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?Dansent le désert? Some landscapes of body are overlapping in images. Such dances are possible in such an environment. This is the challenge that take the dancers. Created by Pat Hillaire. Dansed by Rolf Meesters and Pat Hillaire. Length: 2 minutes and 50 sec.

1998 initiated a work in video performance in presence of the dancer Claudia Flammin then of Rof Meesters with who I started in 2000 experimental dance. The last performance is in October 2005 Da LI LI DA DA. Falls Festival of Barcelona, 6 performers are gathering to experiment a performance where the important will be that each position on the stage has the same intensity that another. Dance, poetry, video, japans flute are melting. In 2005, this is especially street performances: bar opening exhibitions, Bcn street festival, Museo Mares? 2003 in Berlin: KNOWHERE, 10 street performances, 3 performers, dances Rolf Meesters, Pat Hillaire, musician without instrument Joahnnes Gergmark. He challenged to perform with no object or instruments.

1961 in Düsseldorf geboren 1980-86 Studium Freie Kunst, Kunstakademie Düsseldorf 1983 Reisestipendium der Kunstakademie, Italien 1987 Arbeitsstipendium NRW, Schloss Ringenberg 1994 Arbeitsstipendium Schlesw.-Holstein, Künstlerhaus Selk 1995 Künstleraustausch Düsseldorf-Ein Hod, Israel 1999 Projektstipendium Kunstfonds e.V., Bonn (für Videoprojekt “HALDE”) 2018 Cites internationale des arts Paris (Gastatelier) Mitglied im Deutschen Künstlerbund

Meine Videoarbeit "AP 28-2" zeigt den Ort und die Institution "Alte Post" in Neuss. Das Gebäude wurde 1877 gebaut und diente bis ca. 1987 als städtisches Postgebäude. Ab 1989 ist darin das Kulturforum Alte Post mit einer kleinen Bühne untergebracht. Der Serviceraum hat sich zu einem kreativen Ort gewandelt. Ich zeige den "Tanz-Probe-Raum" im Obergeschoss mit einer Putzfrau in Aktion. Fotos aus dem Stadtarchiv Neuss. Ein bewegter kleiner Stein belebt die Szene akustisch.

1961 geboren in Düsseldorf 1980-86 Studium Freie Kunst, Kunstakademie Düsseldorf seit 1993 dokumentarische und experimentelle Videoarbeiten

Cette vidéo est une réaction artistique à la pandémie de Covid qui s’est déroulée au cours de la dernière année. Une bouée, dispositif passif et fixe de signalisation, que je remplis d’images souvenir et d’impulsions de mouvement. Un drone monte et descend. Je montre les êtres humains en tant que foule dans un stade de football et en petit groupe de vacanciers sous un parasol sur une plage déserte.

1961: naissance à Düsseldorf, en Allemagne. 1980-86: études de beaux-arts, Kunstakademie Düsseldorf (Allemagne). Depuis 1993, travaux libres de vidéo documentaire et expérimentale

Remembering my last visit with Mary in her garden of light, trees, glass and stone.

Baba Hillman grew up in Japan, Venezuela and Panama and works between France and the U.S.. She received a B.A. in French Literature from Duke University and an M.F.A. in Film and Performance from the University of California, San Diego. Her films and performance works explore memory, history, perception and the poetics and politics of place, language, and the body. She was co-director of Teatro Movimento in Florence, studied with Etienne Decroux and Jean-Pierre Gorin, and is Professor Emerita of Film at Hampshire College in Amherst, Massachusetts. Her films have screened widely at festivals and museums including the Museum of Contemporary Art, Los Angeles, FIDMarseille, Edinburgh Film Festival, Rencontres Internationales Paris/Berlin, Ann Arbor Film Festival, National Gallery of Art, Washington D.C., Anthology Film Archives, ICAIC Havana, Africa World Documentary Festival, Yaounde, MIX Brazil, and European Media Art Festival, Osnabruck, among others. She has received awards and grants from the French Ministry of Culture, the Whiting Foundation, the California Arts Council, and the Italian city governments of Florence, Lecce and Certaldo. In 2020, Hillman’s film Kitâb al-Isfâr: Book of the Journey, a feature-length film about near-death and mystical experiences in Andalucia, premiered at the FIDMarseille film festival and was selected for the Athens Avant Garde Film Festival. Earlier films by Hillman include Decroux’s Garden, and 5 Cité de la Roquette, part of a series of films connected to return, place and disappearance.

