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Diplômé de l`Escola Superior de Cinema (l`Ecole de Cinéma du Conservatoire National de Lisbonne), Pedro Costa suit les cours de l`acteur portugais Antonio Reis. Il réalise en 1987 son premier court métrage,"Cartas a Julia", suivi bientôt d`une série pour enfants pour la télévision portugaise. Très influencé par Friedrich-Wilhelm Murnau, il signe en 1989 "Le Sang", un drame encensé par la critique qui ne le satisfait pourtant pas tout à fait. "La Maison de lave" en 1994 confirme le talent de ce réalisateur portugais aux yeux des professionnels du cinéma, qui dévoile dès lors les caractéristiques de son travail : un esthétisme qui frôle le maniérisme, des noirs et blancs variés et très travaillés, des thèmes récurrents tels que le sordide et le crasseux, mais une certaine tendance à les sublimer. Son goût pour le sang et la violence froide se retrouve dans "Ossos" (1997). Les critiques voient en son style un retour au cinéma des origines, héritage du cinéma muet. Le film sera primé notamment à Venise et à Belfort. En 2000, il signe "Dans la chambre de Vanda" narrant la déchéance d`une toxicomane. L`esthétisme de Costa transforme cette histoire sombre en poème filmique. "Où gît votre sourire enfoui ?"(2001) est un hommage au couple de cinéastes Danièle Huillet/Jean-Marie Straub. "Il faut se risquer dans chaque plan, c?est ce que disait Antonio Reis. Risquer sa vie même dans chaque plan, chaque moment, chaque intonation d?un acteur. Sinon le cinéma ne sert à rien. Pour moi, il est fondamental qu?un film soit utile." Pedro Costa

Consisting of double projections of footage from Costa?s film "No quarto da Vanda", the installation "Minimo macho, minimo fêméa" provides a view alternating between exterior scenes and the respective interiors of houses in Lisbon?s Fontainhas neighborhood. It thus documents and illustratively intensifies the existence of immigrants from the former colonies in a calm and clear way.

Pedro Costa films Jean-Marie Straub and Danièle Huillet during different steps of the editing of the film "Sicilia!" Jean-Marie Straub defines editing as a "struggle with the matter". Indeed, here there is an exhausting test of patience, because this document plunges us not in the general composition of central choices, but simply in an irksome work of connections. Each of them implies very small choices, which are decisive in each case for the overall meaning of the coming film. Pedro Costa dwells upon these constantly explored, slowed, flashbacked, immobilized images until he manages to produce an hypnotic effect. He also explores a dark laboratory's atmosphere, and then he includes, without explanation, two surprising sequences where the Sraub present their films to few spectators.

Pedro Costa graduated from the Escola Superior de Cinema (the Film School of the National Conservatory of Lisbon). He took lessons with the Portuguese actor, Antonio Reis. In 1987 he produced his first short film, "Cartas a Julia", then soon after a series for children for Portuguese TV. Very influenced by Friedrich-Wilhelm Murnau, in 1989 he made "Le Sang", a drama acclaimed by the critic, but that did not satisfy him absolutely. "La Maison de lave" in 1994 confirmed the endowment of this Portuguese film maker from the point of view of film professionals, who reveal the features of his work: an aestheticism that comes closer with mannerism, various and very detailed blacks and whites, and recurrent themes like the woeful and the dingy, but a certain tendency to sublimate them. His taste for blood and cold violence are also in "Ossos" (1997). The critics analyze his style like a comeback to the origins of cinema, a heritage from the silent film. This work has been awarded at Venice and Belfort. In 2000, he made "Dans la chambre de Vanda", which relates the lowering of a drug addict. Costa's aestheticism changes this dark story into a filmic poem. "Où gît votre sourire?" (2001) is a homage to the filmmaker twosome Danièle Huillet and Jean-Marie Straub. "One has to take risks in each image; this is what Antonio Reis said. Even risking one's life in each image, in each moment, each intonation of an actor. Without this risk, cinema is useless. It is fundamental that a film is useful." - Pedro Costa

Pedro Costa has taken six scenes from "Où gît votre sourire enfoui?" and has located them in a different context. These bits are not only "bagatelles", but above all they are a personal look at Danièle Huillet and Jean-Marie Straub.

