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In a city, in the North, there is an explosion...

I'm a young artist graduated from a regional school in the North of France. In my creation I hesitate between doing nothing, poetry and fiction.

Visual reconstitution essay; a play on speeds of one, two, three, or four colored sticks hitting a disintegrated cube.

Sylvain was born in 1977. He has a master's degree in film from Université de Paris VIII. He tours the world without moving and makes small films.

A super-8 filmstrip, shot in 2002 is weaved and transferred by craftsmen in mini-DV in order to be digitally composed. It was an attempt to create a new cinematic vision, to have access to another visible world from the visual and light. The viewer sees geometric and floral designs, according to the various levels of recomposition of the initial ribbon. Disjointed around an inaccessible center, "D-VIDE" blends directly into the minds of the spectators that animate it.

Born in 1977, Sylvain Legrand obtained an M.A. in Cinematographic and Audio-Visual studies at the Université de Paris 8. He currently works ?the world over? and continues to make personal cinema projects.

ROUTE TO CAPE TOWN A picture and sound concept (Klangwerk), a sketch, a moving drawing. Streets leading to a town. Brief moments in the old center of Cape Town. Thoroughfares, People, pedestrians, brief flashes. Everything in motion; The people, the cars, the camera. Those who know the town and surrounding area will recognise the topography. All shots were taken out on the streets leading into the town but still, it is not a documentary; time is altered, camera takes are not linear. These are fragments of time. The film montage and the music allows the beginning to fall at the end and vice versa. Time frozen, parallel time. Motionlessness and movement combined. The rhythmn begins slowly, gathers speed, interrupted by panoramic shots. Concrete sounds become music,a sound becomes a Soundscape. A Sound Poem about a place surrounded in melancholie. Fleeting moments of people who we don´t meet and won´t get to know. It is the brief moment of encounter.What do we know of our fellow man? what does it mean exactly to know someone?, a place, a landscape, a feeling,an experience?. Memories. In the end everything is just a fleeting moment. Our most inner thoughts are written in ink on the tips of the waves of the sea. ROUTE TO CAPE TOWN is a short poem in black and white, in tones and shades, something secretive, something dark and sad lies within. It is filmed from inside a moving vehicle but in the very movement itself lies the stationary, the brief moment, the life of a fragment. The scenes are out of focus, dirty, sometimes mirrored in the windscreen. Our memories are not linear. A mosaic of sounds, pictures, impressions. What is hiding behind the faces of the people who glance in our direction as we pass by?. The film uses concrete pictures and sounds to form a rhythmical abstract poem. A couple of short moments from Cape Town South Africa-a foreign City in moments, that by the end-seem strangely familiar to us.

Born in 1967 in Breisgau, Germany. Involved primarily in Art Films, Contemporary music and writing texts for publications. Also active as; Author, Director, Cameraman and Editor. His films are shown in festivals, Art Cinema´s and Galleries both inside and outside of Europe. Over the last ten years he has organised; Festivals, Film Showings, Lectures and Film Introductions, focusing on the Classical AvantGarde. Thomas Gerwin (*1955) A classically educated Composer and Musicologist (Musikwissenschaftler), He came into contact early on with Electric Acustic Music.Since 1990 he has been intensely involved in Soundscape Composition and Radiophone Art. He is presently composing for concerts and the radio in his own studio using sound and video installations. His artistic space works draw from the New Media forms in Theatre, Dance, Film and Sculpture. He has won various international awards and grants and his performances and exhibitions are presented world wide. In 2001 Thomas Gerwin founded the?Gesellschaft für multisensoriale Kunst? (?Community for Multisensual Art?) and in 2002 ?The Berliner Lautsprecher-Orchester? (The Loudspeaker Orchestra?). Since 2003,he has been leading a series of Concerts (?Klangwelten?) in Der Unsicht-Bar (Invisible-Bar) in Berlin where he intepreted Ars Acustica in complete darkness with a small Loudspeaker Orchestra.

Moving trough the world wide web means being exposed to a variety of content in a high tempo which does not always attract you, but can also seem revolting to you. The resulting emotional state of the user - a feeling of being overwhelmed and a certain unsteadiness - is the starting point of the work “66mio views“. The viewer is sitting inside a room filling installation. Head mounted displays enable him to be part of an immersive VR environment in which he faces irregular shapes and so called “non-player characters“ (NPCs). The shapes are textured with videos from common Image- boards (4chan, 9gag, ...) as well as viral YouTube videos. Their content is diverse and evokes not only positive emotions (e.g. videos of puppies), but also very negative emotions (e.g. so-called gore videos, videos of violence). In a self- developing rhythm of motion, the forms relate to the position of the viewer, move towards him, go through him and move away from him. Various NPCs from 3D-model databases approach the viewer and recite text-sequences from the videos in varying tonalities. This immersive installation understands the technical infrastructure (computercases, cables, ...) as an instrument which designs and shapes the space. It is being expanded with ropes as well as pictures and text fragments from the videos. Stacks of prints show extracts from the videos and thereby display their content transformed and adapted to an analogue medium. The visitors are invited to take these prints with them and transform the content once again by removing it from its original place. Keywords like connectivity/disconnectivity and comprehension/incomprehension as well as thinking about the digital space as an emotional shaping tool led to this installation which connects digital and analogue content in an abstract, fragmented way. (The installation was originally developed for a specific exhibition space in the basement of „Halle 14 - center for contemporary art“ in Leipzig. However, we can set up the installation with regards to any available space, as its dimensions are variable. At least one VR system, ropes and prints in different sizes are fixed.) Yannick Harter, Fabian Lehmann, 2019