An immersive cinematic poem of a seven year journey of return, "Kitâb al-Isfâr: Book of the Journey," weaves together stories of near-death and mystical experience in Andalucia. When I was 19 I set out, hoping I could learn the meaning of life by "experiencing everything." I bought a car for 20 marks in a cafe in Ulm. I spray painted it yellow and green and drove it from Holland to Romania to Spain, sleeping in the back seat in a red blanket. Driving down to Malaga, at the crest of the mountains, the brakes went out. As the car sped down the mountain then crashed, I lost consciousness, followed by three days and nights of visions. What did I see, what did I understand? The Shaykh al-Akbar, sufi mystic and philosopher Ibn 'Arabi, writes that the journey only has true meaning if it brings a new beginning. In traveling, the heart becomes the goal of the journey.

Baba Hillman is an artist and filmmaker who grew up in Japan, Venezuela and Panama and works between France and the U.S.. Her films and performance works explore memory, history, perception and the poetics and politics of place, language, and the body. Her films have screened at festivals and museums including the Museum of Contemporary Art, Los Angeles, FIDMarseille, Edinburgh Film Festival, Anthology Film Archives, Ann Arbor Film Festival, National Gallery of Art, Washington D.C., Athens Avant Garde Film Festival, ICAIC Havana, Africa World Documentary Festival, Yaounde, MIX Brazil and European Media Art Festival, Osnabruck, among others.

Agnès: a very sensitive young woman. Her best friend: Camille. The latter?s companion: Marianne. The latter?s sister: Astrid. They were to meet again, the four of them, for the first time in a long time. But, Marianne does not show up. Agnès drifts away with her sentiments. For one day and two nights, old stories buried away and new desires will re-emerge, and they will all completely question their relationships with one another.

Julien Hilmoine was born in Fécamp in 1979. Having spent his childhood and teen-age years in Rouen in an upper-middle class, non-religious, and republican family, Hilmoine persued his studies in Litterature, Audio-Visual (Assiciate's Degree with emphasis in Image), and at the Fémis [Ecole Nationale Supérieure des Métiers de l?Image et du Son] in the department of Directing. He lived a typical French youth: love stories, friendships, passions, break-ups, and deaths. He became a Parisian by force of circumstances and tried directing films. He loves actors with a passion. He is always looking for new images, faces, and voices.

This short video film criticizes, parodies, but also reinforces a Public Warning. Someone has taken the law into their own hands and promised a prosecution. The artist, who could be anyone, is seen challenging and breaking 'the law' while also re-enforcing it. Careful planning and attention is used to prepare for the action by replicating the warning, while stealth and humour is engaged for presentation and execution.

Steve Hines has been exhibiting on a regular basis for ten years now. He has shown his work nationally and internationally, having participated in several international art festivals. With a background in Photography, Steve Hines' practice is now firmly rooted within a conceptual framework and as such he works in various mediums. This provides a great deal of liberty and constantly brings forth new challenges. Steve Hines is interested in making minimal conceptual work that is often combined with the opposing, yet complimentary, nature of extremes. Personal experiences and the everyday provide inspiration and material for his creation of work that combines narratives and elements that can affect us all.

