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Cet Air la is a famous french song from 1963, sung live by NY singer April March in acapela with Julien Gasc. The couple is singing while flying over a superimposed 16mm projection of a stop motion animation of a series of clouds, birds, bubbles, smoke machines and glitters?the song has the texture of a dream. Part of Residency Unlimited Project.

Marie Losier, born in France in 1972, is a filmmaker and curator working in New York City. She was born in 1972 in Boulogne, France. She has shown her films and videos at museums, galleries, biennial and festivals, including this year for the 2006 Whitney Biennial with her on Richard Foreman, The Ontological Cowboy and at MOMA with Electrocute Your Stars. Also P.S.1, Tribeca Film Festival, Rotterdam International Film Festival, The Seoul Film Festival (Korea), The Lausagne Film Festival (Swiss), Andrew Kreps Gallery, White Column Gallery, The Black Maria Film Festival, The Biennial of Saint Etienne (France), The York Underground Film Festival, Lake Placid Film Festival, Pleasure Dome (Toronto), Anthology Film Archives, Ocularis, British Film Institute (London), Au Grand Action (Paris) and many others. In 2000, she became the film programmer at the French Institute / Alliance Francaise in New York City, where she presents a weekly film series. She has hosted many notable directors and artists, including Raoul Coutard, William Klein, Claire Denis, Isabelle Huppert, Chantal Akerman, Jane Birkin, Jeanne Moreau, Tavernier, and Anouk Aimée. She also programs experimental films at the Robert Beck Memorial Cinema (now at Participant Gallery, NYC) and Ocularis in Brooklyn and bring programs in Europe and all over in the States. She has also performed in films by George Kuchar, Mike Kuchar, and Jackie Raynal, and in plays by Juliana Francis, and Tony Torn. She is currently completing a short documentary on musician and filmmaker Tony Conrad and starting one on the musical genius Genesis P-Orridge, and her band Psychic TV.

"A few people behaving like children and dressed with tutus wander on a roof in San Francisco. They just have fun throwing each other cream-pies. With Georges Kuchar." "Five winsome damsels picnic on the roof of a warehouse in charming Long Island City, a forest of skyscrapers gleaming across the river. But when a swarm of flies interrupts their feast of chocolate-covered pretzels and cream-pies, the young ladies run amok."

"Marie Losier is a filmmaker and curator working in New York City. She was born in 1972 in Boulogne, France. She has shown her films and videos at museums, galleries, biennial and festivals, including P.S.1, Tribeca Film Festival, Rotterdam International Film Festival, The Seoul Film Festival (Korea) , The Lausagne Film Festival (Swiss), Andrew Kreps Gallery, White Column Gallery, The Black Maria Film Festival, The Biennial of Saint Etienne (France), The York Underground Film Festival, Lake Placid Film Festival, Pleasure Dome (Toronto), Anthology Film Archives, Ocularis, British Film Institute (London), Au Grand Action (Paris) and many others. In 2000, she became the film programmer at the French Institute / Alliance Francaise in New York City, where she presents a weekly film series. She has hosted many notable directors and artists, including Raoul Coutard, William Klein, Claire Denis, Isabelle Huppert, Chantal Akerman, Jane Birkin, Jeanne Moreau, Tavernier, and Anouk Aimée. She also programs experimental films at the Robert Beck Memorial Cinema (now at Participant Gallery, NYC) and Ocularis in Brooklyn and bring programs in Europe and all over in the States. She has also performed in films by George Kuchar, Mike Kuchar, and Jackie Raynal, and in plays by Juliana Francis, and Tony Torn. She is currently completing a short documentary on musician and filmmaker Tony Conrad. It has just been announced that Marie`s film on Richard Foreman, The Ontological Cowboy has been selected for the 2006 Whitney Biennial."

Music video Papal Breakdance by PTV3-Genesis P-Orridge With Genesis Breyer P-Orridge and many friends. A campy music video in the style of a scopitone from the early 1960s, with the wonderful cast of 10 boys in sexy red singlets and girls in red tutus, all dancing with joy with Genesis P-Orridge in a boxing ring?all the ingredients for a slap stick boxing match in music.

"The theater is about sex." At least it is according to Richard Foreman, the father of the Ontological Hysterical Theater. The Ontological Cowboy documents Foreman?s invocation of the "manifest destiny" of the avant-garde theater - King Cowboy Rufus strolling down off San Juan Hill with a sigh, waving his handkerchief. Foreman plays himself, and the cast pantomimes his preoccupations. If "the cast and crew suffer alike," it's all for a good cause: the violent rebirth of the American theater, with Foreman as its midwife.

Marie Losier, born in Boulogne, France in 1972, is a filmmaker and curator working in New York City. She has shown her films and videos at museums, galleries, biennials and festivals, including, this year at the 2006 Whitney Biennial with her "On Richard Foreman, The Ontological Cowboy"; as well as at P.S.1, Tribeca Film Festival, Rotterdam International Film Festival, The Seoul Film Festival (Korea), The Lausagne Film Festival (Switzerland), Andrew Kreps Gallery, White Column Gallery, The Black Maria Film Festival, The Biennial of Saint Etienne (France), The York Underground Film Festival, Lake Placid Film Festival, Pleasure Dome (Toronto), Anthology Film Archives, Ocularis, British Film Institute (London), Au Grand Action (Paris), and many others. In 2000, she began working as a film programmer at the French Institute/Alliance Francaise in New York City, where she presents a weekly film series. She has hosted many notable directors and artists, including Raoul Coutard, William Klein, Claire Denis, Isabelle Huppert, Chantal Akerman, Jane Birkin, Jeanne Moreau, Tavernier, and Anouk Aimée. She also programs experimental films at the Robert Beck Memorial Cinema (now at Participant Gallery, NYC) and Ocularis in Brooklyn, as well as in Europe and throughout the United States. She has also performed in films by George Kuchar, Mike Kuchar, and Jackie Raynal, and in plays by Juliana Francis, and Tony Torn. She is currently completing a short documentary on musician and filmmaker Tony Conrad, and starting one on the musical genius Genesis P-Orridge and her band Psychic TV.

descending notes (2022) is an erotic science-fiction film that explores transness as a form of dissonance and resonance. It takes inspiration from Donny Hathaway’s heartfelt rendition of A Song for You, whose lyrics are punctuated by a discordant progression of piano notes: “If my words don’t come together, listen to the melody ‘cause my love is in there hiding… I love you in a place where there's no space or time.” