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"The Dr Strangelove of computing, Leandre loves the bomb and knows its mechanisms well enough to transform them instantly into the workings of a multi-layered ambiguous narrative, esoteric and seductive at the same time. This is what we can see in his latest project, In the Name of Kernel (2006 - ongoing). The kernel, the heart of every operating system, becomes the myth around which coagulates a symbolic event combining travel literature, the alchemy tradition and science fiction, terrorism and conspiracy theories, programming and mountaineering, 3D modelling and satellite mapping, hallucinations and revelations. A high definition metaphor for those who love the clear air of the high peaks." - Domenico Quaranta

Joan Leandre (b. 1968, lives and works in Barcelona, Spain) Media interpreter, member of the OVNI Archives since 1994. From 1994-1996 I worked on the series of media interruptions MAP (Mega Assemble Project), Fundación Zero and Serial Monuments, in 1995-1997 the Oigo Rom project, later in 1998 in Brooklyn I was involved with the President Archives. In 1999 I worked again with mass entertainment software and started the projects retroyou (RC) and retroyou (nostalG) and the long series still in process, retroyou nostalg2 and the Black Boot Project. Other colective projects I`ve been involved with these years are Velvet Strike (http://www.opensorcery.net/velvet-strike/) and the Archivos Babilonia (http://desorg.org/babylon_25-01-2005.php). I`m currently in that floating point of several considerations which bring the name of the iron bird scream in its flight through the automatic dusk, ...In the Name of Kernel!.

The OVNI (Observatoire de la vidéo non identifiée) was founded in 1993 by the artists Joan Leandre, Toni Serra and Rosa Llop in Barcelona. OVNI's archives have an international and thematic character, facilitating a criticism of the contemporary culture using various strategies such as video art, independent documentary, and the archaeology of mass media. The archives gather a constellation of disparate works of which the common denominator is self-expression and thought about fears and the place of individual in collectives, building, and conjugating a multiple view. A thousand little works go into detail and explore our world or announce other possibilities. A discourse of which major values are heterogeneity, plurality, and contradiction, and in which subjectivity accomplishes itself. In this discourse, subjectivity is the only tool of repulsion against cloning and corporate mass media's repetition. During the various editions, the thematic character of this convocation changes through selections of works into a reading, a particular register of our time's dreams and nightmares. Thus, one could verify how the concerns' spectre has been gradually concentrated, taking part in a very developed range at the beginning of OVNI in 1993-1999 (to develop and explore video language's boundaries, recovering its first formal freedom and theme), until that it concentrates itself more and more on specific themes : Identity against Media (1997-98), Community (2000), Globalization (2002), September 11th's Consequences (2003), Resistances (2005), and the Colonial Dream Independent Zones (2006).

The Catalan artist Joan Leandre has been a member of OVNI (Observatoire de la vidéo non identifiée) since 1993. From 1994 to 1996, he worked on the series MAP (Mega Assemble Project), Foundation Zero and Serial Monuments. In 1996 he instigated the project Oigo Romo, financially supported by the Audiovisual University Institute (Instituto Universitario del Audiovisual) which provided a place for the Mega Assembly Project MSN ? Adult Playground 1.0. In 1998, he participated in President Archives in New York. In 1999, he began the project retroyou.org made for the break series of software retroyou RC, retroyou nostal(G), retroyou nostalg2, and the mailing list autoreplicant http://ddtpv-txmx7-bbgj9-wgy8k-b9ghm.org. During the last few years, he has made projects in collaboration with Archivos Babilonia and Velvet Strike.

An exhibition of HD video, digital print and text by Barcelona based artist Joan Leandre. As the second Gallery exhibition in the artist?s extensive history, In the Name of Kernel ! The Magic Line is the third installment of the In the Name of Kernel series, introducing Leandre?s critical practice of media interpretation and reverse engineering to a new audience. The first two films of the series toured internationally to venues such as Sonar Festival, Barcelona 2008, 3rd Moscow Biennial, Moscow, 2009, and Centre George Pompidou, Paris 2009.