"speakers" represents the notion of a confused, competitive world where the numerous factions, groups, religions, and cultures are all trying to communicate and persuade the rest of the world that their way or belief is superior. The film is a colourful kaleidoscopic, impressionistic image with a matching chaotic audio message. "speakers" is a short digital video film composed from footage shot at Speakers Corner, Hyde Park, London. The finished work represents the notion of a confused world where there are numerous factions, groups, religions, and cultures, of which many are minorities, who are all trying to communicate and persuade the rest of the world that their way or belief is superior. The Speakers are: a black male Muslim, three different white male speakers talking about the ideals of Socialism, a black male Christian; one female and five separate white male Christians, two black males talking about their personal experiences, and an American preacher. All are individuals expressing their ideas, hopes, fears, and concerns about issues affecting us all. The footage of all the "participants" is layered directly on top of each other and what results is a montage and a confused chaos of moving images and words. This effect and action mirrors issues around the world and draws comparisons with arguments and disagreements about borders, territories, religions, governments, and regimes, etc. Presented in its finished state, "speakers" inverts the original audience/speaker role in a particular way. Initially it was the speakers who were struggling, shouting, and vying to get their message across to a varied audience consisting of doubting, interested, or even mocking individuals. Now, in a gallery space, it is the audience who stand there intrigued by what is before them and who then begin to listen more carefully, trying to catch or hear a legible word here or there, or to try and visualise an individual face in the crowd. The image brings to mind a kind of moving, impressionist painting of kaleidoscopic nature whilst the sound reminds one of a civilised world in confusion, rather like that of The Stock Exchange in full flow for example. © steve hines 2005

steve hines has been exhibiting on a regular basis for almost ten years now. He has shown his work nationally and more recently internationally, having participated in several international art festivals. With a background in photography, steve hines` practice is now firmly rooted within a conceptual framework, and as such he works in various mediums. He is interested in making minimal, conceptual work that is often combined with the opposing yet complimentary nature of extremes. Personal experiences and the everyday provide inspiration and material for the creation of work that combines narratives and elements that can affect us all.

Devon’s moors are the backdrop for this hybrid film that constructs an imaginary community and frames sentiments of belonging at a time when parochialism and nationalism are globally prevailing. Inspired by Arthur Conan Doyle’s The Hound of the Baskervilles, Hipkins grafts portraits of his forebears across Devon?s uncanny landscapes. A subtext of Doyle’s classic novel negotiates yearnings for a homecoming and a mythical ancestral land.

Gavin Hipkins (b. 1968) is a New Zealand-based artist. He holds a Master of Fine Arts from the University of British Columbia. He is currently Associate Professor at Elam School of Fine Arts at the University of Auckland. His work explores the nation state, particularly in colonised countries in an era of re-imagined communities and ideas of social and political utopia. His recent moving image works engage film as a cinematic art that blurs conventional genres of essay film, documentary and experimental narrative structures. His work has been exhibited widely over the last two decades. His solo exhibition The Homely will open at the Museum of Contemporary Art Australia, Sydney in July 2020. Recent exhibitions and screenings include: Videoex, Switzerland (2019); 9th Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art, Brisbane, Australia (2018); International Film Festival Rotterdam (2018, 2015); International Short Film Festival Oberhausen (2017, 2016); The Jewish Museum, New York (2015); Museum of Arts and Design (MAD), New York (2014); City Art Centre, Edinburgh Art Festival (2014); Armory Film, New York (2012); Centre Pompidou, Paris (2011); Austrian Museum of Applied Art and Contemporary Art (MAK), Vienna, (2011).

Between sleeping and waking, a dreamscape charts fragile ecologies through the destructive forces of late capitalism. Found footage and wilderness travels overlap to evoke a hybrid condition of collective paralysis. This trance-like state navigates paradoxes of therapy and disturbances, isolation and connectivity.

