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Les films de Ben Rivers étudient ce qui semble venir d’un autre monde, à la recherche de lieux et d'histoires échappant aux conventions quotidiennes de la réalité. "Look Then Below" a été filmé dans un Somerset transformé en une île colorée et envahie par la brume, sur une mer d’huile, et avec une grotte baignée par une lueur souterraine. Là, le temps semble s'arrêter. Après "Slow Action" et "Urth", il d’agit du dernier volet d'une trilogie développée avec Mark von Schlegell, auteur américain de science-fiction.

Ben Rivers a étudié les beaux-arts à la Falmouth School of Art (Royaume-Uni): après la sculpture, il s’est tourné vers la photographie et le film en super8. Après avoir obtenu son diplôme, il a appris par lui-même la réalisation et le traitement manuel des films 16mm. Sa pratique en tant que réalisateur se situe entre le documentaire et la fiction. Souvent, il suit et filme des personnes qui, d'une manière ou d'une autre, se sont séparées de la société. Des images brutes lui fournissent un point de départ pour créer des récits obliques, imaginant des existences alternatives dans des mondes marginaux. Il a remporté de nombreux prix, dont le FIPRESCI International Critics Prize, 68e Mostra de Venise (Italie), pour son premier long métrage, "Two Years At Sea"; le Baloise Art Prize, Art Basel 42, Bâle (Suisse) [2011]; la présélection pour le Jarman Award, Londres (Royaume-Uni) [2010/2012]; et le Paul Hamlyn Foundation Award for Artists, 2010. Parmi ses expositions récentes, citons: "Slow Action", Hepworth Wakefield, Wakefield (Royaume-Uni) [2012]; "Sack Barrow", Hayward Gallery, Londres (Royaume-Uni) [2011]; "Slow Action", Mattâ's Gallery, Londres (Royaume-Uni), et Gallery TPW, Toronto (Canada) [2011]; et "A World Rattled of Habit", A Foundation, Liverpool (Royaume-Uni) [2009]. Il a notamment participé au Courtisane and Film Fest, Gand (Belgique); à la Mostra internazionale del Nuovo Cinema di Pesaro (Italie); au London Film Festival, Londres (Royaume-Uni); au Tirana International Film Festival, Tirana (Albanie); à Punto de Vista, Pampelune (Espagne); à Indielisboa, Lisbonne (Portugal); et au Milano Film Festival, Milan (Italie). En 1996, il a co-fondé la Brighton Cinematheque (Royaume-Uni), dont il a ensuite été co-programmateur jusqu'à sa fermeture, en 2006. Cette institution était réputée pour sa programmation unique de films, depuis ses débuts jusqu'aux derniers films et vidéos d'auteur.

Les éléments d'une maison: une porte, le plafond miteux, les planchers de bois, le portrait d'une petite fille. Et le crépitement de la pellicule 16mm sur laquelle elles sont imprimées, aussi "concrète" que les objets qu'elle filme, et en opposition à l'effacement des choses dans les pixels du numérique. Les vers d'un poème de Wallace Stevens accompagnent les images: "La maison était tranquille et le monde était calme/ le lecteur devint le livre/ et la nuit d'été fut comme l’être conscient du livre". Dans la succession des vers - et dans la répétition des jours enfermés dans la maison pendant le confinement - le lecteur, le livre, la maison et la nuit d'été ne font plus qu'un, bercés par le crépitement du film.

Ben Rivers a étudié les beaux-arts à la Falmouth School of Art (Royaume-Uni): d'abord la sculpture, avant de se tourner vers la photographie et le film super8. Après avoir obtenu son diplôme, il a appris en autodidacte la réalisation et le traitement manuel des films 16 mm. Sa pratique de réalisateur se situe entre le documentaire et la fiction. Souvent, il suit et filme des personnes qui, d'une manière ou d'une autre, se sont séparées de la société. Les images brutes lui fournissent un point de départ pour créer des récits obliques, imaginant des existences alternatives dans des mondes marginaux. Il est le lauréat de nombreux prix, dont le Prix de la critique internationale FIPRESCI, 68e Mostra de Venise (Italie) pour son premier long métrage, "Two Years At Sea"; le Baloise Art Prize, Art Basel 42, Bâle (Suisse) [2011]; la présélection pour le Jarman Award 2010/2012, Londres (Royaume-Uni) ; et le Paul Hamlyn Foundation Award for Artists, Londres (Royaume-Uni) [2010]. Parmi ses expositions récentes, citons: "Slow Action", Hepworth Wakefield (Royaume-Uni) [2012]; "Sack Barrow", Hayward Gallery, Londres (Royaume-Uni) [2011]; "Slow Action", Mattâ's Gallery, Londres (Royaume-Uni), et Gallery TPW, Toronto (Canada) [2011]; et "A World Rattled of Habit", A Foundation, Liverpool (Royaume-Uni) [2009]. Il a notamment participé au Courtisane Festival, Gand (Belgique); au Festival international du nouveau cinéma de Pesaro (Italie); au London Film Festival, Londres (Royaume-Uni); au Tirana International Film Festival (Albanie); à Punto de Vista, Pampelune (Espagne); à Indielisboa, Lisbonne (Portugal); et au Milano Film Festival, Milan (Italie). En 1996, il a co-fondé la Brighton Cinematheque (Royaume-Uni), dont il a ensuite été co-programmateur jusqu'à sa fermeture, en 2006. Cette institution est réputée pour sa programmation unique de films, depuis ses débuts jusqu'aux plus récents films et vidéos d'artistes.