Fabian Lehmann (*1988, Castrop-Rauxel, Germany) graduated at University of Applied Sciences, Bielefeld (2015) with degree Bachelor of Arts „Photography and Media“. Since 2016 he is studying „Media Art“ at the „Academy of fine Arts, Leipzig“ in the class „Expanded Cinema“ / Prof. Clemens von Wedemeyer and has studied „Fine Arts“ at „Bezalel Academy of Arts and Design“ in Jerusalem during an exchange semester. His artistic work focus on different communication systems and how digital techniques shapes the humanity and society. He had various exhibitions in Germany and Europe e.g. Hamburger Triennale der Fotografie (Hamburg), Gallery „Kunstpunkt“ (Berlin), Emscherkunst 2016 (Dortmund) Siva Galerija, (Zagreb) UG Halle 14 (Leipzig) Yannick Harter (*1990, Worms, Germany) is a trained productdesigner, who worked in branches like automotive industry and medical cybernetics. Since 2016 he is studying „Media Art“ at the „Academy of fine Arts, Leipzig“ in the class „Installation and Space“ / Prof. Joachim Blank and has studied „Visual Communication“ at „Latvias Art Academy“ in Riga during an exchange semester. His artistic practice oscillates around the intersection between art, science and society. He had various exhibitions in Germany and Europe e.g. Kaiserwerke (Gera), Gallery? „Kunstpunkt“ (Berlin), Obro?ców Stalingradu 17 (Szczecin), D27 (Riga), UG Halle 14 (Leipzig) Yannick Harter participated in several curatorial and educational projects and volunteered as artist assistant e.g. at Kunstverein (Leipzig), Neustadprojekte (Mainz), Latvian Center for Contemporary Art and Survival Kit 10.0 (Riga)

Photographs, snowy mountains, videotapes. Two stories of love and death. Episode 1: The Lost Photographs. Episode 2: The unfound movie videotapes.

Lei Lei is born in Nanchang, Jiangxi Province. In 2009 He got a master's degree in animation from Tsinghua University. In 2010, his film This is LOVE was shown at Ottawa International Animation Festival and awarded The 2010 Best Narrative Short. In 2013 his film Recycled was the Winner Grand Prix shorts - non-narrative at Holland International Animation Film Festival. In 2014 he was the winner of Asian cultural council grants. In 2017 he works at CalArts Experimental Animation program as full time Faculty. In 2018 he invited for New Academy Member for the Short Films and Feature Animation branch, and his installation Weekend was the winner of Jimei x Arles discovery award. In 2019 his first feature film Breathless Animals has been selected by Berlinale Forum.

“The photo was taken using a painted board in Kuling Park on Lushan…” A woman is reminiscing about the story behind a photograph: it was a bright summer day in the 1980s. Her family traveled to Lushan to escape the heat. As her memory unfolds, we gradually come to see the forgotten history and that very photograph being damaged by water stain.

1985 Born in Nanchang, Jiangxi Province, An experimental animation artist with his hands on video arts, painting, installation, music and VJ performance also. In 2009 He got a master's degree in animation from Tsinghua University. In 2010, his film This is LOVE was shown at Ottawa International Animation Festival and awarded The 2010 Best Narrative Short. In 2013 his film Recycled was the Winner Grand Prix shorts - non-narrative at Holland International Animation Film Festival. In 2014 he is the Jury of Zagreb / Holland International Animation Film Festival. and he was the winner of 2014 asian cultural council grant. In 2017 he works in CalArts Experimental Animation program as Faculty. In 2018 he invited for New Academy Member for the Short Films and Feature Animation branch. In 2019 his first feature film Breathless Animals has been selected by Berlinale Forum.

¡¶What ¡· The "what", is my first Video works. Since 1986, I was a photographer and I`ve been travelling different small city in China 1993-1998, I shooting a lot of black and white photographs , During that period, I also use a Hi8 camera casually shooting something.The piece material of "what" all from that Hi8 camera. In fact, I did not think of the future to put them into a film editing. There is just some messy, about some of China`s cities and towns. The middle of 2012, I was opened these Hi8 tapes, I start editing the material, and I hope they become a movie. I don`t want some subjective intervention into the "what", I hope it is messy, I hope it is messy, fury, in a disorderly daily style, commemorate my trip. This movie only made of my own, have not other people involved, music also by me.

biographical Han Lei, 1967 Born in Kaifeng, Henan Province, China, 1989 Graduated from Central Academy of Craft and Design, Beijing, China. Currently works and lives in Beijing, China. in creative photography from 1986. since 1993-1997, Travel in the small cities of China and shoot a lot of black and white photographs. In 1998 series Win The ¡°1998 Mother Jones International Fund for Documentary Photography Awards¡±, (San Francisco, U.S.A) In 1996-1997 A solo Exhibition , show in Helsinki, Finland, Berlin, Germany and Beijing, China. Selected Other solo exhibitions include: 1995 , Brussels, Belgium. 2005 Gallery Polaris, Paris, France, Killing Legend, 798 Photo Gallery, Beijing, China. 2006 ¨C 2012: , Gallery LOFT, Paris, France. , Hanart TZ Gallery, Hong Kong, China. 2010 , Talkang Space, Beijing, China. 2012 M97 Gallery,Shanghai, china. Selected Group Exhibitions include: 1996 , Reithalle, Munich, Germany, 2000 , Frankfurt, Germany; New York, U.S.A. 2007 Rome, Italy. , Prague International Museum, Prague, Czech Republic. 2012 , Lianzhou, Guangdong, China