Gavin Hipkins (b. 1968) is a New Zealand-based artist. He holds a Bachelor of Fine Arts from the University of Auckland and a Master of Fine Arts from the University of British Columbia. He is currently an Associate Professor at Elam School of Fine Arts at the University of Auckland. His photographs and moving images interrogate how images create meaning through fragmentation and circulation. His work explores the nation-state, particularly in colonised countries in an era of re-imagined communities and ideas of social and political utopia. His recent moving image works engage film as a cinematic art that blurs conventional genres of essay film, documentary and experimental narrative structures. His work has been exhibited widely over the last two decades including: Baltic Centre for Contemporary Arts, Newcastle, UK (2024); Recontres Internationales Paris/Berlin (2023, 2020); CROSSROADS 2022, San Francisco Cinematheque (2022); Internationale Kurzfilmtage Winterthur (2021); 25FPS Festival, Zagreb (2020); Stuttgarter Filmwinter (2020); Videoex, Switzerland (2019); 9th Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art, Brisbane (2018); International Film Festival Rotterdam (2018, 2015); International Short Film Festival Oberhausen (2017, 2016); The Jewish Museum, New York (2015); Museum of Arts and Design, New York (2014); Edinburgh Art Festival (2014); Armory Film, New York (2012); Centre Pompidou, Paris (2011); Austrian Museum of Applied Art and Contemporary Art (MAK), Vienna, (2011); Gallery of Modern Art, Brisbane (2010); San Diego Museum of Photographic Arts, San Diego (2007); International Museum of Photography and Film at George Eastman House, Rochester, New York (2006); Australian Centre for Contemporary Art, Melbourne (2004); CCA Watts Institute for Contemporary Arts, California (2002); Museum of Contemporary Art, Los Angeles (2000).

A young man’s letter to his mother, sent home to New Zealand from England during the First World War. London’s Royal Parks are the picturesque setting for revisiting empire, tourisms and longing in this hybrid film that features the artist’s grandfather’s photography and writings from his enlisted travels.

Gavin Hipkins is an Auckland-based artist. He holds a Master of Fine Arts from the University of British Columbia, Vancouver. He is currently Associate Professor in Fine Arts at Elam School of Fine Arts at the University of Auckland, New Zealand. His work explores the nation state, particularly in colonised countries in an era of re-imagined communities and ideas of social and political utopia. His recent moving image works engage film as a cinematic art that blurs conventional genres of essay film, documentary and experimental narrative structures. Hipkins has exhibited extensively in international exhibitions and film festivals including: 16th 25FPS International Experimental Film and Video Festival, International Competition, Zagreb (2020); Rencontres Internationales Paris/Berlin (2020); 33rd Stuttgarter Filmwinter: Festival for Expanded Media, Stuttgart (2020); New Zealand International Film Festival (2020); Videoex, Zurich (2019); The 9th Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art, Brisbane (2018); International Film Festival Rotterdam (2018, 2015); International Short Film Festival Oberhausen, International Competition (2017, 2016); The Jewish Museum, New York (2015); Museum of Arts and Design (MAD), New York (2014); Edinburgh Art Festival (2014).

Recorded at night with a humble camcorder over multiple excursions through indigenous and exotic flora, rhythmic observational studies chart real and imaginary wildernesses. Revisiting Thoreau’s Walden ideal, the sentimental appeal of taking an axe to the woods in white-settler colonies encounters postcolonial unease.

Gavin Hipkins (born 1968, Auckland, Aotearoa New Zealand) holds a Bachelor of Fine Arts from the University of Auckland and a Master of Fine Arts from the University of British Columbia, Vancouver. He is an Associate Professor of Fine Arts at Elam School of Fine Arts, the University of Auckland. His photography and moving image works interrogate how images create meaning through fragmentation and circulation. His work explores the nation state, particularly in colonised countries in an era of re-imagined communities and ideas of social and political utopia. His practice engages film as a cinematic art that blurs conventional genres of essay film, documentary and experimental narrative structures. Hipkins has exhibited widely in international exhibitions and film festivals including: CROSSROADS 2022, San Francisco Cinematheque (2022); Internationale Kurzfilmtage Winterthur, Switzerland (2021); 25FPS Festival, Zagreb (2020); Rencontres Internationales Paris/Berlin (2020); Videoex, Zurich (2019); The 9th Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art, Brisbane (2018); International Film Festival Rotterdam (2018, 2015); International Short Film Festival Oberhausen (2017, 2016); The Jewish Museum, New York (2015); Edinburgh Art Festival (2014); Armory Film, New York (2012); Centre Pompidou, Paris (2011); Austrian Museum of Applied Art and Contemporary Art (MAK), Vienna, (2011).

