops according to it, a priori without defined intention, with no worries to realize an idea or a starting project. A profusion of figures and sensations dwell and animate this work. These patterns reappear regularly there : the body, the organic, the treaty, the liberty that belongs maybe a bit more to Eastern Europe countries from which the artist comes from. The traffic : these of the corporal liquids, the relations setups with those who habit them or some hydraulic construction, clumsy or imaginary. These schemes falsely techniques, clumsy or imaginary. As an effort to understand, what would happen in it. As ones would play to master the elements, or at least, to continue the illusion. Some red spots that evolve in a kind of French polish, that gather and disappear ? do again. The odd ballet of a man who comes and raptor which wings are open for nothing. There is a lot of fragility in these images, a great vulnerability that emerges recklessly, more or less discretely, with more or less violence or incarnation. If ones should have to nominate a common denominator to all these images, this would be this fluidity that habits them: sings of life, movement?s core, its also the one that can flourish: factor of life as factor of lack, it can drive to things disappearance. These images seems to recall that there is in the beings themselves, a movement that could disappear. Same thing in the natural elements: the wind that carries away, the mist that fades, the ice that melts. Dorota Buckzkowska was then, looking for, by the image, creating this just movement in extra where ones grows the illusion to master it, to posses it, to understand it. The desire to appropriate or to fix. While measuring it, but as if done with closed eyes, vanity. (Corinne Cherpantier)

DOROTA BUCZKOWSKA Education 2003-2004 Scholarship in Centre National des Arts Plastiques Villa Arson, Nice, France 1999-2002 Academy of Fine Arts in Warsaw, studies at the Department of Sculpture in Professor G. Kowalski Studio. 1998-1999 University of Warsaw, Gender Studies 1998 Diploma of Academy of Fine Arts in Warsaw 1991-1998 Academy of Fine Arts in Warsaw, Conservation and Restoration of Art GRANTS & RESIDENCES ( 2001-2004 ) 2005 Artist in Residence, Center for Contemporary Art, Synagogue of Delme, France 2004 Artist in Residence, Bundeskanzleramt- Federal Chancellery, Wien, Austria 2003 French Scholarship in Centre National des Arts Plastiques Villa Arson, Nice 2002 Nominee of the International Photographic Exhibition, Lutsine, Paris 2000 Silver Prize for Sculpture, IX International Lace Biennale Contemporary Art, Bruxelles, Belgium EXHIBITIONS IN PREPARATION ( 2005-2006 ) 2005-10 Collective Show, Vienna International Apartment, Turku, Finlande 2006-02 Projetion video, Lokal_30, Varsovie 2006-05 Area 54 Gallery, Wien, Austria GROUP EXHIBITIONS 2005 `But the Exciting Aspect is to?` Gallery AREA53 Vienna, Autriche 2005 `Forum de l`Image`, Les Abattoirs- Museum of Modern Art, Toulouse, France 2005 `50e Salon Européen des jeunes Créateurs`, Montrouge, France 2005 ART Poznan, National Art Fair, Poznan, Pologne 2005 `CLABCUBE`, video projction, Center for Contemporary Art, CSW, Warsaw 2005 `Corps & Âmes`, Art Vidéo Polonais au Centre d`Art le Parvis, K.01, Pau, France 2004 `Affinités électives`, Centre départemental d`art contemporain Cimaise et portique, Albi, France 2004 Neighbors to neighbors, Birthday installation, Opened studios, Warsaw 2004 Photographies of sculptors, video, Krolikarnia National Museum, Warsaw 2004 Circulation, sculpture and graphics, Maison d`artists, Charenton, France 2004 Birthday installation, Art Center Albi, France 2003 Je t`aime de loin, Aorta, installation, , Polishe Institut ,Paris 2002 Everyday death, video-photo installation, DAP Gallery `Supermarket of Art` Warsaw 2002 Serie of photographies, Lutsine exhibition at the Academy of Fine Arts, Paris 2002 Systems Circulation, installation and photographie, Falaises, Paris 2002 To tame video-photo installation,novatr.pl, festival of young art, Bunkier Sztuki, Cracow 2002 Concentration, sculpture `Mia100 Kobiet Festival` ,Warsaw 2002 video -photo instalation To tame Capitol, Arles, France 2001 Participation in the group instalation` Face to` Rauma, Finland,(sculpture) 2001 Angelus popularis, kinetic sculptural installation, `Mia100 Kobiet Festival` Warsaw 2001 sculptur and photography Rencontres Internationales de la Photographie, Arles, France 2001 The IXth International Biennale de la Dentelle, Heidelberg, Germany, (sculpture) 2000 IX th International Biennale de la Dantelle, Bruxelles, Belgium,(sculpture) 2000 Krolikarnia National Museum, Warsaw, Exhibition of Decorativ Art , `Ulan` (sculptures) 2000 DAP Gallery, `Supermarket of Art` Warsaw, (sculpture) 1999 The VIIIth International Lace Biennal-Contemporary Art, Heidelberg,Germany, (sculpture) 1999 The VIIIth International Biennale de la Dantelle ,Bruxelles, Belgium, (sculpture) Individual exhibitions 2001 Art New Media Gallery, Warsaw, (video) 2001 Gallery Aux Falaises, Paris, (sculpture instalation) PUBLIC & PRIVATE COLLECTIONS (2000-2004) 2004 Graphic, City Contemporary Art Collection, Wien, Austria 2004 Drawing, private collection, Wien, Austria 2002 sculpture, private collection, Paris 2000 sculpture, private collection, Bruxelles