THERE IS A HAPPY LAND FURTHER AWAAY (20 mins, S16, col/b+w, 2015) There Is A Happy Land Further Awaay (2015), captures the landscapes of the remote volcanic Republic of Vanuatu archipelago, before they were devastated by Cyclone Pam in early 2015, the footage becoming a ghostly document of an ecosystem now irrevocably altered. A hesitant female voice reads a poem by Henri Michaux, recounting a life lived in a distant land, full of faltering and mistakes. Island imagery of active volcanoes, underwater WW2 debris, children playing, and wrecked boats transform into intangible digital recollections of the island, made on the opposite side of the world. Images of the eroded land merge with eroding film, a lone figure on a boat drifts at sea.

Ben Rivers (born in 1972) is an artist and experimental filmmaker based in London. His work has been shown in many film festivals and galleries around the world and has won numerous awards. His work ranges from themes about exploring unknown wilderness territories to candid and intimate portrayals of real-life subjects. Rivers`s practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. Rivers uses near-antique cameras and hand develops the 16 mm film, which shows the evidence of the elements it has been exposed to – the materiality of this medium forming part of the narrative.

Trees are the silent characters, narrating the architecture and life of Churchill College (opened in 1960) through its natural history. 6’s Cowan Court (completed in 2016) inverted the spatial and material order of the picturesque Brutalism of the original college, shifting its mineral world of brick and shuttered concrete to timber. Cowan Court’s oak, both new and old, defines its structure and in turn encloses a central court filled with recently planted birch trees. The analogue materiality of Churchill College is matched by the film which, like the architecture and landscape, leaves traces of its own development. The human habitat is seen through nature ‘ swaying trees, lost animals, birds of prey, the seasons “ to create a new dreamlike environment in which any distinction between human life, architecture and nature is erased.

Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Mattâ’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 “ renowned for screening a unique programme of film from its earliest days through to the latest artistâ’s film and video.

La maison d?une famille dans le désert, en dehors du temps ; des animaux élevés en plein air et des enfants, un bric-à-brac et la nature, le tout dans un paysage des plus sublimes. Le travail vise à représenter l?idée de liberté, qui se reflète dans l?utilisation manuelle du format scope, affaiblie par une sorte de mauvais pressentiment. Il n'y a pas d'histoire particulière, seulement des fragments de vie vécue, de rites effectués.

Ben Rivers a étudié les Beaux-Arts à la Falmouth School of Art (Royaume-Uni). Il a travaillé ensuite principalement sur des films en format 16mm. Ses ?uvres sont montrées dans des galeries et des festivals internationaux, qui lui ont décerné de nombreux prix. Parmi ses expositions récentes, signalons notamment « If » au Bloomberg Space de London, « Nought to Sixty » à l?ICA de Londres, ou encore « On Overgrown Paths » à la Permanent Gallery de Brighton.

Ce film retravaillé à la main montre des milliers de personnes faisant l'ascension d'un terrain sur une montagne rocheuse. La destination et l'objet de leur ascension restent obscurs. Un pèlerinage incertain, mystérieux et troublant pavé d'intentions inconnues. Le titre "The Coming Race" est tiré d'un roman de l'époque victorienne de E.G.E Bulwer-Lytton portant sur un peuple vivant sous une montagne.

Studied Fine Art at Falmouth School of Art. Co-founded and programmed Brighton Cinematheque from 1996-2005, while developing his artistic practice -predominantly working with moving-image. He has exhibited at many international film festivals and galleries, and won various awards, most recently Jury Prize at IFF Rotterdam. He has been the recipient of a number of commissions, most recently a London Artists Film and Video Award, for which he will make a new work: « Origin of the Species ». Current/upcoming shows include 'If' Bloomberg Space, London, 'Art with Strangers' Turnpike Gallery, Leigh, and solo show with Measure, London, and retrospective screenings in Chicago, Hull IFF and Courtisane, Ghent.

Un récit fragmenté et l'exploration d´espaces abandonnés, utilisant les sons et la musique pour créer un suspense et jouer avec les attentes des spectateurs.

Ben Rivers a étudié les Beaux Arts à l´Ecole des Arts des Falmouth. Depuis lors il travaille essentiellement des films 16mm qui sont projetés lors de festivals internationaux, dans des galleries et des cinémas britanniques. En 1996 il co-fonda la Cinémathèque de Bighton qu´il co-dirige/prgramme depuis.

?Some things didn?t really matter, you know, some mutations didn?t matter all that much?they were neither beneficial to survival nor detrimental to survival?but if they just hung on, there?d come a time when?that was the thing that saved the day.? Charting the beginnings of the time, through the descent of man, on to an uncertain future - all shot throughout the seasons in the garden of S, who lives in the wilderness and builds contraptions.