The Soft Epic or: Savages of the Pacific West is a monumental video and audio installation examining historical and contemporary representations of cultural anxiety, and the fluid relationship between History and Cinema--where fact and fiction collapse into each other like the folds of a drawn theater curtain. Comprised of multiple projections and a newly commissioned surround soundtrack by Bird Show (Ben Vida), the work synthesizes images and effects from historical panoramas, epic sci-fi and disaster films, and the paintings of Hieronymus Bosch in a fractured, dystopic cityscape dotted with eternal flames and chimeras. Across the expansive, 100-foot-long video projection, Hollywood splendor usurps mythological and historical narrative in service of political authority and social order.

Nadia Hironaka received her Masters of Fine Art from The Art Institute of Chicago and her Bachelors of Fine Art from The University of the Arts. Currently she resides in Philadelphia and is a professor at The Maryland Institute College of Art. She is a 2008 Pennsylvania Council on the Arts fellow and received a Pew Fellowship in the Arts in 2006, other awards include: The Leeway Foundation, Peter Stuyvessant Fish Award in Media Arts, prog:me video artist award, The Black Maria Film Festival, and The New York Short Exposition Film Festival. Her films and video installations have been exhibited internationally in: PULSAR (Venezuela), Rencontres Internationals (Paris/Berlin), The Den Haag Film and Video Festival (The Netherlands), The Center for Contemporary Arts (Kitakyushu, Japan), The Pennsylvania Academy of Fine Arts, Morris Gallery, The Black Maria Film Festival, The Donnell Library (NYC), The Fabric Workshop and Museum (Philadelphia), The Institute of Contemporary Art (Philadelphia), The Galleries at Moore College of Art (Philadelphia), and Vox Populi, (Philadelphia). Philadelphia-based artist Matthew Suib has exhibited installations, video and audio works and photographs internationally at venues including the Philadelphia Museum of Art, Kunstwerke Berlin, Mercer Union (Toronto), The Corcoran Gallery of Art (D.C.) and PS1 Contemporary Art Center (NYC). Recent exhibitions include Locally Localized Gravity at the Institute of Contemporary Art (Philadelphia), and the 2007 Moscow Biennale. In 2007, Suib co-founded Screening, along with artist Nadia Hironaka. Screening is Philadelphia?s first gallery dedicated to the presentation of innovative and challenging works on video and film. Screening is a project devoted to expanding access to these media and exploring ways that moving image culture influences our understanding and experience of the world. Suib is also a Pennsylvania Council on the Arts fellow, and a former member of the Philadelphia artist collective Vox Populi.

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

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

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

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

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

With a script based entirely on the lyrics of the song Bohemian Rhapsody by Queen, and set entirely in the Singapore Supreme Courtroom. A boy is on trial, and his heart is broken at the sight of his crying ?mama?. Short Synopsis for The Bohemian Rhapsody Project "Over the months of June and July 2006, four rounds of auditions were held for the role of the protagonist in a film based on the lyrics of Queen`s 1975 hit Bohemian Rhapsody, a song that replaces the formulaic verse-chorus-verse structure of the average pop song with multiple role-playing and an almost schizophrenic mesh of multiple musical styles. Of the many professional and non-professional auditionees who turned up, 22 of them were invited to a final round of auditions that was held in a former courtroom at the City Hall. This audition was held in the presence of specially invited spectators, 18 other specially rehearsed cast members, as well as a film crew. Of these 22 auditionees, 21 were selected for the final `film`, which is composed solely of these `audition` footages. The resulting film, cut to the original duration of Bohemian Rhapsody (5 mins 52 secs), simultaneously functions as a record of this `audition`. Just as importantly, the film, which oscillates between spoken text and occasional musical cues, is a vehicle that solicits the viewers` recollection of the song and encourages their participation in an exercise of mental karaoke." By Ho Tzu Nyen

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

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

DO VAN HOANG 26/6/1987 Director, Screenplay, Actor Mobile: + 84(0)1668606403 Email: dovanhoang266@gmail.com EDUCATION Documentary and Experimental Film-making Course, Hanoi DOCLAB, Goethe Institute, 2010-2011 Faculty Cinema, The HaNoi Academy of Theatre & Cinema, 2007-2011

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

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

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

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

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

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