SCREENING (HD, 9 min, 2011, single screen) SCREENING is based on the association of screen-tests and auditioning, that is often attached as extra material on dvds. Five female characters of age 16-30, are filmed in a white studio. They are wearing ordinary clothes and at first sight it might look like they are filmed just as ?themselves? in front of the camera. After a while it becomes more obvious that they go in and out of, and are trying out different roles. The characters do not know that the camera is recording the whole time during the shooting, even when they are stopped in the middle of an act; this to create an interaction of acting, trying to act, or just being themselves. Feminine expressions are contrasted with masculine to generate friction and to enhance the collision of the characters? attempts to go into a role, failing and managing the role.

Kaja Leijon is born in Tromsø, 1980, and now lives and works in Oslo, Norway. She is educated at the National Academy of Fine Arts. During her education she participated in several exchange programs, among those at CalArts, US. Leijon works with film and photography. Leijon recently had a solo exhibition at Trøndelag senter for samtidskunst. Her films have been screened at international exhibitions and film festivals such as; National Taiwan Museum of Fine Arts, Kunsthalle in Mainz, Luis Adelantado Gallery, Videonale and Kasseler Dokumentar und videofest,

Wasteland ? synopsis: Wasteland is a film that consists of short episodes. The structure of the film gives impression of a loose narration, but the episodes have a common thread which becomes clearer throughout the film. The film investigates how our fantasy and imagination is affected by film, and how people in everyday life integrate images from fiction into their own lives. The film attempts to understand how preconceived conceptions influences the way we see and interpret our surroundings.

Kaja Leijon is born in Tromsø, 1980, and now lives and works in Oslo, Norway. She is educated at the National Academy of Fine Arts. During her education she participated in several exchange programs, among those at CalArts, US. Leijon works with film and photography. Leijon recently had a solo exhibition at Trøndelag senter for samtidskunst. Her films have been screened at international exhibitions and film festivals such as; National Taiwan Museum of Fine Arts, Kunsthalle in Mainz, Luis Adelantado Gallery, Videonale and Kasseler Dokumentar und videofest.

Agenzia Luce di Trieste is the meeting point of Valentina Giuriolo and Mauro Zerial: it is where analogue photography, professional excellence, photographic passion, rigorous approach and a certain vision of the world converge. It is the business they created together immediately after getting married. Valentina started from scratch, she knew nothing about photography, and Mauro taught her everything. Mauro started from scratch as well, after losing his sight in an accident along with the profession he had built. CRD is an experimental documentary in three acts that, starting from an absence, pursues an unexplored reading of reality. With a documentary approach Lele Marcojanni takes up the threads of a discussion born with Zerial and Giuriolo in 2018 in the comfort zone of their home-laboratory to go out into the streets of Trieste. Lele Marcojanni presents the first chapter, a study, which expands the experience of the first meeting with Zerial and Giuriolo and delves into the fear of losing images, into visual memory and the space around us that changes, the relationships between people that deteriorate over time like a jpeg re-exported too many times. Not seeing moves from the personal to the collective, opening up the search for the next chapter which, through a digital reworking, will investigate how to orient ourselves when there are no longer any references on the horizon.

Lele Marcojanni (Bologna, IT) focuses on filmmaking and visual arts. It started as a group dedicated to documentaries and then evolved into a path that intertwines writing, audiovisual, sound design, music and visual design in non ordinary exhibition supports tailored for its narratives. The stories collected and told by Lele prompt from everyday stories, far from mainstream media narratives. Lele Marcojanni investigates traditional forms of spectatorship by researching on screening formats, often working on the threshold of the ephemeral. Lele Marcojanni has directed documentaries, such as Carta and EVM 01, short films and mockumentaries. It was exhibited at festivals, museums and hybrid venues. It collaborated with several Italian and international performing arts festivals (Santarcangelo festival, Short Theatre, Live Arts Week, FUORI! among others) for the documentation of live works, experimenting with formats, practices and languages. Lele Marcojanni is the name of a collective visual narrative project founded in 2010 by Elena Mattioli and Flavio Perazzini.

Répondant à l`invitation du Théâtre Jean Lurçat, Scène Nationale d`Aubusson, nous avons réalisé cette série d`images alternant vues de la ville d`Aubusson et portraits de ses habitants. Quelque part entre la carte postale, le diorama et la stéréophotographie, ces images dressent un portrait sensible de la ville d`Aubusson. L`ensemble se présente comme un diptyque établissant un aller-retour permanent entre la ville et ses habitants.

