Catalogue > Search

A young woman and her friends join a car repair shop as “Belia”(colloquial Egyptian for apprentices) to learn the craft from the Ustas (craft headmasters). They explore what this relationship creates as it merges labor with everyday life rhythms to open up a new space for movement.

Eman received her BA degree in acting and directing for theatre from Helwan University in 2017.From 2013- 2014 She joined NAS independent school for street theatre arts. From 2016 till 2019, She studied at MAAT|Contemporary Dance School, (3-Year Full-Time Professional Training Program). Different Martial Arts styles are a source of inspiration for the quality of her movement, like Taijiquan, and Shaolin Kung Fu which she has through her education at MAAT|Contemporary Dance School and later on at Meshkah Martial Art School.

Par la petite porte? Un plan moyen, fixe, ouvre sur une scène. Ce n?est pas une scène de théâtre, mais le tapis rouge du podium sur lequel se joue chaque année la pièce indissociable du Business Cinématographique, la remise des Oscars. Les insignes du grand spectacle, le défilé des stars - tout y est, le rideau doré, les Oscars démesurés, les projecteurs, les barricades pour les spectateurs. Mais les stars qui, sur fond de musique de film discrète, avancent vers les spectateurs, ne font en fait que de la figuration. Soudain, on sort de cette ambiance assourdie, lorsqu?un couple de stars percute une barrière que nous ne voyons pas. L?écran qui nous montre ces images, nous fait alors subitement reprendre conscience de la frontière incontournable qui existe entre réalité médiatique et réalité réelle. Mais le rire du couple nous éloigne rapidement de cette prise de conscience passagère pour nous ramener vers la scène : la barrière fait partie du décor et représente une borne pour les figurants qui, tout en plaisantant, repartent de manière décontractée. Cette représentation en coulisse, observée et filmée par Susanne Huth, un peu à l?écart des caméras professionnelles, à la veille de la remise officielle des Oscars 2003, puis montée avec un effet de loupe, montre le monde du glamour comme une mécanique, qui doit fonctionner sans faille, même en temps de crise : Alors que pour des raisons de sécurité, les stars empruntent en réalité la petite porte lors de la cérémonie officielle ? les Etats-Unis sont en guerre contre l?Irak ? les scènes filmées la veilles sont insérées dans les images diffusées à la télévision. « The show must go on in L.A. », où même les saisons suivent le rythme des productions de films. Ainsi, la « Pilot Season » - c?est le titre de la vidéo de Susanne Huth -, saison pendant laquelle sont tournées les pilotes des émissions télé?

1972 Naissance à Magdeburg 1991 - 94 Formation au métier de photographe à Dresde 1994 - 97 Activité dans la photographie 1997-2004 Etudes à l?Ecole Supérieure de Graphisme et de l?Art du Livre à Leipzig, branche : Photographie 2000-04 Cours de photographie artistique et nouveaux médias avec le Pr. Joachim Brohm 2001/2002 Etudes de Fine Art Photography à la Glasgow Shool of Art 2003 Bourse d?Etudes DAAD pour Los Angeles 2004 Diplôme d?Art Plastiques Bourse d?Etudes du Conseil Culturel Franco-Allemand pour Paris 2005 Projet d?artistes Goldrausch art IT

For Conical Intersect (a piece of artwork meant as a homage to McCall's movie) in 1975, Gordon Matta-Clark made a gigantic hole in a building destined to be destroyed and replaced by the Pompidou Center, at 27-29 Beaubourg Street. In 1996, Pierre Huyghe, in Light Conical Intersect superposed Matta-Clark's movie and McCall's movie, screening an image taken from Conical Intersect onto the wall of the building of the Horloge's district where Matta-Clark's building was standing. This image represents the moment when light invades the conical cavity dug into the front wall: in a perfect visual coincidence, the architectural structure is solved in light and goes back to its origins.

The story is about a young couple, they go for a walk in an old church where their parents used to go. Here, they shared about their identity, their past, and their doubts about their fate. They finally overcame their doubts and moved on to a new stage in life.

