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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

maybe dramatic frame change is unnesessarry...

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

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

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

"Contrapeso/verde/rojo" is a video-documentary presenting two distinct glances. The first scene happens in the park of Chapultepec (Mexico city), where we observe a snack-stand whose tarpaulin is supported by a rope at the end of which is a bottle of Coca-Cola. It plays the role of a counter-weight, like a scale or an anchor (hence the name of the play). The second scene presents a zoom into another Coca-Cola bottle which, thanks to the opening shot, finds itself inside a demolished cab in the woods of Ajusco. The two glances start with and confine themselves to the tension generated by these bottles between the natural and the cultural, which allows us to associate the objects when they activate or deactivate something concrete. The structural logic of León's work in these two videos resides in the presentation of a narrative that leads to the reading of an idea of production after the one of consumption.

Edgar León finished his Master in Visual Arts at the Academy of San Carlos, Independent National University of Mexico (UNAM), in 2005. He produced a dozen of solo exhibitions between Mexico and Costa Rica, and has participated in more than forty group shows world-wide. As an independent commissioner, his latest work "La reconstrucción del lugar común. Imàgenes de autor" was inaugurated in 2005 at the Museum of Art and Drawing in San José, Costa Rica. He organised "Residuos y Particulas" Privado Público" in Mexico in 2004. León lives and works in the Paris area.

In the spirit of the modernist vanguards of a century ago, three contemporary media artists read their manifestos.

Jesse Lerner is a documentary filmmaker, curator, and writer based in Los Angeles. His short films Natives (1991, with Scott Sterling), T.S.H. (2004), Magnavoz (2006), and Manifesto (2023), and the feature-length experimental documentaries Frontierland/ Fronterilandia (1995, with Rubén Ortiz-Torres), Ruins (1999), The American Egypt (2001), Atomic Sublime (2010), The Absent Stone (2013, with Sandra Rozental) and The Fragmentations Only Mean (2021, with Sara Harris) have won numerous prizes at film festivals in the United States, Latin America, and Japan, and have screened at the Museum of Modern Art in New York, the National Anthropology Museum in Mexico City, the Reina Sofía Museum in Madrid, and the Sundance, Rotterdam, and Los Angeles Film Festivals, among many other venues. Washington’s National Gallery, New York’s Anthology Film Archives, and Mexico’s Cineteca Nacional have presented mid-career surveys of his films. His books include The Maya of Modernism, F is for Phony: Fake Documentary and Truth’s Undoing (with Alexandra Juhasz), The Shock of Modernity, Ism Ism Ism: Experimental Cinema in Latin America (with Luciano Piazza), and The Catherwood Project (with Leandro Katz). His critical essays on photography, film, and video have appeared in Afterimage, Cabinet, Film History, History of Photography, La Pusmoderna, The Spectator, Visual Anthropology Review, Wide Angle, and other media arts journals, anthologies, and exhibition catalogues. As a curator, he has organized exhibitions for the Robert Flaherty Seminar, Mexico’s National Palace of Fine Arts, the MAK Center, and the Carrillo Gil Museum, as well as solo shows of Gala Porras-Kim, Manuel Álvarez Bravo, and Cannon Bernáldez. He is a professor in the Intercollegiate Media Studies program of the Claremont Colleges.

"Magnavoz" is an experimental adaptation on Xavier Icaza`s speculative rant on the future of Mexico. Bringing together noisy broadcasts from atop the volcanoes, raucous bacchanalia at popular watering holes and a series of apocalyptic, hypernationalistic pronouncements, the meditation is timely and prescient, though it was written more than eighty years ago. The film adaptation of this vanguard text uses archival images, reconstructions and a complex mix of audio elements to bring this political essay to life.

Jesse Lerner is a documentary film and video maker based in Los Angeles. His work has screened at the Museum of Modern Art in New York, the National Anthropology Museum in Mexico City, the Reina Sofía Museum in Madrid, the Sydney Biennale, the Sundance Film Festival, Guggenheim Museums in New York and Bilbao, the Los Angeles International Film Festival, the Film Society of Lincoln Center, and other festivals and museums internationally. His films have won numerous prizes at film festivals in the United States, Latin America and Japan. In addition to his work as a filmmaker, his critical essays on photography, film, and video have appeared in Afterimage, History of Photography, Visual Anthropology Review, and Wide Angle. He has curated for the Robert Flaherty Seminar, the Centro Fotográfico Manuel Alvarez Bravo in Oaxaca, and the Guggenheim Museums in New York and Bilbao. He teaches in the Intercollegiate Media Studies Program at the Claremont Colleges in Claremont, California and is a two time Fulbright fellow.