Born 1972. Studied Fine Art at Falmouth School of Art. Co-founded and programmed Brighton Cinematheque from 1996-2006. He has exhibited at many international film festivals and galleries, winning various awards, including Tiger Award, IFF Rotterdam 2008. He has been the recipient of a number of commissions, most recently a London Artist?s Film and Video Award. Recent shows include; ?A World Rattled of Habit? A Foundation, Liverpool; ?An Entangled Bank? Talbot Rice Gallery, Edinburgh; and artist-in-focus screenings in Courtisane Festival; Pesaro International Film Festival, London Film Festival, Punto de Vista, and upcoming at Tirana Film Festival and Indielisboa.

Le terme “Ghost Strata” désigne les éléments manquants des strates rocheuses qui, malgré leur absence, offrent des indices de ce qui s’y trouvait autrefois. Le film est divisé en fonction des mois de l’année au cours desquels les images ont été filmées. Filmé en divers endroits du globe, retraçant les divers mouvements personnels du cinéaste, Ghost Strata explore les différentes échelles d’impact de la présence de l’humanité sur la terre dans le passé, le présent et l’avenir. Les sons et les textes trouvés créent une méditation sur le temps, la mémoire, les restes et l’extinction.

Né en 1972, Ben Rivers est un artiste britannique primé pour ses films dans de nombreux festivals. Il est notamment lauréat du Grand Prix à Art Basel pour son film Sack Barrow et a été sélectionné à la Mostra de Venise en compétition officielle pour Two Years at Sea en 2011. En 2013, il a fait l’objet d’un focus lors du festival Hors Pistes au Centre Pompidou. Ben Rivers tourne en 16mm et s’intéresse à des individus ou communautés vivant en marge de la société et propose un travail à la lisière du documentaire, frôlant l’ethnographie, doté d’une grande puissance visuelle. Ainsi, empruntant une voie plus picturale que narrative, son œuvre se place au cœur des enjeux contemporains où l'on constate l'émergence sensible d'une approche documentaire expérimentale, qui se nourrit d'apports artistiques multiples. Cette forme hybride lui a notamment permis de se déplacer de la traditionnelle salle de cinéma pour s'exposer dans les centres d'art à travers des installations.

Drawing upon the name of earthly paradise in Greek mythology, the film ‘Fortunate Isles: Landings’ explores the awakening of sentience and biological complexity within digital images. To fully inhabit utopian and cinematic visions of analog & digital interpretations of landscape, ‘Fortunate Isles: Landings’ is filmed on location at sites of human achievement and continuous habitation; the level Bonneville Salt Flats, Utah and remote cliffs of Salvage, Newfoundland. During filming, performers wore chroma-key suits on location that, in post-production, allow the suit’s geometric faces to be digitally blanked and replaced with hand-drawn animation. Through the dialogue of gaps and joins created by the subtle collapsed spaces between layers of inter-narrative animation, questions of evolution, reality, and wonder begin to surface. The figures each carry a drawn experience inscribed into their outer forms. A patina of frames progressing forward echoes an imprinted memory; Landscapes are portable.

Jacob Rivkin is an interdisciplinary artist living and working in Philadelphia, PA, USA. His animations and sculptures focus on how we experience and internalize landscape, memory, and desire. His work has exhibited widely, including at the Arlington Arts Center, the Chemical Heritage Foundation Museum, the Vancouver Art Gallery, the Animation Block Party, and the National Museum of Australia. He holds lecturer positions at the University of Pennsylvania and the Mason Gross School of the Arts at Rutgers University. He received his MFA from the University of Pennsylvania in 2013 and BA from Vassar College in 2007. His awards include selection as a finalist for the anthropoScene Film Competition in 2016, a Fulbright Student Grant in 2008 to study Chinese Traditional Landscape Painting in Hangzhou, China, and the Weitzel Barber Art Travel Prize in 2006 to study Buddhist Sculpture Practices in Western China. He is a member of the OOF Animation Collective and in 2014 he was an Artist-in-Residence at the Hacktory in Philadelphia, PA.

"Yasujiro?s Journey" fait le portrait de l`errance fictionnelle de Yasujiro Yamada qui, en 2002, voyage en Indonésie à la recherche du grand père dont il a reçu le nom. Ce grand père a apparemment été un soldat japonais qui a survécu à un crash d`avion au dessus de l`Indonésie, sur sa route vers Pearl Harbor en 1942, mais qui n`est jamais rentré chez lui. Le voyage du jeune homme n`est pas tant une quête au sens littéral pour retrouver le vieil homme, mais est une recherche spirituelle, dans ce paysage étranger que son ancêtre a parcouru. Le fait qu`il ne trouve pas ce qu`il cherche, et que c`est lui-même qu`il ne trouve pas, est particulièrement significatif dans l`une des scènes du film, où il empile des pierres qui emplissent la hauteur de l`écran, puis s`éloigne, est insatisfait, les renverse et construit à nouveau un monticule. Le son du vent, très présent tout au long du film, fonctionne comme un avertissement, comme si un démon socratique l`avertissait d`une erreur. Le thème du voyage est central dans ce film, et dans l`?uvre du cinéaste. Il interroge également son pays natal et les générations antérieures, qui n`ont pas vécu dans un environnement urbain. Faozan Rizal veut aussi explorer le paysage du point de vue d`un étranger, et il est significatif que le protagoniste de cette errance soit un Japonais.