Architecte diplômé en 2001, Nicolas Lelièvre s`est rapidement tourné vers les pratiques de l`image. La vidéo et la photographie sont pour lui des moyens privilégiés pour interroger les rapports qu`entretiennent le temps et l`espace. Le projet Centres Horizons mené entre 2003 et 2008 avec le marionnettiste Renaud Herbin a notamment été l`occasion d`explorer différents territoires urbains parmi lesquels Berlin (Villa Médicis Hors Les Murs 2004), Buenos Aires, Montréal ou encore Saint-Jacques-de-la-Lande et Lisbonne. Son questionnement sur les perceptions et les représentations des espaces urbains prend des formes variées, entre photographie, vidéo et spectacle vivant. Parallèlement, Nicolas Lelièvre participe régulièrement en tant que vidéaste à des créations de spectacles de théâtre (Cie LàOù, Théâtre de l`Arpenteur,...) et de danse (Cie EnCore, Cie Jean-Pierre,...).

Angela et Marius, deux jeunes étudiants, ont accompagné un jeune migrant lors de son arrivée en France. A travers leur récit, nous découvrons le périple de Bangoura, jeune guinéen ayant fui son pays lorsqu'il avait 17 ans. Sur une production musicale composée de samples (notamment extraits de musiques traditionnelles issues de différentes immigrations françaises), l'œuvre questionne la manière dont chacun de nous se réapproprie un fait, un événement ou un récit en en abolissant son contexte, son passé, sa connaissance et sa mémoire collective. Ainsi, la vidéo propose au spectateur de s’approprier l’histoire de Bangoura en reprenant son récit à la manière d’un karaoké. De cette manière, le récit relaté offre de multiples interprétations et peut aussi bien symboliser une génération de migrants cherchant à survivre, critiquer une société capitaliste ou les instituions, décrire le portrait d'une jeunesse française ou encore interroger la connaissance que nous avons de l’immigration française.

Artiste plasticien diplômé de l'ENSAM, Yoann Lelong trouve son inspiration dans la danse, la recherche scientifique et la problématique de l'exclusion. Il explore la vidéo comme moyen de retranscrire une réalité transcendée, mêlant la poésie réaliste de ses sujets à une réalité sociale fragmentée. Son passage par l'Ecole Normale Supérieure de Cachan le forme à la physique quantique, point de départ d'une démarche artistique qui irrigue l’ensemble de ses travaux, et donne à ses œuvres une lecture sous-jacente plus métaphysique. De sa collaboration avec Amos Poe, pionnier dumouvement new-yorkais No Wave, naît PERSON(A), installation vidéo où s'entrelacent vingt-trois portraits filmés au 16mm. Une œuvre poétique où les éléments se distinguent, se répondent, puis se fondent dans un flou indistinct. Cette 1ère œuvre illustre dès lors le rapport distancié qu’entretient Yoann Lelong au réel et qui le pousse, à chaque nouvelle création, à saisir l'instant sans filtre et sans interprétation pour retranscrire et sublimer les sujets à l'état brut. Les sujets deviennent matière, le tout rejoignant le tout. A l'issue d'une résidence artistique à bord du voilier Tara Méditerranée en 2014, il crée PerceptConcept, à l'image du mouvement ondulaire et répétitif de l'expédition maritime : les gestes de l'équipage épousent le va-et-vient de la mer, au rythme de sons mécaniques ou organiques. Par la suite, il s'interrogera sur l'essence d'une création et plus particulièrement sur ce qui en fait son unicité en collaborant avec la chorégraphe Anne Nguyen et le musicien Les Gordon (2015). Le mouvement gestuel et sonore apparaît ainsi dans le travail de l’artiste comme une composante clé de toutes ses créations. La recherche de l’unicité à partir de fragments épars constitue, pour l’artiste, un cheminement permanent, un questionnement métaphysique qui explore, chaque fois, un nouveau terrain de création, tantôt attaché à une réalité sociale, tantôt abstrait.

Derrière tout œuvre artistique, se cache un travail de recherche foisonnant, un parcours irrégulier fait d’avancées et de doutes. Mettant en perspective le travail de 2 artistes aux disciplines différentes, le film retrace ces moments d’improvisations, de répétition ou d’hésitations qui font partie intégrante d’une œuvre en devenir. Aux mouvements des danseurs hip-hop de la chorégraphe Anne Nguyen (artiste associé à Chaillot), se superpose une oeuvre musicale du musicien Les Gordon (du label Kitsuné), 2 univers qui, bien que différents, viennent se compléter pour créer une forme nouvelle et singulière. Qu’il s’agisse d’une pièce dansée ou d’une œuvre de musique, l’impression d’aisance et de maîtrise que suscite la découverte de l’oeuvre aboutie est toujours flagrante. Quel processus de création derrière cette sensation de fluidité, de perfection ? Comment, d’une matière brute et spontanée, naît l’oeuvre future ? C’est par cet angle que le film tente de capter et de retranscrire la genèse d’une création artistique, nourri par les séances de travail et de répétition des danseurs, autant que par la l’oeuvre musicale composée sur le mode de l’improvisation. Questionnement, tentatives, ajustements, répétitions... Autant d’étapes nécessaires que requiert la création d’un projet artistique, mouvement permanent oscillant entre la projection initiale de l’artiste et le projet en devenir, matière polymorphe et versatile. Miroir de cette genèse continue, le film finit par lui-même devenir objet de son propos.