Huynh Cong Nho, born 1991, Viet Nam, Nho experienced of short courses of writing scripts, montages, director, Project presentation of the Autumn Meetings with the director Phan Dang Di, artist Julie Beziers, director Tran Anh Hung. He is an indie filmmaker in vietnam.

A 20-year-old boy falls in love with an 18-year-old girl but his family forbids him. The girl threw herself into the sea to keep their love forever. Heartbroken by the death of his lover, he went to the city to work until he was old before returning. While walking by the beach, he imagined the girl returning, the two telling stories, then a tree and disappearing.

Hu?nh Công-Nh? (b. 1991 in ?à N?ng City, Vietnam) started his first approach to art throught cinema. Completely self-taught, atured through the programme Autumn Meeting, a film event for young potential international filmmakers. In 2022, Công-Nh? explores painting as another way of expression. His works draws inspiration from his films, experimenting how an image could change when transforming from moving to still pictures, while still maintaining a direct link to his thoughts and inner world. He emphasizes that individual experiences and choices have a broader responsibility, as well as social and political implications. A recent selection of shows and awards of Hu?nh Công-Nh? includes: Hanoi Grapevine Selection, 2023, Hanoi, Vietnam; Th?ng bé bán kem, Top 14 Excellent Projects - CJ Short films Project, 2023; Top 14 Xinê House Grant, HCMC, Vietnam, 2022; N? Cái Bùm Biennial Art Week, Da Lat, Vietnam, 2022 ; Grandma's Broken Leg, Youth Jury Award - Competition SEA Short Film - 32nd Singapore International Festival Film, 2021 ; Projet de court métrage Ghost Dog, Top 14 Short film project CJ Entertainment, 2021 ; Top 12 Short film project Honor Lotte Cinema, HCMC, Vietnam; 2021.

[ELEKTRO?ZOLASYON] (2021–2024) is a gesamtkunstwerk that brings together Emre Hüner’s practice in fiction, film and sculptural production. The film’s science-fictional vision portrays fragmented industrial and apocalyptic scenes across various sites in Istanbul. Actors playing multiple characters perform scripted or improvised actions in locations ranging from factories, shipyards, medical and electronic repair shops to auto garages, Byzantine ruins and offices. The speculative editing of the film and short animated sequences, including mechanical and organic repetitions in material and scale, suggest a techno-infrastructural entity. The narrative is punctuated by readings of lists of electrical terms and electronic equipment from dictionaries, news headlines and recordings based on photographic archives.

The artist’s recent solo exhibitions include, Substrata Styrene, (2024), Icononoclastic Nuclear Plastic, (Sylvia Kouvali, Piraeus, 2023), [ELEKTRO?ZOLASYON]: Unknown Parameter Extro- Record (Arter, Istanbul, 2021), Neochronophobiq (Protocinema, New York and STUK, Leuven, 2017), Hypabyssal (Marso Gallery, Mexico City, 2016), Floating Cabin Rider Capsule Reactor Cycle (CCA Kitakyushu, 2015), MAM Project 019: Emre Hüner, (Mori Museum, Tokyo, 2014) and Aeolian (RODEO, Istanbul, 2013). Hüner’s works also took part in various group exhibitions, including, to carry: 16th Sharjah Biennial (Sharjah, UAE, 2025), HOW TO HOLD YOUR BREATH, 9th Asian Art Biennial (NTMoFA, Taichung, 2024) CMD P for 2079 (Allard Pierson Museum, Amsterdam, 2020), Further Thoughts on Earthy Materials (Kunsthaus Hamburg, 2018), Planet 9 (Kunsthalle Darmstadt, 2017), 14th Istanbul Biennial (Istanbul, 2015), Manifesta9 (Genk,2012), Younger Than Jesus (New Museum, New York, 2009), 10th Istanbul Biennial (Istanbul, 2007). His work is included in the collections of Tate, UK, Arter, TR, Centre Pompidou, FR, Princeton University Art Museum, US, Spencer Museum, US, Van Abbe Museum, NL. Hüner attended Brera Academy of Fine Arts in Milan (2003) and participated in artist residencies at Art Explora (Paris, 2023), Artpace San Antonio (Texas, 2019), AGA LAB (Amsterdam, 2019), Frans Masereel Centrum (Kasterlee, 2017), ISCP (New York, 2014), Princeton University (2010), the Rijksakademie van Beeldende Kunsten (Amsterdam, 2010), Apexart (New York, 2009), and at the Platform Garanti Contemporary Art Center (Istanbul, 2009). He lives and works in Istanbul and Amsterdam.