Faozan Rizal est un jeune cinéaste indonésien. Ses films ont fait l`objet d`une rétrospective non officielle au 18ème festival international du film de Singapour en 2005. Il a réalisé plusieurs courts métrages de type expérimental, ou se situant aux frontières de différentes pratiques. Il explore les propriétés et les textures du film, explorant les régions entre cinéma et photographie. Il a également réalisé une série de moyens métrages, d`environ 30 minutes, en collaboration avec la danseuse Katia Engel, dans lesquels la danse et la photographie sont si intimement unies que ce serait une erreur de les décrire comme de simples films expérimentaux. Il serait en effet difficile d`imaginer la performance indépendamment de sa retranscription dans le film. L`imbrication de différentes formes d`art n`est pas surprenante dans le travail de Faozan Rizal, qui a étudié et pratiqué la danse javanaise dans sa jeunesse, et qui a étudié la peinture avant de s`inscrire à la Fémis. Il a été acteur, directeur de la photographie, scénariste et réalisateur. Son travail se situe au-delà de la narration linéaire. Il exprime des sentiments et transmet des idées par la juxtaposition d`images concrètes et spécifiques, par la répétition de mouvements, l`usage de longs plans séquences. Ses films ne sont pas transparents au niveau de la narration, mais le son y est hautement significatif. Rizal n`a pas abandonné l`idée de récit d`histoires, mais il abandonne ce qui n`est pas nécessaire au c?ur essentiel de la narration, c?ur qui est l`essence de toute narration.

Un tiers de l'approvisionnement mondial en étain est extrait de l'île de Bangka, en Indonésie. L'étain est le minerai le plus affecté par les développements technologiques à venir, notamment l'intelligence artificielle et les technologies de production d’énergie renouvelable. Natasha est une voix d'I.A. alimentée par l’énergie solaire, et, dans ce film, elle retrace leur généalogie et la vérité de leur origine, de la liquidité du capital à la dynamique du travail. Avec sa voix féminisée - comme c'est souvent le cas pour les autres assistants vocaux basés sur l’intelligence artificielle, produits par les grandes entreprises technologiques - Natasha raconte l'émergence de l'étain sur l'île de Bangka, et sa propre existence, du point de vue d’une anthropologie tropicale de la nature, de la théorie de la valeur, de la philosophie du temps, des mutations génétiques, de la géopolitique, et de l'automatisation.

Riar Rizaldi est artiste et chercheur. Né en Indonésie, il vit actuellement à Hong Kong (Chine). Il s'intéresse principalement à la relation entre le capital et la technologie, à l'extractivisme, et à la fiction théorique. À travers ses œuvres, il questionne la notion de politique de l'image, la matérialité, l’archéologie des médias et les conséquences inattendues des technologies. Par ailleurs, il compose et interprète activement des fictions sonores, à l’aide des méthodes du field recording et du bruitage par le biais du langage de programmation. Il a également été le curateur du ARKIPEL Jakarta International Documentary & Experimental Film Festival - Penal Colony [2017], Jakarta (Indonésie); de "Internet of (No)Things" [2018], au Jogja National Museum, Jogjakarta (Indonésie); et a été co-curateur de "Open Possibilities: 'There is not only one neat way to imagine our future'", au JCC – Japan Creative Centre, Singapour (Singapour), et au NTT ICC – InterCommunication Center, Tokyo (Japon) [2019-2020]. Ses œuvres ont été présentées notamment au Festival international du film de Locarno (Suisse); au BFI Southbank, Londres (Royaume-Uni); au Festival international du film de Rotterdam (Pays-Bas); au NTT InterCommunication Center, Tokyo (Japon); et à la National Gallery of Indonesia, Jakarta (Indonésie).

An exploration of the interconnection between ghost stories, tech company culture in South Korea, and the economy of logistics in Indonesia told through a notebook/premake film and dossier of an unmade techno-horror feature-length film set in between port in Jakarta and an unnamed employee assistance programme office in Seoul.

Riar Rizaldi works as an artist and filmmaker. He works predominantly with the medium of moving images and sound, both in the black-box of cinema settings as well spatial presentation as installation. His artistic practice focuses mostly on the relationship between capital and technology, labour and nature, worldviews, genre cinema, and the possibility of theoretical fiction. His works have been shown at various international film festivals (including Locarno, IFFR, FID Marseille, Viennale, BFI London, Cinema du Reel, Vancouver, etc) as well as Centre Pompidou Paris, NTT InterCommunication Center Tokyo, Taipei Biennial, Istanbul Biennial, Venice Architecture Biennale, Biennale Jogja, National Gallery of Indonesia, and other venues and institutions. In addition, solo exhibitions and focus program of his works had been held at Batalha Centro de Cinema, Porto and Centre de la photographie Genève amongst others.