Pedro Costa graduated from the Escola Superior de Cinema (the Film School of the National Conservatory of Lisbon). He took lessons with the Portuguese actor, Antonio Reis. In 1987 he produced his first short film, "Cartas a Julia", then soon after a series for children for Portuguese TV. Very influenced by Friedrich-Wilhelm Murnau, in 1989 he made "Le Sang", a drama acclaimed by the critic, but that did not satisfy him absolutely. "La Maison de lave" in 1994 confirmed the endowment of this Portuguese film maker from the point of view of film professionals, who reveal the features of his work: an aestheticism that comes closer with mannerism, various and very detailed blacks and whites, and recurrent themes like the woeful and the dingy, but a certain tendency to sublimate them. His taste for blood and cold violence are also in "Ossos" (1997). The critics analyze his style like a comeback to the origins of cinema, a heritage from the silent film. This work has been awarded at Venice and Belfort. In 2000, he made "Dans la chambre de Vanda", which relates the lowering of a drug addict. Costa's aestheticism changes this dark story into a filmic poem. "Où gît votre sourire?" (2001) is a homage to the filmmaker twosome Danièle Huillet and Jean-Marie Straub. "One has to take risks in each image; this is what Antonio Reis said. Even risking one's life in each image, in each moment, each intonation of an actor. Without this risk, cinema is useless. It is fundamental that a film is useful." - Pedro Costa

Consisting of double projections of footage from Costa?s film "No quarto da Vanda", the installation "Minimo macho, minimo fêméa" provides a view alternating between exterior scenes and the respective interiors of houses in Lisbon?s Fontainhas neighborhood. It thus documents and illustratively intensifies the existence of immigrants from the former colonies in a calm and clear way.

LIFE « Post-disaster logbook. Everything begins in a garage. We had imagined there were no cars here, only surfboards and gardening tools. We couldn’t hear anything anymore because of the explosion. Only a sort of constant ringing in our ears. We had to learn how to listen again. » Life is a story taking place after a mysterious collapse were everything has to be reinvented. Here, there is no need to work, blankets are shared for warmth, and a parking lot is transformed into a playground from where life can restart. In this strange world, people look for a wave underground and listen to Marc Bolan all day long… A FILM BY Noé Cottencin WITH Milla Sikora, Xavier Warming, Simone Avalon, Morris Draijer, Noé Cottencin, Clément Gingreau, Katerina Lymar CAMERA Sam Broekman, Noé Cottencin EDITING Noé Cottencin Produced with SoundImageCulture 2023, with support from Sabam for Culture, Stichting Stokroos, and NL Film Fonds.

Un chien, une fille, des adolescents et d’autres créatures fantastiques font l’insurrection de leur vie quotidienne à travers des marches dans la ville, des détournements d’espaces et autres actions à travers lesquelles ils observent et transforment la réalité et le monde autour d’eux.

Noé Cottencin (France, 1994) a étudié l’image en mouvement à l’Académie Gerrit Rietveld et au Sandberg Institute. Son travail, à travers des récits qui prennent différentes formes (dessins, films, interventions, publications), s’intéresse principalement à la mise en commun des individualités. Il vit et travaille à Amsterdam et Los Angeles.

Within a few years, through the practice of bodybuilding, Yukio Mishima, a Japanese writer, metamorphosed from a creator of words into a "creature of words." Charles Gaines, an American writer and journalist, compares the bodybuilder to a sculptor of his own flesh. How does work, sport, cultural and sexual norms define one's body and identity? How do we determine our own image, and through which dilemmas do we go about to achieve this? "Double You Double You" reenacts the stages of a bodybuilding competition. Jennifer Teuwen* is the only athlete to compete and the camera is her only audience. The film stages the Scopic Drive - watching being watched endlessly - and offers a visual and auditory, sensuous and sensorial exploration of Jennifer's body. * Jennifer is a Belgian professional bodybuilder, champion in the category of "Women's Physics," and the most muscular woman according to the IFBB (International Federation of Bodybuilding).

Laure Cottin Stefanelli is a french visual artist and a filmmaker based in Brussels and Paris. Through her films, photographs and installations, she pursues a research around stories focused on characters inhabited by paradoxical tensions – life, death and erotic impulses – those resulting from the separation between mind and body. Her work had been exhibited and screened at venues including États Généraux du Film Documentaire (Lussas, FR) ; KANAL – Centre Pompidou (Brussels, BE) ; Belo Horizonte International Short Film Festival (BR) ; Kasseler Dok Festival (Kassel, DE) ; Moscow Biennal (RU) ; Art Brussels (BE) ; FIDMarseille (FR) among others. Her first medium-length film « No blood in my body » received the short film prize at Écrans Documentaires d’Arceuil (FR). She has completed several residencies including the Hoger Instituut Voor Schone Kunsten, HISK (BE). Laure Cottin Stefanelli studied literature and cinema at the University of Paris III and graduated in Photo-Video from École des Arts Décoratifs de Paris. Since 2018, she teaches at École d’Art de La Cambre in Brussels, Belgium.