'Songs from the Compost: Mutating Bodies, Imploding Stars', shot in the pine forests and sand dunes of the Curonian Spit, is a hypnotic exploration of nonhuman forms of consciousness and different dimensions of symbiotic life: interdependence, surrender, death, and decay. The images gradually layer, alongside intimate lyrics of a song that channels the desires of an entity shapeshifting across different genders, voices, and beyond-human embodiments. Featuring a cast comprised of local youth, alongside performer and choreographer Mami Kang, the film unfolds through a specially conceived song, choreography and costumes. Horizontality in the choreography undoes the usual verticality of the human figure, unfurling her into the landscape.The performers’ bodies are sites of activity, though they’re often horizontal, pulled toward the earth and one another, moving through the forest, along the sand dunes and water. The song lyrics draw on the work and words of biologist Lynn Margulis, celebrating the role of bacteria in making life and the collaboration between the single-cell organisms possible, as well as concepts by the science-fiction author Octavia Butler, who employed tropes of symbiosis, mutation, and hybridity to challenge hierarchies and categorisation.

Egl? Budvytyt? (b. 1981, Lithuania) is an artist based in Amsterdam and Vilnius working at the intersection between visual and performing arts. She approaches movement and gesture as technologies for a possible subversion of normativity, gender and social roles and for dominant narratives governing public spaces. Her practice, spanning across songs, poetry, videos and performances, explores the persuasive power of collectivity, vulnerability and permeable relationships between bodies, audiences and the environment. Her work was shown amongst others at the 59th International Art Exhibition of La Biennale di Venezia, Vleeshal, Middelburg, NL, Riga International Biennial of Contemporary art (RIBOCA); Renaissance Society, Chicago, Lofoten International Art festival; Block Universe festival, London; Art Dubai commissions; Liste, Art Basel; 19th Biennale of Sydney; De Appel Arts Centre; CAC in Vilnius, and Stedeljik Museum in Amsterdam. Egle was resident at Le Pavillon, Palais de Tokyo (Paris, FR, 2012) and at Wiels, Contemporary art centre, (Brussels, BE, 2013).

Secta is docu-fiction revealing a secret society ? a cult, which identity manifests through particular and often quite opaque behavior in public spaces. The film exposes Secta as open-source, fluid network, which co-exists in between and together with the lines of official social realities. The members of Secta do not know that they belong to it. The project started questioning how private and public spaces in the context of western cities are constructed, experienced and what are the potential ways of subverting the implicit rules and conventions that govern it.