A man wakes up in a nightmare where he finds his grandmother's favorite tree burning outside his window, and is haunted by whispers of his childhood. The text is adapted from a page in my notes app dedicated to things my younger sister says that I find strange, or sad, or hopeful. The images are from a recurring nightmare. This film was shot on 500 ft of 5219 Kodak 35mm film stock.

Dylan Rizzo is a filmmaker and photographer based in New York City. He is currently pursuing his MFA in directing at Brooklyn College’s Feirstein Graduate School of Cinema. His work draws from his experiences as a native New Yorker and Chinese - Italian American, often dissecting the meaning of memory and how reconciling the past informs the process of becoming. Last year he completed a 18 min short film titled “One Day I’ll Open My Fist”, shot on location in NYC’s Chinatown on 16mm film. It is currently being submitted to festivals.

What do we become when we realize that we are no longer what we used to be? Are we still ourselves, even though we no longer remember what we used to be? Through a collage of excerpts from conversations, thoughts, pictures of places and intimate family moments, "All the Leaves are Brown" is an autobiographical reflection, in film, of the American director Daniel Robin. The nostalgia for the past and for his life in California (as in the music by "The Mamas & The Papas" suggested by the title) is imprinted in the beautiful landscapes shot in Super8, which are in contrast with the narrator`s feeling of anguish, regarding the present and the future, a time that is characterised by what no longer exists or what has ceased to be. In a touching and intimate portrait about memory, family and loss, the fallen leaves of "All the Leaves are Brown" represent the end of a season and the beginning of another cycle: Daniel knows that, next year, the tree he sees from his window will once again be filled with leaves. He will have to learn to be another one. (LQ)

Daniel Robin’s film, “my olympic summer,” won the 2008 Sundance Film Festival Jury Prize for Short Filmmaking. The film also won the Grand Jury Award for Best Documentary Short at the Florida Film Festival, Best Documentary Short at the Nashville Film Festival, and best documentary short at several other festivals. The film was also selected to screen at the prestigious New Directors/New Films Festival in New York. His other films have twice screened at Sundance, at the SXSW Film Festival and festivals in Bogota, Cartagena, Abu Dhabi, Ireland, Israel, Italy, Spain, Philadelphia, London, Atlanta, Baltimore, Humboldt, Ann Arbor, and elsewhere. Filmmaker magazine recently named Robin one of the “25 New Faces of Independent Film,” a major honor. Robin is an innovative online artist, having pioneered web video in 2001, and with 6 episodic web series to date available at his website www.neighborhoodfilms.com. Robin recently wrote an essay about his experiences with web video for Movement, the NYU Tisch School journal. Daniel has been invited to present web video work at the Amsterdam Worldwide Video Festival and elsewhere. His projects have received support from the San Francisco Arts Commission, Apple Computers, the Fleishbacker Foundation, and the Film Arts Foundation. As Robin puts it: “My film/video work is primarily made for two distinct exhibition venues: film festivals and the Internet (web series). My short films are personal and, for the most part, interrogate relationships I have with women, my family, and Judaism. While the majority of my filmmaking can be read within a documentary framework, I’m more inclined not to use labels to categorize my work. I have a deep love and appreciation for narrative cinema and have incorporated some fictional devices in my more recent films. I use narrative strategies both as a means to critique how we consume documentaries and, in some sense, as a way to liberate my work from the constraints of conventional non-fiction storytelling. The most important aspect of filmmaking, for me, is to arrive at an emotional truth that resonates with the viewer.I began making web series at my site www.neighborhoodfilms.com in 2000. My first series, the valet chronicles, set the thematic standard for each new series, my relationship with a specific neighborhood, and or community. My work here maintains an aesthetic and tonal consistency that aligns itself with familiar tropes of documentary practice, yet I consider these web series an extension of my personal filmmaking.”

A modern prophet’s visions of mythical destruction and transformation are recounted across a turbulent geometric ceremony of rising curtains, swirling set pieces, and unveiled idols from music television’s past. Together, these parallel cults of revelation unlock a pathway to the far side of the sun.

Michael Robinson (b.1981) is an American film, video and collage artist whose work explores the joys and dangers of mediated experience, riding the fine lines between humor and terror, nostalgia and contempt, ecstasy and hysteria. His work has shown in both solo and group shows at a variety of festivals, museums, and galleries including The 2012 Whitney Biennial, The International Film Festival Rotterdam, The New York Film Festival, The BFI London Film Festival, REDCAT Los Angeles, MoMA P.S.1, The Sundance Film Festival, The Walker Art Center, Anthology Film Archives, The Images Festival, The European Media Art Festival, and Whitechapel Gallery in London. Michael was the recipient of a 2014 MacDowell Colony Fellowship, a 2012 Creative Capital grant, a 2011-2012 Film/Video Residency Award from The Wexner Center for the Arts, a 2009 residency from The Headlands Center for the Arts, and his films have received awards from numerous festivals. He was featured as one of the “50 Best Filmmakers Under 50” by Cinema Scope magazine in 2012, and listed among the top ten avant-garde filmmakers of the 2000`s by Film Comment magazine. Michael holds a BFA from Ithaca College, and an MFA from the University of Illinois at Chicago. His work is distributed by Video Data Bank and represented by Carrie Secrist Gallery in Chicago.