Parodic fiction by Pierre Coulibeuf based on choreographic proposals by Angelin Preljocaj. The seven characters who move in the architecture of Rudy Ricciotti?s Pavillon Noir break shamelessly with the codes of choreography and cinema: contamination, overflow, distance, - fiction tests reality.

Born in Elbeuf (France). Lives in Paris. Film-maker and visual artist. (Doctoral studies in Modern Literature-thesis on Pierre Klossowski and Leopold von Sacher-Masoch). Pierre Coulibeuf uses contemporary creation as material for his cinematic and artistic work. In a cross-disciplinary relation to film genres (fiction, experimental...), as well as to modes of presenting the image in motion (35mm screening, video-installation, photography), his works invent a place and a language on the borderline of the other arts, critiquing established forms and questioning representations of reality. Since 1987, he has made short and feature-length films based on the universes of Pierre Klossowski, Michelangelo Pistoletto, Marina Abramovic, Michel Butor, Jean-Marc Bustamante, Jan Fabre, Meg Stuart, Angelin Preljocaj, Benoît Lachambre... His films have been selected in many international film festivals (fiction, experimental, video art). A retrospective of his films : ?The Demon of passage? conceived by French Ministry of Foreign Affairs, is touring worldwide. Pierre Coulibeuf makes video-installations with his films and photographs in the contemporary art network. In 2005, he has been artist invited in the International Pavillion of the Bienniale of Contemporary Art of Mercosul, Porto Alegre (Brazil). In 2006, he had a few solo exhibitions in Germany, specially in Deichtorhallen-Haus der Photographie in Hamburg. In 2007, he was part of the opening exhibition of Berardo Museum in Lisboa (Portugal). In 2008, the Iberê Camargo Foundation in Porto Alegre (Brazil), commissioned him a film and a video-installation, for an exhibition in June 2009. His works are part of main public collections. (1993- Leonardo da Vinci Grant from the French Ministry of Foreign Affairs for a residency in Italy (Cinema) 1995-96- Artist in residency at the Center of Contemporary Art of the Domaine de Kerguéhennec, Brittany, France 2001- Chevalier de l?Ordre des Arts et des Lettres (Knight of the Arts and Literature?s Order)).

Synopsis Fictitious portrait of the Flemish artist Jan Fabre, based on his diary and his performances. The film?a modern fairy tale?projects Jan Fabre into his own imaginative universe and composes a character who changes ceaselessly identity, plays numerous roles under the most varied disguises; behind a mask, still another mask? The female character, like a ?demon of passage? using different faces, haunts the male character and inspires his metamorphoses, ad infinitum. The concepts of the work are repetition, simulacrum and metamorphosis, in essential relation as much with Jan Fabre`s oeuvre as with my own. Metamorphosis means the transition from one form to another, from one intensive state to another, from one identity to another, or from one universe to another. The work as `transposition` ?the ?performance` form turns into a cinema form? new creation. ?Existence simulates, it dissimulates, and it dissimulates that, even when dissimulating and playing a role, it continues to be authentic existence, thus binding the simulacrum to genuine authenticity with an almost inextricable malice.? Maurice Blanchot.

Film-maker and visual artist. Lives in Paris. Pierre Coulibeuf develops a cross-disciplinary project: he makes experimental fictions that skilfully invest the sphere of art and in which changes of identity affect the universes and artists inspiring his works. His films are shown in cinemas as well as, recomposed, in the form of installations (video-photo) in museums. Coulibeuf?s works are part of main public collections. The main concepts of his works are doubling, simulacrum, metamorphosis, labyrinth, reality as fiction or mental projection. Coulibeuf has had solo exhibitions all over the world: in Germany, Deichtorhallen, Hamburg (2006); in Portugal, Museu Colecçào Berardo, Lisbonne (2010); in France, Musée d?Art Moderne de Saint-Etienne (2009); Musée d?Art Roger-Quilliot, Clermont-Ferrand (2013); in Brazil: Iberê Camargo Foundation (2009); in Russia, Museum of Contemporary Art, Perm (2011); in China : MOCA, Museum of Contemporary Art, Chengdu (2012) ; Yuan Space, Beijing (2013), and group exhibitions: in Brazil, 5th Mercosur Visual Arts Biennial (2005); in Russia: 1st Ural Contemporary Art Biennial (2010); in Germany, Haus der Kunst (2012)? In 2013, Coulibeuf has been nominated for the AAC China Award (Most influential foreign Artist in China, with Warhol, Marcel Duchamp, Araki, Shirin Neshat).