Egodystonic - My fear of death will blow my head away. I think I need other eyes for my brain.

Born in 1985 / Frankfurt am Main, has been studying Fine Arts with focus on Painting and New Media at the Offenbach Academy of Art and Design since 2005.

xenia yvon lesniewski GERADE AUS Die künstlerin stellt eine schwarzweiss animation mit dem titel ?gerade aus? vor. zeichnungen sind der ausgangspunkt von xenia yvon lesniewskis arbeit, welche sie dann in stilistische animationen überträgt. kurze szenen werden durch ein flimmern ineinander übergeleitet. szenen, in denen zum beispiel eine mit einem maulkorb versehene, der künstlerin stark ähnelnde person, nach luft schnappt oder in einer unterwürfigen pose auf dem boden liegt. fetisch und sadomasochismus werden in ihrer arbeit thematisiert, gefühle plakativ und direkt wiedergegeben. ?der betrachter ist ein teil meiner arbeit.? dem zuschauer werden innere verlassene landschaften vor augen geführt. man erhält unweigerlich einen offenen blick in eine innere folterkammer. für die künstlerin handelt es sich hierbei um eine sehr intime arbeit ?die grenzen zwischen realität und fiktion verschmelzen. ein zwischenraum entsteht und zwar ? GERADE AUS.? der eingeschobene text gibt hinweise und lenkt den betrachter. der abstrakte sound der arbeit nimmt unmittelbar einfluss auf seine befindlichkeit. aus dieser fragmentierung von bild, text und ton resultiert eine provokative und kompromisslose aussage über die erfahrung von kunst und wirklichkeit. text anna kalinski

biografie xenia yvon lesniewski xenia yvon lesniewski geboren 1985 in frankfurt, deutschland: bildende künstlerin; studiert seit 2005 an der hochschule für gestaltung offenbach freie kunst mit dem schwerpunkt malerei und neue medien. malerei prof. adam jankowski freies zeichnen/film prof. mariola brillowska experimentelle raumgestaltung prof. heiner blum warum sie etwas tut? alles immer nur mittel zum zweck. aber sie hätte sich auch auf die zunge beissen können, sie hat eine schöne, gesunde zunge - rot von blut.

Das Fehlen eines konkreten Bildes. Autobiografische Bruchstücke zwischen Fiktion und Realität vereint zu konstruierten Erinnerungssequenzen und endlosen Variationen davon. Das Gegenteil des Vergessens. Aber was ist wirklich passiert? Es gibt nur die eine Wahrheit. Die eigene. Entscheidungen trifft man, weil man sie treffen muss.

1985 in Frankfurt am Main geboren, seit 2005 Studium der freien Kunst an der Hochschule für Gestaltung Offenbach mit dem Schwerpunkt Malerei und neue Medien und seit 2010 Studium der Malerei, Animation und Tapisserie in der Klasse von Judith Eisler an der Universität für Angewandte Kunst Wien. Ihre Videoarbeiten wurden bereits bei vielen nationalen und internationalen Filmfestivals wie z.B. den Kurzfilmtagen Oberhausen, der Kunstfilmbiennale Köln/Bonn oder den Rencontre Internationales Paris/Berlin/Madrid gezeigt.2008 erhielt Xenia Lesniewski den ?3 Sat Förderpreis? bei den Internationalen Kurzfilmtagen Oberhausen sowie das Stipendium der Deutschen Studienstiftung. 2009 gewann ihre Arbeit EGODYSTON den "Movies and Stills" Award der Videor Art Foundation sowie den zweiten Muvi-Preis bei den Internationalen Kurzfilmtagen Oberhausen. 2010 erhielt sie beim Internationalen Filmfest Dresden den Drematrix Förderpreis. Ebenso nahm Lesniewski an zahlreichen Ausstellungsprojekten sowie weiteren internationalen Film- und Medienkunstfestivals teil.

Children´s excrement anal-yzed between sodomy and fear of death. The video ?Supersensibel? of Xenia Yvon Lesniewski is a provocative animation which deals with sex, eroticism, obscenity and individual fear. A daring representation of the polymorphic sexuality accompanied by phrases and noises in the form of riddles which give the film an infectious energy.

Xenia Yvon Lesniewski was born in 1985 in Frankfurt; she has been studying since 2005 at the School of Realization of Offenbach specializing in Painting and New Media (communications).