Inspired by ambiguity and unique logic from the world of dreams, this series of animations explores the dynamic and beauty of the unexorcised image world by computer vector graphics.

Born in Seoul, Korea Eunjung Hwang received her MFA in computer arts from the School of Visual Arts, New York. Her animation and new media work has been shown in a number of exhibitions and festivals. She has received the Principal Prize at Oberhausen International Short Film Festival, Award for New Media at the 16th Stuttgarter Filmwinter and an Artists` Fellowship from NYFA. She was artist-in-residence at the Gertrude Contemporary Art Space, Australia; Eyebeam, New York;Lower Manhattan Cultural Council, New York and Künstlerhaus Büchsenhausen, Austria.

An improvised video meditation on time, place and the situation of seeing. Made using the camera as performance instrument. Composed in one take.

riccardo iacono studied Painting at Glasgow School of Art, and Electronic Imaging at Duncan of Jordanstone College of Art Dundee. His works range from abstract painted film and digital animation to video collage, performance and installation. Recent screenings and exhibitions include: `A Century of Artists Film in Britain` at Tate Britain (2003); `Ice In The Freezer` a one person show presented by Pleasure Dome, Toronto (2003); `Love Songs From A Dark Body` a retrospective at La Enana Marron, Madrid (2005); `From Memory` a one person show at Kino Oko, Prague (2005) TIE International Experimental Cinema Exposition, Denver (2005)

______

______

A damned soul climbs toward the summit of a mountain. The ascent carves him out, bends him, empties him. He is not seeking salvation, but meaning, or at least a shape that resembles him. He is driven by his fragility disguised as strength, by blind ambition, by the desperate need to be seen by something that perhaps does not exist. Yet, at the top, something awaits. It does not speak. It does not console. It watches, and does not forgive. Ascended is the journey of the anti-hero, a synesthesia of dissatisfaction.

Jacopo Iebba (Tivoli, Rome, March 23, 2005) is a 20-year-old independent filmmaker who grew up within the walls of Tivoli. Since childhood, he has nurtured a visceral passion for video games, books, and cinema: virtual worlds and illustrated films that offered him an early escape, a secret place to feed his imagination. During the 2020 lockdown, while the world stood still, Jacopo decided to take his dream into his own hands. He began studying animation entirely on his own, diving into tutorials, manuals, and open-source software. This is how his first dreamlike images were born: fragments of childhood memories transformed into motion. Each visual “experiment” became a piece of his mind brought to life, a personal attempt to animate his deepest dreams. In 2025, working completely alone and autonomously, he created his first animated short film, Asceso: an intensely personal work rooted in his own emotions. In it, Jacopo explores the morbidity of human ambition, that obsessive tension that makes us believe “wanting is enough to fly”—and transforms it into a claustrophobic visual journey. Asceso speaks a dreamlike, psychedelic, and synesthetic language: muffled sounds, blinding colors, and tight camera movements alternate to create a full sensory experience, translating mental fragility and inner turmoil into pure image. Firmly convinced that independent cinema is the most genuine ground for expression, Jacopo Iebba stands as a voice for original ideas and a sincere desire: to keep dreaming, to keep telling stories that shake the viewer and restore the power (and danger) of ambition without compromise.

The device by Ricardo Iglesias and Mario Ruiz, "Evolutional Machine, an Autistic Robot," examines the confrontation between two worlds and the interferences they produce: the technological world and the world of living beings. The technological sphere is inhabited by a series of robots each with different functions depending on their programs, independent of the influence of living beings. Here, the frontier between the two worlds blurs. A relationship is established through a capturing and retransmission device contradicting the expected relationship between the observer and the observed. In space, on the screen and on the web, "Evolutional Machine, an Autistic Robot" establishes a man-machine relationship based on reciprocal interaction. Both elements belong to a unique logical system, contrary to what usually takes place within the logic of the subjugated and subjugation. Agent status, we become an intrinsic element in the relationship's logic.