The subject?s fiction / the fiction?s subject. About the idea of ?portrait?: the constantly evolving subject, fluctuations of identity, metamorphosis, the dissolution of the self; the space between images: a shift from the social image, the status of the artist, to imaginary images. "We are a plurality that has imagined itself a unity" (Nietzsche). The question of representation: images as simulacra: interpretations: pure inventions. Cross-disciplinarity: the ambiguity or uncertainty of identities, but also of artistic codes. Inventing a place ?on the frontier?: between the language of cinema and the language of video.

Pierre Coulibeuf was born in Elbeuf, France. He is a filmmaker and plastician and lives in Paris. Contemporary creation is the basis of Coulibeuf's cinematographic and plastic work. In a transversal approach to various genres of cinema (fiction, experimental), as well as with different modes of presenting motion pictures (projection 35mm, installation, video, photo) his work invents its own place and language at the boundaries of disciplines. They criticize established shapes, question different representations of reality. His work is out of the norms, off limits and one of his kind. He has had a few exhibitions in Germany, notably at the Deichtorhallen-Haus of Photography in Hamburg in 2006, also in 2005 in Brazil, at the international Pavilion of the 5th Mercosul international biennale of contemporary art in Porto Alegre. In 2007 he had an exhibition for the opening if the Berardo Museum in Lisbon, Portugal.

These days, reflections on the future generally dwell on a commercial or global economic context. The extent to which various cities present themselves, on an innovative and globally competitive scale, on the internet via PowerPoint presentations serves to illustrate this statement. The starting point in "Insert the Name of the City Here" is the fact that each of these PowerPoint presentations consists of the same topics and structure: a slogan that is placed on a standard background, accompanied by a logo. The apparently naive and utmost dogmatic technique becomes even more dubious as a video sequence displays these pages one by one as each presentation is read aloud by a series of tourists.

Yves Coussement, born in 1978, in Ghent, Belgium, studied Engineer-Architecture at the Department of Architecture and Urbanism at the University of Ghent, Belgium, from 1996 to 2001. After a brief period of working for the architect Luc Deleu, he decided to fully concentrate on his own work as a video artist. His work has recently been shown at video festivals like Image Forum Festival (Tokyo) and Transmediale Festival (Berlin), where his video "Insert the Name of the City Here" received an honourable mention. He is currently working on two new videos that he recently shot in New York and Mexico City.

Should we clap at the future or cry about it? OH FAT BABY is a musical film-essay that claps in rhythm with the buffon inventions of our time and pins down civilizational patriotism and its big cannibal babies. Through borrowed images, the film sketches the portrait of a dysfunctional technological culture whose whims are deadly pranks.

Cindy Coutant is a visual artist and researcher. Her work focuses on the desire of the living to connect with beings and things and the co-evolution between species or techno-species. Her installations, films and augmented readings dismember Western technological narratives and add to them a missing imaginary in which technology is revealed as non-instrumental, slimy, erotic and indefinite. Her practice-led research sets up a genealogy of the minor critique of technology to actualize our relationship to the future. It addresses the anxiety of bodies and the indeterminacy of effects as crucial issues for capitalist industry, but also as the foundation of another technological narrative. Her work has been shown in Europe, North-America and Asia, in places such as Ars Electronica, Linz; Mamco, Geneva; Queer Sicilia film festival, Palais de Tokyo, Paris; SPOT, Taipei; Berlin Porn Film Festival, Berlin; CPH:DOX, Copenhagen; The Living Art Museum, Reykjavik; La Maison de la Littérature, Québec; and received the CIC prize for contemporary art (2018); Award of Distinction (computer animation) at Ars Electronica (2019); a digital revelation mention by ADAGP (2020). //////////// Theo Po?oga is an electronic musician and sound artist who explores concepts of affect, time and space by mixing both so-called popular sound material and experimental methods of composition and broadcasting. His audiovisual works have been exhibited in Berlin at Gr_und, the French Institute, the Haus Der Statistik as well as in the Center For Unfinished Business installed among others at the Transmediale 2020 exhibition. He collaborated with Cindy Coutant for the musical creation and sound design of her film "Télédésir" in 2018 as well as for her performances known as "augmented readings" at Printemps de Septembre in Toulouse in 2018 and at Gaité Lyrique in Paris in 2022. Théo Po?oga is currently at the Institute for Art in Context as part of the UDK Berlin. He is also co-founder of the collective W.E.L.T.

Passing Place (2009) is set at a remote crossroads in the North East of England. Scenes from six feature films, where significant moments occur at crossroads, are re-enacted by local people who live or work nearby and know the location well. Re-visited excerpts from Oedipus Rex, (Paolo Pasolini, 1967); Down By Law, (Jim Jarmusch 1986); Cool Hand Luke (Stuart Rosenberg, 1967); Castaway, (Robert Zemeckis 2000); Divine Horsemen: The Living Gods of Haiti, (Maya Deren, 1985) and The Discreet Charm of the Bourgeoisie, (Luis Buñuel, 1972) show people hiding from the law, getting shot, killing members of their own family, performing voodoo rituals; all in this one location. Crossroads are traditionally where life-changing decisions are made. Seen as unhallowed ground in most Western cultures, they represent a threshold between the worlds of the real and the imaginary, the living and the dead. Although familiar with the location, participants in Passing Place have a fragile relationship with the unrehearsed parts they are asked to play. The film exposes non-professional actors in the process of adopting roles, relating to the stories of others, intuitively presenting their own version of events.

Nicky Coutts (b. 1968) works primarily with film, video and photography, but also with sculpture and installation. Her work often contains elements of collage, or the reuse of materials such as film clips, paintings and photographs. Her work has been shown widely in the UK and internationally. She was awarded a six-month scholarship at Künstlerhaus Schloss Balmoral April-Oct 2010. Her work was also shown during 2010 at Ha Gamle Prestegard, Havegen, Naerbo, Norway; Doris, Stedefreund, Berlin; Es War Einmal Ein Papegei?, Künstlerhaus Schloß Balmoral, Germany and Multichannel, Artsway, UK. The solo show Millions Like Us at Danielle Arnaud Contemporary Art, London (Nov 5th- Dec 19th 2010) features film works and photographs made over the past 2 years. Her work often engages with the complicated perceptions one culture might have of another. ?A Tower in the Minds of Others?, commissioned for Tatton Park Biennial (2008), was a stack of three English garden sheds reminiscent of a pagoda, overlooking the Japanese Garden. In 2011 she returns to Japan for a 3 month residency to make a film at Youkobo Artspace, Tokyo. Coutts has an MA from Chelsea College of Art and a Phd from the Royal College of Art, London. www.nickycoutts.com

"Buried in the Rain" opens a minimalist sound space where the artist own voice unfolds, singing the possibility of memory and questioning our identity.

Daan Couzijn (Haarlem, 1994) is a multidisciplinary artist currently based in Amsterdam. After having studied singing at the Conservatory of Music in Rotterdam, he continued his studies at the Institute of Performative Arts in Maastricht where he graduated with a BA in Performance Art. Concluding his education, Couzijn graduated in June 2019 from a Post-Graduate program (Radical Cut-Up department) at the Sandberg Institute in Amsterdam, where he received the title of MA in Fine Art and Design. Couzijn is a creative all-rounder - musically skilled with a very strong eye for visual aesthetics who focuses on authenticity, existentialism and the way external influences (in particular digital influences such as social media) shape us. Often using the richness of the internet and the possibilities of technology as an inspiration for his works, Couzijn believes that every idea, every creation, is a combined effort of everything we?ve ever witnessed and experienced. Besides working as a professional actor/performance artist, he performs live with his own music under the pseudonym of Cousin. As Cousin, he creates minimalistic, electronic music combined with his own angelic vocals. More recently he also started exhibiting several audio/visual- ánd kinetic installation works, often using video and other digital media as an expressing tool.

Daan Couzijn (Haarlem, 1994) is a multidisciplinary artist currently based in Amsterdam. After having studied singing at the Conservatory of Music in Rotterdam, he continued his studies at the Institute of Performative Arts in Maastricht where he graduated with a BA in Performance Art. Concluding his education, Couzijn graduated in June 2019 from a Post-Graduate program (Radical Cut-Up department) at the Sandberg Institute in Amsterdam, where he received the title of MA in Fine Art and Design. Couzijn is a creative all-rounder - musically skilled with a very strong eye for visual aesthetics who focuses on authenticity, existentialism and the way external influences (in particular digital influences such as social media) shape us. Often using the richness of the internet and the possibilities of technology as an inspiration for his works, Couzijn believes that every idea, every creation, is a combined effort of everything we've ever witnessed and experienced. Besides working as a professional actor/performance artist, he performs live with his own music under the pseudonym of Cousin. As Cousin, he creates minimalistic, electronic music combined with his own angelic vocals. More recently he also started exhibiting several audio/visual- ánd kinetic installation works, often using video and other digital media as an expressing tool.