"Media interpreter and member of the OVNI Archives since 1994. From 1994 to 1996 I worked on a series of media interruptions called MAP (Mega Assemble Project), Fundación Zero and Serial Monuments. From 1995-1997 I was involved in the Oigo Rom project, and later in 1998 in Brooklyn I was involved with the President Archives. In 1999, I began working again with mass entertainment software and started the projects retroyou (RC) and retroyou (nostalG), and continue to work on the series retroyou nostalg2 and the Black Boot Project. Other collective projects include Velvet Strike and the Archivos Babilonia.? J.Leandre

?In the Name of Kernel ! The Magic Line? is the third installation of the ?In the Name of Kernel series?, introducing Leandre?s critical practice of media interpretation and reversing engineering to a new audience. ?In the Name of Kernel ! ? gathers his last videos in an open cycle. They offer to the viewer a complex narration in which he can decode the mechanisms of the fascination for technology to which we are usually subjected, such mechanisms, that will then condition our perception of the world. In that sense, the work of Joan Leandre is quite subversive. In this installation, the kernel, which is at the heart of most computer systems, becomes the myth around which a symbolic event coagulates. It combines travel literature, the alchemy tradition, science fiction, terrorism and conspiracy theories, computer programming, mountain climbing, 3-D modeling, satellite mapping, hallucinations and revelations. Joan Leandre explores the troubled imagination of a fundamental principle of computer science, without regard for its potential uses, be they military or dreamlike. The image itself, which is created by manipulating computers, changes its status. Along with the images, the blind power of the Kernel appears, the kernel in whose name all technological usages become possible.

Joan Leandre lives and works in Barcelona. He is media interpreter and member of the OVNI Archives (Observatoire de Vidéos Non Identifiées). since 1994. From 1994 to 1996 he worked on a series of media interruptions called ?MAP? (Mega Assemble Project), ?Fundación Zero? and ?Serial Monuments?. From 1995-1997 he was involved in the Oigo Rom project, and later in 1998 in Brooklyn he was involved with the President Archives. In 1999, he began working again with mass entertainment software and started the projects ?Retroyou (RC) and retroyou (nostalG)?, and continues to work on the series ?Retroyou nostalg2? and the ?Black Boot Project?. Other collective projects include Velvet Strike and the Archivos Babilonia. Since the begining of the 90ies, Joan Leandre is a media interpreter, an Internet archeologist. He make permanent excavations and collects data. He archives numerous datas that have been ?forgotten?, on a corporate site for example, or, contrariwise, data that have very short apparition before becoming confidential or outdated in terms of technologies. Going further than the apparent usability of such or such interface, he tries to create a state of consciousness concerning what the machines are able to make us do because of our ignorance and the power of the ideological conditioning on our understanding of the real today due to the new images. Since 2006, the work of Joan Leandre lies essentially on the analysis and the deconstruction of games, simulation or military training softwares. His work has been shown at the Sonar festival, Barcelona, at Transmediale, Berlin ; at the Whitney Biennial in the Whitney Museum of American Art, New York, at the Laboral Centro de Arte Contemporaneo, Gijon, at the Moscow Biennale, at the ZKM, Karlsruhe.

?Retroyou_nostal(g)? is a software research project whose aim is to transform the original programs into self-running simulation environments. The conditions in four flight simulator programs are modulated in such a way that they can hardly be operated by human pilots any more. Prix Ars Electronica 2006, Honorary Mention Interactive Art

The Catalan artist Joan Leandre has been a member of OVNI (Observatoire de la vidéo non identifiée) since 1993. From 1994 to 1996, he worked on the series MAP (Mega Assemble Project), Foundation Zero and Serial Monuments. In 1996 he instigated the project Oigo Romo, financially supported by the Audiovisual University Institute (Instituto Universitario del Audiovisual) which provided a place for the Mega Assembly Project MSN ? Adult Playground 1.0. In 1998, he participated in President Archives in New York. In 1999, he began the project retroyou.org made for the break series of software retroyou RC, retroyou nostal(G), retroyou nostalg2, and the mailing list autoreplicant http://ddtpv-txmx7-bbgj9-wgy8k-b9ghm.org. During the last few years, he has made projects in collaboration with Archivos Babilonia and Velvet Strike.