Yoann Lelong, né en 1985. Après avoir étudié la physique quantique au cours de son cursus universitaire, Yoann Lelong s’est progressivement tourné vers la création artistique en se formant au California Institute of Arts et en collaborant avec le pionnier du mouvement No wave New Yorkais, Amos Poe. Le travail de Yoann Lelong émerge d’une vision du monde où tous les éléments sont reliés et interagissent entre eux. Chaque élément est, pour lui, une abstraction issue d’une totalité de mouvement fluide (telle la notion d’holomouvement). Il adopte ainsi une approche centrée sur l’individu pour ensuite en dégager une structure systémique en s’intéressant aux interactions qu’un individu peut avoir avec un lieu, une ambiance ou d’autres personnes. En 2013, encouragé par Alain Cavalier, Yoann Lelong réalise le film PERSON(A). Il s’agit de 23 portraits entrelacés (dont ceux de Benoit Forgeard, Amos Poe et Lola Bessis). En 2014, il rejoint l’expédition Tara Méditerranée, dans le cadre d’une résidence artistique qui donnera lieu à l’installation vidéo PerceptConcept. En 2015, Yoann Lelong a réalisé des projets sur le thème de la transidentité et de l’insertion des personnes réfugiées en collaboration avec l’association Singa. En 2017, il prépare une nouvelle œuvre en relation avec le centre de pédopsychiatrie de l’hôpital La Pitié Salpêtrière.

Angela et Marius, deux jeunes étudiants, ont accompagné un jeune migrant lors de son arrivée en France. A travers leur récit, nous découvrons le périple de Bangoura, jeune guinéen ayant fui son pays lorsqu'il avait 17 ans. Sur une production musicale composée de samples (notamment extraits de musiques traditionnelles issues de différentes immigrations françaises), l'œuvre questionne la manière dont chacun de nous se réapproprie un fait, un événement ou un récit en en abolissant son contexte, son passé, sa connaissance et sa mémoire collective. Ainsi, la vidéo propose au spectateur de s’approprier l’histoire de Bangoura en reprenant son récit à la manière d’un karaoké. De cette manière, le récit relaté offre de multiples interprétations et peut aussi bien symboliser une génération de migrants cherchant à survivre, critiquer une société capitaliste ou les instituions, décrire le portrait d'une jeunesse française ou encore interroger la connaissance que nous avons de l’immigration française.

Artiste plasticien diplômé de l'ENSAM, Yoann Lelong trouve son inspiration dans la danse, la recherche scientifique et la problématique de l'exclusion. Il explore la vidéo comme moyen de retranscrire une réalité transcendée, mêlant la poésie réaliste de ses sujets à une réalité sociale fragmentée. Son passage par l'Ecole Normale Supérieure de Cachan le forme à la physique quantique, point de départ d'une démarche artistique qui irrigue l’ensemble de ses travaux, et donne à ses œuvres une lecture sous-jacente plus métaphysique. De sa collaboration avec Amos Poe, pionnier dumouvement new-yorkais No Wave, naît PERSON(A), installation vidéo où s'entrelacent vingt-trois portraits filmés au 16mm. Une œuvre poétique où les éléments se distinguent, se répondent, puis se fondent dans un flou indistinct. Cette 1ère œuvre illustre dès lors le rapport distancié qu’entretient Yoann Lelong au réel et qui le pousse, à chaque nouvelle création, à saisir l'instant sans filtre et sans interprétation pour retranscrire et sublimer les sujets à l'état brut. Les sujets deviennent matière, le tout rejoignant le tout. A l'issue d'une résidence artistique à bord du voilier Tara Méditerranée en 2014, il crée PerceptConcept, à l'image du mouvement ondulaire et répétitif de l'expédition maritime : les gestes de l'équipage épousent le va-et-vient de la mer, au rythme de sons mécaniques ou organiques. Par la suite, il s'interrogera sur l'essence d'une création et plus particulièrement sur ce qui en fait son unicité en collaborant avec la chorégraphe Anne Nguyen et le musicien Les Gordon (2015). Le mouvement gestuel et sonore apparaît ainsi dans le travail de l’artiste comme une composante clé de toutes ses créations. La recherche de l’unicité à partir de fragments épars constitue, pour l’artiste, un cheminement permanent, un questionnement métaphysique qui explore, chaque fois, un nouveau terrain de création, tantôt attaché à une réalité sociale, tantôt abstrait.

Derrière tout œuvre artistique, se cache un travail de recherche foisonnant, un parcours irrégulier fait d’avancées et de doutes. Mettant en perspective le travail de 2 artistes aux disciplines différentes, le film retrace ces moments d’improvisations, de répétition ou d’hésitations qui font partie intégrante d’une œuvre en devenir. Aux mouvements des danseurs hip-hop de la chorégraphe Anne Nguyen (artiste associé à Chaillot), se superpose une oeuvre musicale du musicien Les Gordon (du label Kitsuné), 2 univers qui, bien que différents, viennent se compléter pour créer une forme nouvelle et singulière. Qu’il s’agisse d’une pièce dansée ou d’une œuvre de musique, l’impression d’aisance et de maîtrise que suscite la découverte de l’oeuvre aboutie est toujours flagrante. Quel processus de création derrière cette sensation de fluidité, de perfection ? Comment, d’une matière brute et spontanée, naît l’oeuvre future ? C’est par cet angle que le film tente de capter et de retranscrire la genèse d’une création artistique, nourri par les séances de travail et de répétition des danseurs, autant que par la l’oeuvre musicale composée sur le mode de l’improvisation. Questionnement, tentatives, ajustements, répétitions... Autant d’étapes nécessaires que requiert la création d’un projet artistique, mouvement permanent oscillant entre la projection initiale de l’artiste et le projet en devenir, matière polymorphe et versatile. Miroir de cette genèse continue, le film finit par lui-même devenir objet de son propos.

Yoann Lelong, né en 1985. Après avoir étudié la physique quantique au cours de son cursus universitaire, Yoann Lelong s’est progressivement tourné vers la création artistique en se formant au California Institute of Arts et en collaborant avec le pionnier du mouvement No wave New Yorkais, Amos Poe. Le travail de Yoann Lelong émerge d’une vision du monde où tous les éléments sont reliés et interagissent entre eux. Chaque élément est, pour lui, une abstraction issue d’une totalité de mouvement fluide (telle la notion d’holomouvement). Il adopte ainsi une approche centrée sur l’individu pour ensuite en dégager une structure systémique en s’intéressant aux interactions qu’un individu peut avoir avec un lieu, une ambiance ou d’autres personnes. En 2013, encouragé par Alain Cavalier, Yoann Lelong réalise le film PERSON(A). Il s’agit de 23 portraits entrelacés (dont ceux de Benoit Forgeard, Amos Poe et Lola Bessis). En 2014, il rejoint l’expédition Tara Méditerranée, dans le cadre d’une résidence artistique qui donnera lieu à l’installation vidéo PerceptConcept. En 2015, Yoann Lelong a réalisé des projets sur le thème de la transidentité et de l’insertion des personnes réfugiées en collaboration avec l’association Singa. En 2017, il prépare une nouvelle œuvre en relation avec le centre de pédopsychiatrie de l’hôpital La Pitié Salpêtrière.

Somehow Continue is a document of an unprecedented and fleeting moment in time set in a piece of urban wilderness located in the cultural heart of Montreal’s Mile End. A cinematic capsule shot on 16 mm that is an ode to instability and collective resiliency.

Karl Lemieux is a filmmaker, who's work is inspired by the dialogue that occurs between film, music and sound art. At the heart of his practice, also including narrative filmmaking, the importance of the cinematographic apparatus and the attachment to celluloid are essential. His films, installations, and performances have screened internationally in museums, galleries, music venues and film festivals including: the Montreal Contemporary Arts Museum, the MOMA - Museum of Modern Art in San Francisco, the Austrian Film Museum in Vienna and the Eye Filmmuseum in Amsterdam. He is known for his collaboration with Godspeed You! Black Emperor, a Montreal music collective for which he does live 16mm film projections since 2010. He is also the co-founder of Double Négatif, a Montreal-based collective, dedicated to the production and dissemination of experimental films. His first feature, Maudite Poutine (2016), premiered in the Orizzonti competition of the 73rd Venice International Film Festival presented by the Venice Biennale.

Five of these sketches are inspired by modern art: "Le calvaire de R.Mutt" ("R.Mutt´s calvary", a reference to M.Duchamp). The artist follows an abrupt Way of the Cross. He is carrying Duchamp´s "Fountain" (a reference to Warhol). In a landscape, the artist paints the word "brillo" in white on a white board. "Tombeau pour M.B" ("A tomb for M.B", a reference to Broodthaers). The artist finds the "Belgian man´s thighbone", painted in the Belgian colors. He discolors it and buries it in the ground of the Battle of Waterloo. "Le semeur de pensées" ("the pansies sower", a reference to Monet). The artist sows pansies in Monet´s garden in Giverny. "Parcours d´artiste" ("an artist´s route", a reference to Ensor). The artist, wearing a 3-piece-suit and carrying a suitcase, walks up a brook. He ends up finding a smoked herring (pun with the name of the fish in French, "hareng-saur", and "Ensor"). Three sketches give to the television another role than that of a screen : "La tour penchée" (The leaning tower). Toutists try to push Pisa´Tower. The tower is set upright again by inclining the television. "Repasser l´image" ("ironing/replaying the movie"). One scene displaying a woman ironer is being replayed on the TV screen. "Chaussettes-show" ("the socks´ show). The ballet of a pair of socks for a pair of shoes. A sketch where a message is transmitted by the viewer: "Le message de l´ogre"("the message of the ogre", Bomarzo´s enigma). In the park of Bomarzo´s monsters, the artist transmits an enigmatic word in semaphore language.

Jacques Lennep was born in Uccle, Belgium, on the 11th of July 1941. He is a multidisciplinary artist. In 1972 he created the CAP group within which he formulated the principles of a relational art. He developed one sociological trend of this art by creating his Man´s museum in 1974. From then, he dedicated himself to video, and was a video pioneer in Belgium. He taught in the Academy of Fine arts in Brussels. He belongs to the Royal Academy of Belgium. His most recent videos are gathered under the titles "Delirium-vidéo" and "Musée de l´homme Postproduction". He wrote 2 books about his approach : Alchimie du sens (La part de l´oeil Editions, Bruxelles, 1999) and Conversation avec P.-Y Desaive (Tandem Editions, Gerpinnes 2003). The Museum of Modern and Contemporary Art (MAMAC) of Liège will devote a retrospective to him in 2007.