Many years ago, in my parents’ house, my window opened onto an icy hill where children played and laughter echoed through the cold air. Frozen at the glass, I watched their fleeting joy and felt the tremor of how fragile our memories are — those tender impressions born in childhood. This film, years later, is a journey back into that fragile place where dreams fade and hopes quietly die.

Genrih Ignatov was born in Moscow in 1992. He studied at the Moscow School of New Cinema, where he trained under filmmaker Artur Aristakisyan. Ignatov’s work is distinguished by its poetic and experimental approach to cinematic form, often delving into themes of memory, identity, and the quiet passage of time within human relationships. His films have been shown at numerous international festivals and are celebrated for their contemplative rhythm, innovative interplay of sound and image, and a profound sensitivity to the inner lives of his subjects.

Idyllic villages hide traces of sorrow and suffering inflicted on humans by each other. A short film based on stories of people who cross the borders in search of peace, but find humiliation instead. Despite everything they are not giving up.

Sasha Ihnatovich is a feminist filmmaker, educator and visual culture researcher from Belarus, currently working in Slovenia.

"An animated film using filmed images combined with computer graphics and the traditional one-stroke drawing technique ippitsu ga."

Takahiko Iimura is a groundbreaking Japanese film- and video-maker. Like Jonas Mekas in New York, Iimura, in Tokyo, was instrumental in bringing together and organizing Japanese independent and avant-garde filmmakers and events in the early 1960s; he also played the dual role of organizer and filmmaker himself. Takahiko IIMURA`s Early Conceptual Videos are one of the starting points of Japanese video art. After coming back from New York in 1969, Taka Iimura started video production in Tokyo. Working in experimental film since the early 1960s, he first combined the art of film with video thus making a kind of flicker effect in video The Japanese concept of ma is something that was not so familiar to me. The meaning of the word ma was not clear, yet we use it in many situations. It was, indeed, a very mysterious word. To be frank, I thought it was too Japanese to handle. However in the 1970s I found an interest in the concept of ma as I was thinking a lot about the concept of time in film. Because time in film is considered duration rather than "clock time" of N+1. It is the kind of duration that Henry Bergson called duree. This concept was a starting point in making this film. - TI

The film’s dialogue has been copied from online forums as is, with no editing. Many times these “ faceless ” online conversations end up to a very surreal limbo.

Media artist and filmmaker Jan Ijäs lives and works in Helsinki, Finland. Ijäs works with documentary, fiction and alternative film. The films of Ijäs deal with serious and difficult social themes, like migration into foreign and hostile societies. Ijäs`s films have been shown very widely abroad by over a hundred film festivals and as installations in museums and galleries.

Two Islands is a film about two enormous waste dumps in Staten Island and Hart Island, NYC. One is a now closed landfill, which at one point was the largest in the world, the other is a cemetary of unidentified people, still in use. Two Islands bluntly asks: what does the existence of these two huge mountains of economic and social waste tell about our civilization, and what kind of legacy will the archaeologists see in them when they are studying these a few centuries from now?

Filmmaker and media-artist Jan Ijäs (b. 1975) is a artist of lens-based art, both still and moving. The films of Ijäs tend to break the traditional boundaries of fictive and documentary films. Ijäs?s work is often displayed as gallery installations rather than in traditional movie venues incorporated with still images and text works. Ijäs?s, sometimes even humorous works, deal with serious and difficult social themes, like migration into foreign and hostile societies. Ijäs?s films have been shown very widely abroad by movie festivals (over hundred) and art museums.

.