EDUCATION 2006 - 2008 MA Piet Zwart Institute, Fine Art Department, Rotterdam 2004 ? 2006 BA Rietveld Academy, Audio Visual Department, Amsterdam 2000 - 2004 BA Vilnius Art Academy, Photography ? media arts, Vilnius, LT SELECTED PROJECTS, EXHIBITIONS 2008 FOYER: language and space at the border Contemporaty Art Centre, Vilnius, LT If We Can?t Get It Together Power Plant, Toronto, CA My Travels with Barry TENT, Rotterdam, NL Wilde Metaphysica Kunsthuis SYB, Beetsterzwaag, NL Explum Cultural Center, Murcia, ES Conspire Transmediale, Berlin, DE 2007 The Joy Is Not Mentioned Contemporary Art Center, Vilnius, LT In collaboration with G.Budvytyte and I.Miseviciute This is how it must feel to be there Pakhuismeestern, Rotterdam, NL Vilnius is burning Fondazione Sandretto Re Rebaudengo, Torino, IT Collaborative project Whenever It Starts It Is The Right Time ? Strategies for a discontinuous future Frankfurter Kunstverein, Frankfurt, DE 2006 Selfobjects Palace of Radvilai, Vilnius, LT Collaborative project 101.3KM: competition and cooperation Contemporary Art Centre, Vilnius, LT The Eye of the storm The Nordic Artists? Centre (nkd), Dale, NO Enthusiasts Contemporary Art Centre, Vilnius, LT In collaboration with G.Budvytyte 2005 Open gauge project International Culture house, Tbilisi, GE Art for sail Loods 6, Amsterdam, NL In collaboration with G.Budvytyte VIDEO, FILM SCREENINGS 2008 White night, Contemporary culture forum, Riga, LV 2007 Art in the New field of visibility, De Appel, Amsterdam and Platform Garanti, Istanbul, TR Migration Brewery Arts Center, Kendal, UK 2006 Live video perfornance together with sounds by Nathalie Bruys and Byungjun Kwon Smart Project Space, during the opening of Jaki Irvine show, Amsterdam, NL CATALOGUES, PUBLICATIONS 2008 Small Talk with the Janitor published by Piet Zwart Institute, Rotterdam, CAC INTERVIU ?the quarterly conversation about art? Contemporary Art Center, Vilnius, LT 2007 Notes on the catalog /Catalogue of moves part of the exhibition ?The Joy Is Not Mentioned?, Contemporary Art Center, Vilnius, LT Whenever It Starts It Is The Right Time ­? Strategien fur eine unstetige Zukunft Frankfurter Kunstverein, published by Revolver, DE Vilnius is blurring Fondazione Sandretto Re Rebaudengo, Torino, IT 2006 101.3KM: competition and cooperation Kaunas and Vilnius artist exhibition Contemporary Art Center, Vilnius, LT AWARDS 2001 Fast Food, 1st prize, Vilnius, LT 2002 (Not)believe 1st prize, Vilnius, LT 2006 Sleipnir, travel grant, Nordic Council of Ministers 2007 Lithuanian Cultural Ministry Award for the young artists, LT

Giang visits her aunt Mười in the Mekong delta (Tien Giang) for the summer to give her mother personal space and time to sort things out. The slow rhythm of countryside life, children’s games, and close relationship within the neighborhood help Giang forget about her personal troubles and the hot Mekong sun. Seeing her 60-year-old aunt constantly busy with farm work, Giang decides to help out. The film develops through Giang’s perspective, weaving documentary foot- ages with a fictional storyline. Through Giang and aunt Mười’s developing relationship we get a sense of the slow and drawn-out rhythm of life in the rural South of Vietnam, the close contact between human and animals, the switch from traditional methods to reliance on industrial feed, concerns sur- rounding food safety, and the perception and interests of a typical farming household in the Mekong Delta. The film also introduces a new angle into the relationship between human and animals, and the inseparable ties be- tween life and death.