The supporter Erico Bucci is one of the characters present in the "Musée de l'Homme" of Jacques Lennep. He dedicated to him an exhibition in the Palais des Beaux-Arts of Brussels in 1977. Retired minor, he is a fan of the Charleroi Sporting Club, soccer club which players wear stripped black and white shirts. When he goes to a game, Bucci colours his hair with black and white stripes in tune with his black and white streaked costume. His house, his wife, his children, his car are also streaked. Some big extracts form the videos of the 1977 exhibition are integrated in this editing alterning with sequences shot in Bucci's house in 2004. Harald Steeman selected this movie for his exhibition "La Belgique visionnaire" (2005). His planned to present it also in his exhibition in Berlin, Rundlederwelten for the soccer world cup.

Jacques Lennep is born in Uccle, Brussels, on the 11th of July 1941, is a multimedia artist. He founded in 1972 the CAP group, which practiced a relational art and were a pioneer of video art in Belgium. The group was active until 1982 developed an international activity. Jacques Lennep gave to his work a sociologic view when he created his "Musée de l'Homme" in 1974. For ten or so years, he presented in various artistic institutions people that stand out via a remarkable passion. This people were always presented in installation where video played a major part. J.Lennep put an end to his "Musée de l'Homme" creating a "peintre du dimanche", N.V. Panneel, who he told the stories and exhibited the works. During that period, his works were exhibited in most of international manifestations dedicated to this medium. Thus, he did in Paris his performance "Video-fil" during he "Journée interdisciplinaires sur l'art corporel" at the Pompidou Centre. In 1996, J. Lennep started his "Devoir Quotidiens", a kind of dairy that ended at the page 2195 in 2002. He tied again with video, updating movies done in the framework of the previously written museum, but also doing series of sketches gathered under the title of "Delirium Video". J. Lennep is also author of artist movies, installations and performances. The last one: he took the place of a prostitute in her window (video shot). J. Lennep was teacher at the Academie des Beaux-Arts de Bruxelles and is member of the Académie Royale of Belgium.

To Ashes explores the thresholds between reality and machinic hallucination, questioning contemporary image-generation technologies — particularly artificial intelligence — and their influence on our perception of the real. Created through a hybrid process combining 3D modeling and AI-based generation tools, the video unfolds as a continuous tracking shot through a brutalist megastructure in constant transformation. Architectural forms disintegrate and transform, while ash-like particles rise into the air. This disintegration is accompanied by an experimental soundscape, where analog synthesizers and transformed voices evoke a latent collapse. Gradually, the architecture gives way to unstable crystalline structures. Reality wavers. In the end, something gives way, shifts, disappears. Everything must burn.

Thomas Léon develops his practice by merging cinema, graphic arts and images from new technologies. He creates films, immersive video and sound installations, as well as large-format drawings. His work explores the interconnections between memory, sensuality, intimate experiences, and the imaginary, drawing on fictions, whether they be social, urban, climatic, etc. He is notably influenced by science fiction and utopian literature and frequently develops his projects using contemporary image creation tools (3D modeling, AI, etc.). He regularly participates in screenings or exhibitions in France and abroad: 'Listening to Transparency' at the Minsheng Art Museum in Shanghai (China, 2017), 'Cruces Sonoros: Mundos Posibles' at the MAC in Santiago de Chile (Chile, 2016), 'Rendez-vous 11' at the Institute of Contemporary Art in Villeurbanne (France, 2011), and at the South African National Gallery in Cape Town (South Africa, 2012). He notably took part in residencies : Drawing Factory organized by CNAP (National Center for Visual Arts) and the Drawing Lab (Paris) in 2021 ; a residency in Taiwan, organized by Grame, the National Center for Musical Creation (Lyon), and the Digital Art Center (Taipei) in 2011. His works can be found in the collections of CNAP (National Center for Visual Arts) and the Louis Vuitton Foundation. Thomas Léon lives and works in Montreuil.

Based on an audio testimony, the video serves as both an investigation and a visual representation of a family’s personal and violent event. It aims to dissect, reveal, and guide the viewer through the intimate experience of the grieving process. Drawing, in its various modes of expression and diverse technical modalities (hand-drawn, computer-generated images, hybrid forms), plays a central role in this project to express psychological processes such as trauma, the relationship to memory, and more.

Thomas Léon develops his practice by merging cinema, graphic arts and images from new technologies. He creates films, immersive video and sound installations, as well as large-format drawings. His work explores the interconnections between memory, sensuality, intimate experiences, and the imaginary, drawing on fictions, whether they be social, urban, climatic, etc. He is notably influenced by science fiction and utopian literature and frequently develops his projects using contemporary image creation tools (3D modeling, AI, etc.). He regularly participates in screenings or exhibitions in France and abroad: 'Listening to Transparency' at the Minsheng Art Museum in Shanghai (China, 2017), 'Cruces Sonoros: Mundos Posibles' at the MAC in Santiago de Chile (Chile, 2016), 'Rendez-vous 11' at the Institute of Contemporary Art in Villeurbanne (France, 2011), and at the South African National Gallery in Cape Town (South Africa, 2012). He notably took part in residencies : Drawing Factory organized by CNAP (National Center for Visual Arts) and the Drawing Lab (Paris) in 2021 ; a residency in Taiwan, organized by Grame, the National Center for Musical Creation (Lyon), and the Digital Art Center (Taipei) in 2011. His works can be found in the collections of CNAP (National Center for Visual Arts) and the Louis Vuitton Foundation. Thomas Léon lives and works in Montreuil.