After a painful breakup in February 2022, the protagonist moves into a rented apartment. As he tries not to go crazy, he films his everyday life and the world outside his window while strange things are happening around him.

Gennady Lebedev graduated from the general directing lab at the Moscow School of New Cinema.

Earthwork’s screen is positioned flat on the floor, facing upwards. The visitor, looking down, gets a bird’s-eye view of a suburban landscape in which there are destroyed buildings, damaged roads, fences, and gardens. The image suggests a world that has undergone massive disruption. It is unclear whether accident, entropic forces, or warfare has caused this result. Superimposed upon Earthwork’s devastated landscape is another smaller image that presents the viewer with an alternative framing the site. We see diagrams: symbols of what might be location coordinates, suggesting an ongoing search for boundaries, and an intention. The two images appear to be attempting to “ line-up ”, but this is never achieved. The title, Earthwork, references the American Land Art movement of the 1960s; Leber and Chesworth’s videowork further explores Robert Smithson’s concept of the “ non-site ”. A non-site is an artwork situated in a gallery that metaphorically represents a remote actual site. As Smithson suggests “ the site is evading you all the while its directing you to it ”.

Sonia Leber and David Chesworth are known for their distinctive installation artworks, using video, sound, architecture, and public participation. Developed through expansive research in places undergoing social change, Leber and Chesworth’s works are speculative and archaeological, responding to architectural, social, and technological settings.

‘Where Lakes Once Had Water contemplates how the Earth is experienced and understood through different ontologies – ways of being, seeing, sensing, listening and thinking – that reverberate across art, Indigenous thought, science, ancient and modern cultures, and the non-human.’ Sonia Leber and David Chesworth travelled with a team of Earth and environmental scientists who are investigating changes in the climate, landscape and ecology over 130,000 years. Their journey took them to Australia’s Northern Territory, to spectacular yet challenging environments, from locations of long-term aridity to lush, green waterways. Where Lakes Once Had Water channels the experience, where Indigenous rangers, Elders and community members collaborate with scientists. Working across the ancient shorelines, everyone is receptive to the signs, signals and rhythms of the land. Meanwhile, non-human cohabitants continue their struggles for survival. Leber and Chesworth deploy video as a tool, scanning tree lines, erosions, termite mounds, and the effects of water, sun and fire. Their disquieting sound design encompasses natural and human-made sounds, and the hidden signals and energies that exist beyond human hearing. The project is a journey across audio-visual realms, scientific endeavour and Indigenous knowledge – a coalescence of efforts to understand the ancient land. "Where Lakes Once Had Water" was commissioned by the Australian Research Council Centre of Excellence for Australian Biodiversity and Heritage (CABAH) in association with Bundanon. It was filmed on the lands and waters of the Mudburra, Marlinja, Jingili, Elliot, Jawoyn and Larrakia communities in Northern Territory, with additional filming and editing on Barkandji, Dharawal, Djabugay, Yidinji and Wurundjeri Country. University of Wollongong Art Collection, Australia.

Australian artists Sonia Leber and David Chesworth are known for their distinctive video, sound and architecture-based installations that are audible as much as visible. Leber and Chesworth’s works are speculative and archaeological, often involving communities and elaborated from research in places undergoing social, technological or local geological transformation. Their works emerge from the real but exist significantly in the realm of the imaginary, hinting at unseen forces and non-human perspectives. Leber and Chesworth’s artworks have been shown in the central exhibitions of the 56th Venice Biennale: All The World’s Futures (2015) and the 19th Biennale of Sydney: You Imagine What You Desire (2014). Solo exhibitions include What Listening Knows, Messums Wiltshire, UK (2021) and the survey exhibition Architecture Makes Us: Cinematic Visions of Sonia Leber & David Chesworth, Centre for Contemporary Photography, Melbourne, Australia (2018) touring to Griffith University Art Museum, Brisbane (2019) and UNSW Galleries, Sydney (2019).