Sub Rosa est une installation audiovisuelle autour d’un film d’une durée de 12h en multi-channels, et d’un système sonore génératif. Le film montre des adolescents filmés au ralenti lorsque la lumière du jour décline et que le ciel se teinte des cou- leurs du coucher de soleil. Le film est tourné dans un seul endroit, l’Arco de la Victoria, sur une période de 3 ans. L’Arco de la Victoria est un arc de triomphe situé dans la partie nord-ouest de Madrid. Il a été construit dans les années 1950 à la demande de Francisco Franco pour commémorer sa victoire sur les troupes républicaines pendant la guerre civile espagnole. Cet arc de plus de 40 mètres de haut est encore aujourd’hui un symbole du fascisme espagnol. Situé en dehors des zones touristiques habituelles, au milieu d’un rond-point à plusieurs voies sur l’autoroute A6, il fait depuis longtemps partie des monuments oubliés de la ville, et est aujourd’hui plus une ruine qu’une marque historique. Et comme beaucoup de places publiques de la ville, c’est un point de rencontre pour les adolescents. L’œuvre est centrée sur les jeunes mais le territoire est visible, par fragments et flux. Le lieu est comme une île de béton, habitée par ces adolescents qui semblent en attente.

Sylvain Couzinet-Jacques (1983) est diplômé de l’École supérieure des beaux-arts de Marseille (2010) et de l’École nationale supérieure de la photographie d’Arles (2012). Son travail a été présenté lors d’expositions personnelles à Aperture Foundation à New York (2015) ou encore à C/O Berlin (2019). En 2012, il a reçu le prix Jeune Talent du BAL, puis entre 2015 et 2016 il été résident du Centre photographique d’Île-de- France et de la Cité internationale des arts à Paris. En 2015, il est lauréat du prix Immersion : une commande photographique franco-américaine, décerné par la Fondation d’entreprise Hermès, en alliance avec Aperture Foundation. Son premier livre Eden (1 000 pages de numérisations à la main d’une maison de la crise des subprimes dans une ville nommée Eden aux Etats-Unis) a été publié par Aperture en 2016. Entre 2017 et 2018, il est reçu com- me artiste membre de l’Académie de France à Madrid - Casa de Velázquez. En 2019 il est sélectionné pour l’exposition Foam Talents décerné par le Fotomuseum d’Amsterdam et il reçoit le prix C/O Berlin Talent Award qui a donné lieu à une exposition personnelle à C/O Berlin et à son second livre publié par Spector Books. Les enjeux globaux de la circulation immatérielle de données, de la propriété privée et de l’appropriation collective sont à la base d’une exploration visuelle et sculpturale dans son oeuvre qui emprunte des formes renou- velées à chacun de ses projets. A travers une une réflexion à mi-chemin entre le genre documentaire pour sa résonance avec le présent et les arts visuels, ses oeuvres toujours contextuelles et participatives racontent les crises de notre monde et les stratégies collectives de son ré-enchantement.

New Centuries Are Rare is a short film by the artist collective coyote (SWE/DK). The film explores the interlaced history of the former mining village Norberg in Sweden and the emblematic story of the electronic music scene at the turn of the last century. Sampling these intersections in time, New Centuries are Rare unfolds a journey through psychological, chemical and technological rhythms placed in close proximity to the grinding resistance present in the region’s past.

coyote is a multidisciplinary artist collective founded in 2017. Their collective practice is constantly in flux and moves between artistic and curatorial work. In addition to several self-produced exhibitions and projects, coyote have exhibited at Bizarro (DK), KØS - Museum of Art in Public Spaces (DK), Index - The Swedish Contemporary Art Foundation (SE), NSFW/SVILOVA (SE) and curated events at Filmform (SE), Moderna Museét (SE) and Bonamatic (DK) among others.

One skull, two people, one question Whose skull is it?

An encounter.

Jordan Crandall is a media artist and theorist based in Los Angeles. He is Associate Professor in the Visual Arts Department at University of California, San Diego. His video installations have been presented in numerous exhibitions worldwide, including recent group exhibitions at Tate Modern, San Francisco Museum of Modern Art, and the Walker Art Center. His most recent video installation, HOTEL, produced in advanced 4K high definition technology, probes into the realms of extreme intimacy, where techniques of control combine with techniques of the self. He writes and lectures regularly and is the founding editor of the new journal VERSION.

We begin with a monitor and end with a mirror. In between, two actors engage in an elaborate pas de deux. They are desirous of each other but their actions are infused with a presumptive suspicion. They analyze and deceive one another - and themselves - as they both solicit and block erotic contact. Circulating within the potent mixes of contemporary entertainment and security cultures, they embody mutually reinforcing mechanisms of pleasure and paranoia. In an increasingly militarized culture, there is a reciprocity between the way that control technologies function and the way that identity coalesces. "Homefront" performs an analysis of spectatorship and identification that is resonant with the new regime of mediatized security: a "security unconscious" projected into the cinematic lexicon.