The installation directly refers to spectacular films, in its organization and dramaturgy (the scenes? succession, the function of music) as well as in the implemented technical means (HD projection, 5.1 surround sound). Designed as an adventure movie in which the main character would be hold by the camera, the video makes its way through an island that happens to be a shapes directory. It is a long tracking out : inside a crystal structure, through different desert and deserted places, flying over the sea off a prismatic object. The nature of the depicted objects and places, as well as their relations, is never obvious, as the camera changes directions to get closer of surfaces, and plays with scales? effects, sometimes even getting lost in details. Co-production Ville de Beauvais, Le LABO, DRAC Picardie.

This is a film about time and experiencing a work of art. The form and structure of video and the use of digital media and sound instill emotional tension in an environment that otherwise lacks it. The camera tracks forward and progresses into a snowy landscape. The video is divided into two equal parts which are linked together when the camera?s angle moves towards the floor. From this moment forward, the image slides from the representation of a physical space to a rhythmic abstraction. When the camera lifts up again, we are back at the beginning. Two successive soundtracks accompany each part of this video.

Born in 1981 in Dijon (France), Thomas Leon currently lives and works in Paris. His work is articulated mainly around the video medium, in the form of complex and condensed installations, on the border of narration. His achievements were especially chosen for the following exhibitions: ?The children of Sabbath 07? with the Hollow of the hell, Centers Contemporary art of Thiers (France) in 2006, ?Multipolar? with the Market 14 of Leipzig (Germany) in 2006, ?Filterbox? with Glassbox (Paris) in 2006, ?the syndrome of Broadway? in the Center of Art of the Saint-Leger Park to Pougues-the-Water (France) in 2007, ?Science and fiction? with General in Manufacture in 2008.

Deployment presents a body of work undertaken by Emmanuelle Léonard in 2018 during a research residency in the Canadian Far North sponsored by the Canadian Forces Artists Program. A continuation of the artist’s photographic and videographic projects from the past fifteen years, which focused on the hierarchies that form within social, judiciary, military and religious systems, this group of works pursues her interest in the function of authority and the mechanisms by which it is circumvented or undermined. Observing the exercises conducted to assert Canadian sovereignty in the Arctic, Léonard discovered a diverse set of realities: strategic military deployment in a region of the world where the national, political and economic stakes have been raised by global warming.(...) Despite conditions that make filming extremely difficult, Léonard captured the activities of soldiers shielded against the cold by clothing, face masks and goggles that make them appear sometimes spectral and anonymous, sometimes very real and individual. Turning her attention to training exercises that level identity as well as to the participants themselves – their perception of the world independent of the military model – the artist witnessed the waiting and the relative passivity of soldiers confronted with motors that refuse to start in the northern night that is so disquietingly slow to fall, if not entirely eclipsed, where nothing momentous is said, done or claimed. (Louise Déry - Director, Galezrie de l'UQAM - Université du Québec à Montréal)

maybe dramatic frame change is unnesessarry...

Born in Vilnius in 1967. Graduated from the Art School of Justinas Vieno?inskis in Vilnius. In the 1983?1995 period, he worked as an art director at a Vilnius restoration studio, as a costume designer, art director and director at the Lithuanian national television, was a lecturer at the Vilnius Conservatoire and worked as art director assistant in the film Corridor (Koridorius) by ?arūnas Bartas. In 1996? 2000, Leontjev worked as art director and creative director at the advertising agency Brand Sellers DDB Vilnius. From 2000 until present, he has been the director of film production company Vilks Studija. Leontjev has directed a number of commercials and music videos that have won various awards including the MTV Russia prize for the music video of the year in 2004. He has authored scores of film scripts that are yet to be fulfilled. He is currently preparing for the shooting of a new 20 minute short film. Absence (Nebuvimas) is the first film from the cycle You Are Not Alone.

'Another Woman - film adaptation' is a three channel film presenting intimate scenes of three characters, two women and a man, in the course of a breakup. The film explores a world of fiction and performance in a cinematographic and spatially designed narrative where three images are presented simultaneously. The visual style focusses both on the performing bodies and their surroundings. Subcutaneous emotions surface through tactile interaction, as the characters touch and feel their place amidst the physical properties of the space. Walls, ceiling, floor, curtains and furniture form obstacles, boundaries and voids that confront the protagonists with the situation and state of mind in which they find themselves. The interiors become mirrors for their inner worlds, surreal and intuitively recognisable at the same time. 'Another Woman - film adaptation', 2025, is a re-staging of the spatial installation 'Another Woman', 2022. We show an exerpt of 13 min 6 sec. of the final film that will have an estimated duration of 70 minutes.

Leopold Emmen is a collaboration between filmmaker Nanouk Leopold and visual artist Daan Emmen. In our work, we experiment with film as a spatial, cinematographic experience in which the visitor plays an active role. Through the characteristics of a place and the behaviour of our protagonists, we want to make tangible how a presence influences life and relationships with the other. An open invitation to explore the physical and mental world of the characters themselves. Creating awareness of the way in which space, sound and moving image can come together in a deepening, embodied experience, we want to stir up our conditioned gaze. Reflecting on how we see the world, how we see ourselves in that world and how we see each other.