CIVIC is a short film that follows Booker on his first trip back home to South Central, L.A. after several years of self-imposed exile. Without any clear motive, or even a warning, Booker returns to the place that holds his origins and the people who shaped him. Framed almost exclusively inside of his car, CIVIC tracks Booker’s fleeting and fragmented encounters around his old streets. Booker spends most of his time with his childhood best friend, Tee. They ride around to liquor stores and lingering in parking lots after closing time. Closeness and distance ebbs and flows between them as they talk about their lives, old and new. The repaved ground between them allows Booker to dive deep into the past, seemingly letting go of the tension in the present. However, we soon realize Booker is avoiding his responsibility to his family members across this trip. Just as he plans his disembark from L.A., he has an unexpected encounter that helps to reframe his perspective in the world. CIVIC is an introspective film, giving life to the wordless exchanges, the mundane and the familiar shorthand of unfettered Black life.

Dwayne LeBlanc is a Los Angeles based, first generation, Caribbean-American artist and filmmaker. Primarily self taught, his practice focuses on themes of migration, visibility and dual identities. His debut narrative short film, Civic (2022), an introspective short film about homecoming, was awarded a production grant from Ghetto Film School and Netflix while simultaneously developed at Berlinale Talents 'Short Form Station.' Civic has been screened and awarded at international film festivals around the world, including International Film Festival Rotterdam, Clermont-Ferrand, New Orleans Film Festival, Atlanta Film Festival and Indie Memphis. LeBlanc was also named as part of the "future of cinema" at the 2023 New Directors / New Films festival in NY where Civic was screened at Lincoln Center and the Museum of Modern Art. LeBlanc is a MacDowell fellow and a member of the Writers Guild of America.

"Celui qui n`accepte pas de se laisser égarer n`empruntera jamais que des chemins déjà tracés: il risquera de manquer celui qui le concernerait en propre. A moins qu`il ne sabote tous les chemins, les coupe et les embrouille." L?égarement de mes personnages dans « Nuit Bleue » s?imprègne de la pensée du philosophe Jean Toussaint Desanti ; mes émotions visuelles tentent de l?illustrer. A. LECCIA

Ange Leccia est né le 19 avril 1952 à Minerviù en Corse. Artiste plasticien, il a été pensionnaire de la villa Médicis à Rome en 1981-1983, puis résident à la villa Kujoyama à Kyoto en 1992-1993. Professeur à l?École Régionale des Beaux-Arts de Grenoble de 1985 à 1997, puis à l`l?École nationale supérieure des Beaux-Arts de Cergy de 1997 à 2000, il est actuellement directeur du Pavillon, le laboratoire de création du Palais de Tokyo. Ses oeuvres ont été exposés dans de nombreux musées (Guggenheim, Centre Georges Pompidou) et manifestations (Kassel, Sydney) en France et à l`étranger et il a réalisé de nombreux films dont Ile de Beauté (1996) et Gold (2000) avec Dominique Gonzales-Foerster, ainsi que Azé (2004) ou encore La déraison du Louvre (2005).

The short film 'Vitrine' is a gesture of dedication to an object. The “Café am Heumarkt” houses a now-defunct display case, whose sounds, in past decades, often provided the only break in the otherwise concentrated silence of afternoons in the coffeehouse. This gesture originated from the research project Spirits in Complexity – Making Kin with Experimental Music Systems, initially taking the form of an installation that sonically reanimated the display case. The short film represents a further step in this direction: through procedural modelling, the display case was recreated both sonically and visually. No photos, 3D scans, or audio recordings were used—instead, the foundation of the modelling and exploration was a deep engagement with this culturally charged object. The result opens up various fields of action—legible as an archival object as well as a peculiar, audiovisual, real-time capable “instrument,” whose aesthetic possibilities are explored here. “Europe as a museum,” a form of escapism stuck in time, becomes particularly tangible in Viennese coffeehouses. This very anachronism, along with the general discrepancy between tradition and technological progress, is addressed here on an aesthetic level. Video made with TouchDesigner, Audio made with Max/MSP.

Patrik Lechner (AT) is an artist creating experimental audio/video content since the mid 2000s. Developing custom software for these purposes, original content in abstract sound works and real-time 3D graphics arose through the exploration of technology without losing focus on artistic expression. Patrik Lechner held audio/visual performances in Austria, Belgium, Italy, Bulgaria, Germany, Canada, Dubai and MUTEK Mexico and regularly played at the Austrian Pavilion at the world exhibition in Shanghai 2010. He received an honorary mention at PRIX ars electronica 2019 for a musical piece written for an acousmonium.