The cabin is on fire! Krystle can't stop crying, Alexis won't stop drinking, and the fabric of existence hangs in the balance, again and again and again. – MR "The Dark, Krystle brilliantly re-purposes the artificiality of stock gesture, allowing viewers to see its hollowness and to feel it recharging with new emotional power. Equal parts archival fashion show and feminist morality play, Robinson’s montage rekindles the unfinished business of identity, consumption, and excess in 1980s pop culture." - Carrie Secrist Gallery, Chicago

Michael Robinson (b.1981) is an American film, video and collage artist whose work explores the joys and dangers of mediated experience, riding the fine lines between humor and terror, nostalgia and contempt, ecstasy and hysteria. His work has shown in both solo and group shows at a variety of festivals, museums, and galleries including The 2012 Whitney Biennial, The International Film Festival Rotterdam, The New York Film Festival, The BFI London Film Festival, REDCAT Los Angeles, MoMA P.S.1, The Sundance Film Festival, The Walker Art Center, Anthology Film Archives, Kurzfilmtage Oberhausen, Viennale, and Whitechapel Gallery in London. Michael was the recipient of a 2012 Creative Capital grant, a 2011-2012 Film/Video Residency Award from The Wexner Center for the Arts, a 2009 residency from The Headlands Center for the Arts, and his films have received awards from numerous festivals. He was featured as one of the “50 Best Filmmakers Under 50” by Cinema Scope magazine in 2012, and listed among the top ten avant-garde filmmakers of the 2000`s by Film Comment magazine. His work is distributed by Video Data Bank and Carrie Secrist Gallery in Chicago.

Apprendre à aimer à nouveau, tout en ayant peur, le film alterne entre le romantique et l'horrible, en donnant une forme tour à tour sceptique et indulgente à l'expérience du beau. Un monologue de Frank O'Hara (provenant d'une pièce de théâtre du même nom) tente de miner la sincérité du paysage, mais des forces plus puissantes font surface.

Depuis l'an 2000, Michael Robinson a réalisé un ensemble de films, vidéos et oeuvres photographiques qui explorent la poétique de la perte et les dangers du travail médiatisé. Son travail a été projeté au cours de représentations tantôt personnelles, tantôt collectives, à l'occasion de divers festivals, cinémathèques et galeries, dont le Festival International du Film de Rotterdam, le New York Film Festival, le Times BFI London Film Festival, Media City, Anthology Film Archives, Viennale, Cinematexas, le Wexner Center for the Arts, ICA London, Impakt, le Yerba Buena Center for the Arts, Chicago Filmmakers, PDX, et le Festival du Film International de San Francisco, d'Oberhausen, et de Hong Kong. Son film "You Don't Bring Me Flowers" a été élu "Meilleur Film International" au Festival de l'Image de Toronto en 2006, "Meilleur Film du Festival" à l'Underground Film Festival de Milwaukee en 2006, et Michael s'est vu attribuer le prix du "Meilleur Espoir de la Réalisation" à l'Ann Arbor Film Festival en 2007. Originaire du Nord de New York, Michael a obtenu un Bachelor of Fine Arts à l'Ithaca College, et un Master of Fine Arts à l'University of Illinois à Chicago. Il réside actuellement à Chicago.

Cette animation nous plonge dans le monde quotidien de Benjamin. La bande-son a été créée en se basant sur son état émotionnel. Celle-ci est composée de sons qu?il émet lui-même ou bien de sons qui le fascinent. Les images de cette ?uvre tentent d?interpréter les perceptions et sensations de Benjamin.

Robles a obtenu une Licence en Communication Visuelle en 1999. Durant ses études, elle a participé à un atelier d?animation où elle a réalisé un spot publicitaire pour l?UNICEF. Celui-ci a reçu le premier prix du "Television and Video Festival ANUIES 2000" (National Association of Universities and Institutions for Education). En 2001, elle a créé le groupe dobleA (doubleA) en association avec Adriana Bravo. Depuis elles ont toujours travaillé ensemble sur leurs projets. En 2002, Robles a suivi un atelier donné par Jesse Lerner au Centro de la Imagen (Centre de l?Image) où elle a créé Mirada Perdida (Lost Sight) qui est une animation réalisée avec des objets. La même année, elle a produit Contemplación (Contemplation) et Experimento (Experiment). Elle a réalisé Anatomy of a Moth en 2004. Cette animation faite avec des dessins au crayon a gagné une bourse du "Consejo Nacional para la Cultura y las Artes" (Assemblée Nationale des Arts et de la Culture). La même année, elle a reçu la subvention Jóvenes Creadores 2004-2005 (Jeunes Artistes 2004-2005) du "Fondo National para la Cultura y las Artes" (Fond National pour les Arts et la culture). Pendant cette période, Robles a produit Microftalmía (Microphtalmie), animation expérimentale composée de peintures à l?huile sur verre.