Jordan Crandall is a media artist and theorist. He is Associate Professor in the Visual Arts Department at University of California, San Diego. His ongoing art and research project "Under Fire", concerning the organization and representation of political violence, opened in October 2006 at the International Biennial of Contemporary Art of Seville. To date, two catalogues of "Under Fire" have been produced, in 2004 and 2005, published by the Witte de With center for contemporary art, Rotterdam. The third volume will be produced by the Seville Biennial in early 2007. Crandall has currently completed a new 3-channel video installation entitled "Homefront", which combines live-action video, surveillance footage, and military tracking software. It explores the effects of the new security culture on subjectivity and identity. His work has been presented in numerous solo exhibitions worldwide, including the Museum of Contemporary Art Kiasma in Helsinki; the Neue Galerie am Landesmuseum Joanneum in Graz; ARTLAB in Tokyo; the Museo de Arte Carillo Gil in Mexico City; the Centre d?Art Contemporain de Basse-Normandie in Caen; the Kunst-Werke in Berlin; the Kitchen in New York; AGORA in Rio de Janeiro; the Edith Russ Site für Medienkunst in Oldenburg; and the TENT Centrum Beeldende Kunst in Rotterdam. His work has also been presented in group exhibitions at major institutions such as the Whitney Museum in New York. Crandall writes regularly on technology and culture. An anthology of his projects and critical writing - entitled Drive - was published by Hatje Cantz Verlag, in conjunction with Zentrum für Kunst und Medientechnologie (ZKM), Karlshrue, in 2002. He is currently completing a body of writing on the culture of tracking, which looks at tracking as a technology, a discourse, and a perceptual modality. His most recent essay is entitled "Precision+Guided+Seeing", published in CTheory in January 2006. Crandall has written on technology and culture for magazines such as Artforum, Parachute, Framework, Cultural Politics, Journal of Visual Culture, and TRANS>arts.cultures.media. Crandall?s other books include Trigger Projekt (Frankfurt: Revolver, 2002); Heatseeking (Caen: Esac, 2002); Suspension (Kassel: Documenta X, 1997); and Interaction: Artistic Practice in the Network (New York: D.A.P., 2001). Crandall?s videos have been presented at many international film and media festivals, including the World Wide Video Festival in Amsterdam; the Transmediale International Media Art Festival Berlin; the Montreal International Festival of New Cinema and New Media; the Video Archaeology Festival in Sofia, Bulgaria; the MIX Festival in New York City; the Berlin Biennial; the European Media Art Festival in Osnabruck, Germany; ?Cine y Casi Cine? at the Museo Nacional Centro de Arte Reina Sofia in Madrid; the Kasseler Dokumentarfilm und Videofest; and the Rotterdam International Film Festival. Crandall works in film, video, and new technologies that are particular to the military and surveillance culture. His earlier works include the site-specific video installation "Suspension" (1997) commissioned by Documenta X in Kassel; a seven-part video installation entitled "Drive" (1998-99), commissioned by the Neue Galerie am Landesmuseum Joanneum and the Zentrum für Kunst und Medientechnologie (ZKM) in Karlshrue; a six-part video installation entitled "Heatseeking" (2000), commissioned by inSITE in San Diego and Tijuana; and "Trigger" (2002), a two-channel video installation which debuted in October 2002 at Henry Urbach Architecture, New York, supported by the New York State Department of Cultural Affairs and ARTSPACE, San Francisco and New York.

Buried deep underground in an abandoned Russian broadcasting station located in the forest of Vilnius, Lithuania, an actor performs the role of a Red Army General to teach free-market values to a group of unemployed teenagers by subjecting them to an antagonistic history lesson on the Soviet occupation of the Baltic States.

Mike Crane is an artist raised in Bogotá, Colombia and currently based in New York. He is a graduate of the Cooper Union School of Art and studied at Hunter CUNY. Previous exhibitions include The Bass Museum of Art (Miami), Center for Contemporary Art Derry (Northern Ireland), FridayExit (Austria), Dublin City Gallery The Hugh Lane (Ireland), Chashama (New York), Carnegie International Lending Library of Transformazium (Pittsburg), The Banff Centre (Canada), and Silent Green Kulturquartier (Berlin). His work was most recently exhibited at the Bronx Museum Biennial, the Berlinale Forum Expanded and the Haus der Kulturen der Welt, Berlin. He was awarded the Brenda and Jamie Mackie Fellowship for Visual Arts at the Banff Centre, and the Foundation for Contemporary Arts Emergency Grant for his film installation at Chetham’s Library in Manchester, UK. In 2015, Crane was an artist in residence at the Triangle Arts Association in Brooklyn and the Rupert Centre in Vilnius, Lithuania. He is a recipient of a 2015 Creative Capital visual arts grant and is an artist in residence at the 2016-2017 Smack Mellon studio program in Brooklyn, NY.