Catherine Ikam travaille depuis 1980 sur le concept de l?identité à l?age électronique et plus particulièrement sur les thèmes de l?identité et de l?apparence, du vivant et de l?artificiel, de l?humain et du modèle. Elle est considérée comme l?un des artistes pionniers dans le domaine des nouvelles technologies en Europe. En 1980 elle crée au Musée National d?Art Moderne du Centre Georges Pompidou un parcours sur le thème de l?identité, itinéraire à travers les accidents de la représentation de soi ; avec Fragments d?un Archétype et Identité III, elle introduit la fragmentation dans les installations vidéo (Nam june Paik Videocryptography 1980). Catherine Ikam a été Research Fellow au Massachussett?s Institute of Technology, auteur-producteur de programmes sur Antenne 2 consacrés aux nouvelles technologies,co- auteur avec Tod Machover d'un opéra video "Valis", coproduit par l?IRCAM et le Musée National d?Art Moderne pour le 10e anniversaire du Centre Georges Pompidou.. Elle a recu le prix Arcimboldo 2000 de la création numérique ..Elle a été artiste invité au BanffCentre for the Arts au canada en 2000 et au Studio National des Arts contemporains du Fresnoy pour l'année 2005/2006. Depuis 1990, Catherine Ikam en collaboration avec Louis Fléri réalise des installations de video numérique dans lesquelles les visiteur peuvent interagir en temps réel avec des personnages 3D et différents univers . leurs ?uvres sont présentées largement en France et à l?étranger Ils ont conçu ,notamment, L?Autre, crée en 1992 à la fondation Cartier pour l?Art contemporain,les portraits virtuels présentés pour la première fois à la biennale d?Art Contemporain de lyon,1995 : Le Messager en 1995 pour l?exposition Cités Cinés 2, à La Défense ,Alex,commandé en 1996 pour l?inauguration des nouveaux espaces de l?IRCAM/Centre Georges Pompidou , Elle réalisée en 1999 pour l?exposition Portraits :Réel/Virtuel à la Maison Européenne de la Photographie et présentée largement en France entre 2000 et 2003, le Cube (,Issy les moulineaux,) Agora 2000,IRCAM/Centre Georges Pompidou, ISEA 2000,(Paris.) Le Grand Album"(,Chalon sur saone)," Et à l?étranger ,Deutsches Museum ( Munich),Musée Seralves (Porto), Ars Electronica .Future Museum (Linz,)."Science Museum ( London ) Oscar a été crée en 2005 pour l?exposition ?Paris à Shanghai? pour l?exposition Paris à Shanghai à l?Art Museum de Shanghai. une rétrospective « Digital Diaries »a été consacrée en juin 2007 à Catherine Ikam par la Maison Européenne de la Photographie à Paris ; En 2012,elle à été invitée par le Nam June Paik Center à Séoul dans le cadre de l?exposition « Nostalgia is an extended feedback » qui a lieu de juillet 2012 à février 2013 ; Catherine Ikam prépare actuellement avec Roland Auzet un spectacle pour 2013/ 2014 sur un texte de Fabrice Melquiot « aucun homme n?est une ile «

‘The Seventh Shift’ is a film and a 3-screen installation about a woman who manages to maintain her integrity by avoiding the paradigms imposed by the social conditions of existence, focusing instead on the world beyond material dimension with its many limitations. Continual ritual gestures that do not involve obtaining a profit and an irrational faith in an unattainable have become the main basis of the film in which the prosaic mundanity is not expressed explicitly but through the visual poetry of a town in decay.

An explorer from the past (or present) arrives in the Galapagos Islands for the first time to have a tactile encounter with rocks and tortoises. In the darkness of the volcanic tunnels the beasts transfigure freely. Giant tortoises hold the mystery of the universe in the scars on their backs, and to their misfortune they are also a craved food for hungry sailors who prowl the Pacific Ocean aimlessly.

Oscar ILLINGWORTH (1993, Ecuador) is a non-fiction filmmaker and editor who studied Film at the University of Navarra in 2016. He has taken part in various film projects in South America and participated at Berlinale Talents BAFICI in Buenos Aires.

Film-joke, using a play on words. The action is in an old flat, where several families have been living together. They have one bathroom for the whole flat and nobody has wanted to repair it. Why? Because it is a common room. When you have money, you can buy your own flat and take care of it as you want.

Victoria Ilyushkina was born January 15th, 1971. She was graduated in 1995 from the Department of Painting at the Serov Art College, St Petersburg. Ilyushnika first studied at the Art History and Art Theory department of the St Russian Academy of Art Institute of Painting, then a sculpture and architecture I.E.Repina in St.-Petersburg (diploma), and then from 2003 to 2005 at the Pro Arte Institute, Foundation for Art and Culture, New Media Art Studies Program (diploma).