The script in "There is a Lot of Joy, too" is based on discussions with a young boy who has Asperger's syndrome. The script became a fictive dialogue between a boy and his mother. They never meet on the screen, but are shown in their own rooms next to each other. The boy talks about his dreams and the mother recounts how it is to live with a child who is different.

Johanna Lecklin is currently completing a PhD at the Academy of Fine Arts in Helsinki, Finland. Her subject is Narrativity, Documentary, and Performativity in Video Art; it is closely related to her own artistic practices. Her background includes an Erasmus exchange at Slade School of Fine Art, UCL in London 1998-99 and a MA degree from the Academy of Fine Arts in Helsinki in 2003. She has taken part in film and video festivals such as Raindance Film Festival in London, UK in 2006; "bzzz" - Pépinières européennes pour jeunes artistes - 18th Festival International des Programmes Audiovisuels Biarritz in France 2005; and in Kasseler Dokumentarfilm - & Videofest Festival, in Kassel, Germany, 2004. She has had several solo shows in Finland and taken part in group shows in many Finnish museums and abroad. In 2001 she won First Prize of the Artists' Association of Finland.

D'ici là/ (Untill then) Parting, uprooting are adressed through the search of new landmarks situated in the public space of Berlin. Each stakeholder participates to the physical and imaginery construction of its representation. The staged car involves a process of projection and intimate reflection on History and each and every's journey, situated in the "big story's" fringe. The German/Polish border presents a territorial division that evokes another temporality echoing back to the faddish aspect of interventions in an urban environment and to their reliance in an historical politic landscape.

Born in 1980, Elise Leclercq, leaving for 3 years to study scenography at the ENSAV- La Cambre (Brussels), reorientates her researchs towards the video within the workshops of Espaces Urbains (Urban Spaces). She realizes several documentary projects in different parts of Brussels and in Berlin, all orientated around contemporary urban problems. The question of means of individual representation that the inhabitant of a neighbourhood do and that we call the public space, is central. She currently starts on a Master in Anthropology at the EHESS in Paris, during which she counts upon to deepen the evoked reflections of her several artistic projects and to confront them with a scientific reflection.

The Centre for Prevention, Integration and Citizenship (CIPC) has been opened in September 2016. It is designated as the first French «deradicalization» centre. There is constant debate about its resources, organization and very existence. Access is restricted, its surroundings are heavily protected and it is inaccessible to journalists, not to mention artists. This video is the story of an effort to understand. How a narrative strategy is set in place. With the aim of providing some kind of representation of this physical, aesthetic and philosophical domain. In her essay «Confiscation», Marie-José Mondzain (french philosopher) suggests a re-appropriation of the divisive word «Deradlicaliser»(deradicalize). Once extracted from its reductive definition (reversing an extremist belief), it becomes the means to reveal fragility and obsolescence in the real. The video has been organised, set up and directed according to this conceptual premise.

Samuel Lecocq was born in Paris in 1992. He lives and works in Brussels.

Jean-François Lecourt est né dans le Perche le 3 Novembre 1958, au sein d’une famille d’agriculteurs. Il entre à 17 ans à l’école des Beaux-Arts du Mans où enseigne Gina Pane, une des artistes fondatrices du mouvement de l’art corporel. Parallèlement, il suit l’éducation d’un Maître d’Arts Martiaux en Karaté Do (la voie des mains nues) de l’école Shotokan, et s’adonne assidûment aux pratiques du Tir à l’arme à feu et du Tir à l’arc. Sa démarche est basée sur l’analogie et l’identification. Une méthode qui le conduit à la découverte de l’aspect cyclique et symétrique des processus de tir et de photographie ; d’où le concept majeur de son œuvre : Le Tir dans l’appareil photographique.Cet acte artistique est un cérémonial immuable qu’il pratique depuis 1977. Il ne s’agit pas pour lui d’illustrer une névrose autodestructrice mais de tenter, en un retour immédiat, d’abolir l’arrêt fatal du cliché. La photographie est donc ici un Art martial. Comme dans le Kuy-Do, la cible à atteindre est soi-même, le but étant la réalisation au présent de celui qui pratique. Une nouvelle création vidéo de 2010 implique une série de films qui mettent en jeu l’autoportrait, la détonation, effondrement et la renaissance du paysage, ce travail s’intitule « Les tirs dans le miroir ».