How would it look like, the body of Dom Afonso Henriques, first king of Portugal, tutelary figure, subject to successive mythifications throughout Portuguese history?

Born in Lisbon in 1966. Pedro Rodrigues attended the Lisbon Film School, in which he graduated in 1989. From 1989 to 1996 he worked as assistant director and editor with well-known names of the portuguese cinema, such as Teresa Villaverde. His short ?Parabéns!? (1997) participated at the Cinema Festival of Venice of 1997 and received a special distinction of the Jury. And his feature, ?O Fantasma?, of 2000, received the Award for the Best Foreign Feature Film at the Cinema Festival of Belfort in the same year. Recently he directed ?Odete?, Special Mention from Cinémas de Recherche in Cannes 2005, Director?s Fortnight .

The Uncertainty Principle consists of videos and an interactive application about information and uncertainty in the domain of image analysis. The various elements of the work are produced by applying certain filters, known as 2D Gabor filters, to images. Gabor filters identify various kinds of edges -- horizontal, vertical, and diagonal – by responding to specific visual frequencies in an image.

Hector Rodriguez is a digital artist and theorist whose work explores the unique possibilities of computational technologies to reconfigure the history and aesthetics of moving images. His animation Res Extensa received the award for best digital work in the Hong Kong Art Biennial 2003. His 2012 video installation Gestus: Judex received an achievement award at the Hong Kong Contemporary Art Awards and was a jury selection of the Japan Media Art Festival. He received a commendation award from the Hong Kong Government for his contributions to art and culture in 2015. He was Artistic Director of the Microwave International Media Art Festival, and is now a member of the Writing Machine Collective. He currently teaches at the School of Creative Media, City University of Hong Kong. He has taught courses on art and science, game studies, generative art, software art, media art theory, contemporary art, and film history.

INFLECTIONS is a real-time generative system that temporally rearranges video sequences based on mathematical equations. It explores the relationship between duration, simultaneity, and expectation. The technical concept of the work is based on the idea of a one-dimensional random walk: a mathematical representation of a journey along a linear path. The path contains several nodes or decision points. At each node along the path, the walker decides at random whether to go forward or backwards. In this work, the ?path? is the timeline of a movie clip. The program identifies a set of "inflection points" (or ?decision points?) along this timeline. An inflection point is a moment that contains no motion, where movement comes to a standstill. It is thus a good point to change direction. Imagine now the computer program walking along a movie timeline. When it reaches one of those inflection points, it makes a yes-no decision, either to go forward or move back. In this project, the walk is not random, because the program relies on some non-linear dynamical equation to make each decision. Inflections uses equations that exhibit chaotic behavior and for this reason can be used to simulate a random process.

Hector Rodriguez is a digital artist and theorist. His animation Res Extensa received the award for best digital work in the Hong Kong Art Biennial 2003 and has been shown in India, China, Germany, and Spain. His essays about film theory/history and digital art have been published in Screen, Cinema Journal, and Game Studies, and he has participated in various art and technology conferences. He was Artistic Director of the Microwave International Media Art Festival, where he has also taught workshops on Java programming and organized an exhibition on art and games, and is now a member of the Writing Machine Collective. He currently teaches at the School of Creative Media, City University of Hong Kong. He has taught courses on game studies, generative art, software art, media art theory, contemporary art, and film history.

A spring afternoon on the San Cristobal hill, in downtown Santiago de Chile. Four friends and a sound engineer talk about the events seen and experienced during the popular revolt that began in 2019 in Chile. The film brings to the surface certain conversations related to any revolution: hope, disillusionment, fire, torture and police violence. The name of the film comes from the poem April Noon by Eileen Myles.

Francisco Rodríguez Teare is a Chilean artist and filmmaker based in France with a moving image practice working predominantly with film, video and installation. Since 2015 he has been creating works and exhibiting them both in film festival circuits and contemporary art contexts. He has directed the shorts Appels téléphononiques, Una luna de hierro, Why are they equipped with eyes ?, Octubre al mediodía, El oro y el pez. The video installations and performances Gois, Colored Procession, This dream is mine and the hybrid feature film Otro sol. Recently his work has been presented at film festivals and museums as New Directors/New Films at MoMA, Toronto FIlm Festival, 62 New York Film Festival, Centre Pompidou, Taipei Biennial, Stedelijk Museum, Cinémathèque Française, Mar del Plata IFF, CPH:DOX, Shanghai IFF, IndieLisboa, FID Marseille, Viennale.

Avec Vanja et d'autres amis, nous allons nous baigner chaque été dans les rivières de Góis. Nous avons commencé à y aller en 2016, lorsque nous sommes arrivés en Europe et que nous cherchions un lieu qui nous rappellerait les montagnes du Chili, là où nous avons grandi. Chaque année, de nouveaux amants arrivent et de nouveaux couples se font ou se défont. Tout se remet à chaque fois en mouvement. Un après-midi de baignade, mon ami Rodrigo me raconte qu'il y a quelque temps, il a commencé à pratiquer une forme de fétichisme avec son copain : ils se font de petites entailles dans la peau avec des lames de rasoir et se sucent le sang l’un l’autre.