What happens when you try to perform Shakespeare inside GTA Online, a game space notorious for its aggression and gratuitous violence? You might expect the other players in your server to respond with heavy weaponry, perhaps a mini SMG, or a compact grenade launcher. And indeed, this is often what happens. Yet occasionally you may come across someone who responds in an entirely unexpected manner. This work radically subverts and appropriates the notoriously violent world of GTA Online and reimagines it as a meditative space for live performance of Shakespeare. It challenges lazy assumptions about video games (that they are simply mindless entertainment or the nadir of violent youth culture) to reveal their inherent artistry and sophistication, and at the same time opens up the snobbish and elitist world of classical theatre to those who are excluded from it due to disability, financial concerns, geographical proximity or lack of familiarity with the theatrical ecosystem. By harnessing the technological capabilities and networked connectivity offered by contemporary video games, it also interrogates the concept of the audience: what it is, how it can be accessed, and how it can interact with live performance.

Sam Crane is an actor and video artist, critically acclaimed for his performances at the National Theatre, Shakespeare’s Globe, in The West End and on Broadway. He has collaborated with many of the most celebrated and influential theatre artists in the world including Mark Rylance, Katie Mitchell and Robert Icke in groundbreaking productions including Farinelli and The King, 1984 and ...some trace of her. In the guise of his alter ego Rustic Mascara, he attracted over 50 thousand views in two weeks to his radical attempts to perform Shakespeare inside GTA online and has had his films shown at contemporary art and film festivals worldwide (including London Short Film Festival, Slamdance and Athens Digital Arts Festival). He is also a prolific screen actor and has appeared in many the most loved and successful television shows of recent years including The Crown (Netflix), The Trial of Christine Keeler (BBC), COBRA (Sky), Poldark (BBC), Endeavour (ITV) and Call The Midwife (BBC). He has recently been selected as one of six emerging artistic researchers for Zurich University of the Arts PEERS programme, and was longlisted for the Aesthetica Art Prize 2022

Acid Rosa oh Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Gintas K

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Crónica is proud to present: Crónica 020~2005 and Crónica 021~2005, our second compilation, and one in two volumes. This compilation comprises an audio CD + DVD release and, as merely compiling tracks is of no big interest to us (no matter how interesting the tracks may be), what we searched for was an unifying idea that could help to create a coherent collective composition, not only showcasing both the artists and the label, as well as providing the possibility for some meaningful work to be done. And though the concept of this particular release still revolves around the sound medium, we`ve decided to stress the media label tag a little further with a full DVD release. The dvd showcases video work specially produced for this compilation, from some of our artists and some special guests. Crónica 021~2005 DVD 01: Jan Robert Leegte/ Boca Raton: Along The Line 02: Nuno Tudela/ Pedro Tudela: Guandong Tuning Tone 03: Return/ Pita: Recoil Nets 04: Ran Slavin: Golden Twilight Moments 05: Ok.Suitcase: -sf 0905-04 06: Telco Systems/ Longina: Oidar 07: Lia/ @c: Radio_Int.14/37 08: Stephan Mathieu: Radiance 09: Isabel Abreu & Rita Barbosa/ Pal: 2ofmytime 10: Return/ Freiband: Staging Toon Echism 11: Tina Frank/ General Magic: Chronomops 12: Brigitta Bödenauer/ Miguel Carvalhais: Can I Have Two Minutes of Your Time? 13: Júlio Dolbeth/ Steinbrüchel: AM/FM 14: Karl Kliem/ Christine Fowler: 2 minutes 15: Maximilian Jänicke/ Random Industries: Media Corrosion 16: Sara Kolster/ Pawel Grabowski: Untitled 2:00 17: Nuno Tudela/ Pedro Tudela: Atmosfera Reduzida 18: Return/ Gintas K: Acid Rosa Oh 19: Marius Watz/ @c: Int.13/35 20: Jörg Piringer: Sig/b 21: Sumugan Sivanesan/ Durán Vázquez: Goebbels? Pupils 22: Antmanuv: Silent Haarp 23: Ran Slavin/ James Eck Rippie: Radio 24: Erich Berger/ Pure: Free Radio Azimuth 25: Paulo Raposo: Verbatim 26: Ran Slavin/ The Beautiful Schizophonic: A Radiophonic Fairytale 27: Horacio G/ Longina: Oidar 28: Meta: Iradia Cover design by Miguel Carvalhais

Recoil Nets Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Pita

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Staging Toon Echism Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Freiband

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.