Born in Danang, Vietnam, 1985. She spent part of her childhood in Thailand before completing secondary and high school in Saigon, Vietnam. She has a B.A in East Asian Studies from Wesleyan University, USA and since 2009 has moved back to live and work in Saigon as a full-time visual artist. She is happy to tell stories using whatever medium available, from words, images, to sounds and space. She has exhibited in various museums and art spaces in Vietnam and abroad. Her experience with moving images started with video art works: Passage of the mass, 2014; The process of purifying, 2013, Where birds dance their last, two-channel installation, 2012. Flat Sunlight is her first film.

The cruel reality of the children who live on the streets of Lima, Peru. Struggling to survive by begging, taking drugs, and stealing. While shooting this documentary amidst fights, police raids, and disputes, the film crew itself also fell victim to the physical abuse of the violent gangs.

Marcelo Bukin was born in Buenos Aires, Argentina, and graduated with honors from the Centre d?Estudis Cinematografics de Catalunya in Barcelona, Spain, where he studied film direction. Marcelo has explored and filmed the everyday lives of people of many cultures in Europe, the Middle East, Africa, Asia, and Latin America. After making various short films in Spain, he was the production manager of "The Children of Nepal", which won the 2004 Goya Award (Spanish Academy Award) for best documentary short film. In 2003, he directed "Children`s Stories", a documentary film project in Peru and Guatemala, which won the Audience Award at the FICDH 1st International Human Rights Film Festival in Spain. In 2005/6 he directed a series of documentaries including "Bread", "Angel`s Fire" and "Lima`s Streets", that are receiving awards and being screened at festivals worldwide, such as Montreal WFF, Edinburgh, IDFA and the IDA AWARDS in Los Angeles. Marcelo is currently developing a documentary feature film about the socio-economical crisis of his home country, Argentina, meanwhile directing, producing, and acting in television commercials and independent projects.

A nonlinear film examining U.S. artist Richard Serra`s enigmatic installation, "EAST-WEST/WEST-EAST", located in the Brouq Nature Reserve in Qatar. The film was shot on film with a Super 8 camera, with all edits executed in camera.

Gabriel Bullen is a Canadian filmmaker from Yellowknife, Northwest Territories, Canada. His filmography consists of short narrative, documentary, and animation. His fields of interest also include experimental film, storyboarding, and animation. He has shot with digital DSLR, Super 8 and Super 16mm, mobile phones and RED Epic Mysterium-X. He creates his own analogue VFX using old techniques with ink, milk, and a fish tank.

Ce film-installation, projeté en boucle sur deux écrans, présente une variation sur la vision paroptique (la possibilité de voir avec la peau, sans le concours des yeux), la télépathie, la théorie des couleurs et le thérémine. Les différentes séquences introduisent l’hypothèse d’un cinéma imaginaire. Le film est présenté comme une série de rushes suggérant un film inachevé, en puissance.

Érik Bullot est cinéaste et théoricien. Auteur de nombreux films à mi-chemin du documentaire et du cinéma expérimental, il a publié récemment L’Attrait des ventriloques (Yellow Now, 2022) et Apunts de cinema (Filmoteca de Catalunya, 2023). Il présente en 2025 une exposition personnelle Voyages en kaléidoscope au Centre d’art Les Tanneries, accompagnée d’une publication Cinéma vivant chez Macula. Il enseigne le cinéma à l’École nationale supérieure d’art de Bourges.

Un oiseau est-il un document ? Les réserves d’un musée de civilisation peuvent-elles être perçues comme un miroir aux alouettes ? S’agit-il d’oeuvrer à une libération du document, à l’instar de la libération animale ? Telles sont les questions posées par ce film visionnaire et poétique, tourné dans les réserves du Mucem à Marseille.

Erik Bullot est cinéaste et théoricien. Il réalise des films à mi-chemin du film d`artiste, du documentaire et du cinéma expérimental. Ses films explorent les puissances poétiques et formelles du cinéma. Sa filmographie compte une trentaine de titres. Son travail a été présenté dans de nombreux festivals et musées, en France et à l’étranger. Il a publié récemment “ Le Film et son double ” (Mamco, 2017) et coordonné l’ouvrage “ Du film performatif ” (it: éditions, 2018). Il enseigne actuellement le cinéma à l’école nationale supérieure d`art de Bourges (France).