Francisco Rodríguez Teare is a Chilean artist and filmmaker based in France with a moving image practice working predominantly with cinema, video and installation. Since 2015 he has been creating film and video works and exhibiting them internationally both in film festival circuits and contemporary art contexts. His work explores the flow of power within fluid global networks and territories, opacity of violence, the traces of the dead in the world of the living, oral traditions and their intersection with personal memory and popular myths. Recently his work has been presented at Stedelijk Museum, Taipei Biennial, Film Society of Lincoln Center, VIDEONALE, FID Marseille, Collection Lambert, CPH:DOX, Shangai Film Festival, Courtisane, Doc Lisboa, Viennale, Palais des Beaux-Arts de Bruxelles, Govett-Brewster Art Gallery, Birkbeck Institute for the Moving Image. He has received awards at the Valdivia Film Festival, Festival Punto de Vista and the Fondation François Schneider, among others.

A spring afternoon on the San Cristobal hill, in downtown Santiago de Chile. Four friends and a sound engineer talk about the events seen and experienced during the popular revolt that began in 2019 in Chile. The film brings to the surface certain conversations related to any revolution: hope, disillusionment, fire, torture and police violence. The name of the film comes from the poem April Noon by Eileen Myles.

Francisco Rodríguez Teare is a Chilean artist and filmmaker based in France with a moving image practice working predominantly with film, video and installation. Since 2015 he has been creating works and exhibiting them both in film festival circuits and contemporary art contexts. He has directed the shorts Appels téléphononiques, Una luna de hierro, Why are they equipped with eyes ?, Octubre al mediodía, El oro y el pez. The video installations and performances Gois, Colored Procession, This dream is mine and the hybrid feature film Otro sol. Recently his work has been presented at film festivals and museums as New Directors/New Films at MoMA, Toronto FIlm Festival, 62 New York Film Festival, Centre Pompidou, Taipei Biennial, Stedelijk Museum, Cinémathèque Française, Mar del Plata IFF, CPH:DOX, Shanghai IFF, IndieLisboa, FID Marseille, Viennale.

Avec Vanja et d'autres amis, nous allons nous baigner chaque été dans les rivières de Góis. Nous avons commencé à y aller en 2016, lorsque nous sommes arrivés en Europe et que nous cherchions un lieu qui nous rappellerait les montagnes du Chili, là où nous avons grandi. Chaque année, de nouveaux amants arrivent et de nouveaux couples se font ou se défont. Tout se remet à chaque fois en mouvement. Un après-midi de baignade, mon ami Rodrigo me raconte qu'il y a quelque temps, il a commencé à pratiquer une forme de fétichisme avec son copain : ils se font de petites entailles dans la peau avec des lames de rasoir et se sucent le sang l’un l’autre.

Francisco Rodríguez Teare is a Chilean artist and filmmaker based in France with a moving image practice working predominantly with cinema, video and installation. Since 2015 he has been creating film and video works and exhibiting them internationally both in film festival circuits and contemporary art contexts. His work explores the flow of power within fluid global networks and territories, opacity of violence, the traces of the dead in the world of the living, oral traditions and their intersection with personal memory and popular myths. Recently his work has been presented at Stedelijk Museum, Taipei Biennial, Film Society of Lincoln Center, VIDEONALE, FID Marseille, Collection Lambert, CPH:DOX, Shangai Film Festival, Courtisane, Doc Lisboa, Viennale, Palais des Beaux-Arts de Bruxelles, Govett-Brewster Art Gallery, Birkbeck Institute for the Moving Image. He has received awards at the Valdivia Film Festival, Festival Punto de Vista and the Fondation François Schneider, among others.

This video speaks about the exploitation and its institutionalized discrimination (economic and racial) and slavery. The location is Brazil, because this one of the most unequal countries worldwide and was the last to declare slavery illegal (Aurea Act of 1898).

Lives and works in Guatemala. With his work tries to explore the historical memory, sordid aspects of the human being and the ridicule of the societies that are imposed over others. He graduated as Engraver from Art School no. 10 of Madrid, with his final project received the Honourable mention at Aurelio Blanco awards. He was awarded with the residencies of FONCA / CASA of Oaxaca, Mexico; Des.Pacio of San Jose, Costa Rica, Fundaçao Armando Alvarez Penteado in Sao Paulo, Brazil, and AIT in Tokyo, Japan. Also participated in 32nd. Biennial of Ljubljana, in the XVI and XVII Biennial of Guatemala and the VII Central American Biennial. In 2007 he co-founded the TEGG, the only engraving workshop in Guatemala, where he teached and organized exhibitions related to graphic arts. From 2010 to 2014 he was in charge of the Cinematographic Art Center of the CCEG, coordinating films screenings and workshops of cinema. Rodriguez also coordinated the Contemporary Film Festival (MUCA) and has worked for the human rights oriented film festival “ Memoria, Verdad, Justicia ” since 2013. He participated in the films "Even the Sun has spots" that won "Prix Espérance" and "Honourable Mention" in the FID of Marseille.