The polarized political situation of Venezuela is presented as an asymmetric documentary that shows the private and the public space in the capital Caracas. The constant fear induced by political in-stability and the incapability of the government in public safety has given raise in the last few years to a prosperous industry of home-security that has re-shaped the public and private space. Bob-wire and electric fences are the new decoration fashion that every house must have in order to be saved from the ?other?. Caracas is a place where nature, humans and panic seem to be able to co-exist in a tense harmony.

Alejandro Lecuna started his career in the arts has aprenticeship of the Venezuelan Op artist Carlos Cruz-Diez. Studied Graphic Design in the Instituto de Diseño de Caracas and in the School of Visual arts of New York with Prof. Milton Glazer, Prof. Tony Palladino and Prof. Ed Benguiat. Recently finished his studies in Visuelle Kommunikation and Video art- at the University of the Arts of Berlin with the German video-artis Prof. Maria Vedder and Prof. Holger Matthies (UdK). Currently studies his Maisterschüler (member of a master class) also with Prof. Vedder. In the commercial world his experience lies in the area of corporate design for print & digital. He has worked for various firms including SME branding and FDTdesign in NY and frogdesign in Germany. Among his clients and projects are Coca-Cola, DaimlerChrysler, Smart, Consors, NHL, NFL, NBA and David Byrne`s music label Luaka Bop. In the art world his video works has found space in the Berlin night scene. His most recent shows include the "Dis-appearances" show in 2004 in the Opel Haus in Berlin Friedrichstrasse (catalog) and the 48 Stünden Neu-Koln Kunst un Kultur Festival. He has concentrated his art in using the public space as the object and objective of his work. He is a regular lecturer in the design and art schools in Venezuela.

Five different stories comprise a single ninety second vignette; each tale illuminating an element of the deceased's life during his wake. A meditation on the Buddhist notion of reincarnation, "5x90: the wake" is a sly and clever look at an interracial family coping with a death in the family.

Samuel Kiehoon Lee's award-winning pieces include the short documentary "How to make Kimchi according to my Kun-Umma"; the experimental narrative "5 x 90: the wake"; and "Hannah".

An Ealing Trilogy is a response to selected portraits from the collection of the National Portrait Gallery, London. Commissioned by the gallery, the film re-invents the lives of inspirational people who have links to Ealing, West London including Dusty Springfield, Charlie Chaplin and Freddie Mercury. Tableaux imagery is combined with an abstract soundscape to create a captivating slow motion film portrait of people and places from a west London borough.

Eelyn Lee is an award-winning artist-filmmaker who had works screened across London including Tate Modern and Whitechapel Gallery as well as internationally in Paris, Berlin and Toronto. Using processes of devising and collaboration her films use rich imagery and soundscapes to tell multi-layered stories about people and place. She is interested in groups of people, both in the making of the work and the subject of the work itself. The vision, energy and experience she brings to the creative process builds an environment conducive to making bold and original work. www.eelynlee.com

That night, a lady met a group of lovely beasts - gigantic slimy cheesy ones.

Äggie Pak Yee Lee is an audio-visual artist/ animation director from Hong Kong, graduated in Estonia. Her works draw inspiration from the playful relationship between the flow of sound and of images, with a tint of stupidity. Both of her experimental and narrative shorts were showcased in several festivals such as Sundance, Annecy, Goldenhorse and Interfilm.

About the jade-mining lives led by the Burmese youths, most of whom work illegally for black jobs, risking and betting on their lives, for a meager living or the commitments to their beloved ones.

Yong Chao, born in Myanmar, passed the overseas College Entrance Exam of Taiwan after high school and went to university in Taiwan. During his university years, Yong Chao came into contact with the charm of image and movie, thus embarked on the journey of independent filmmaking.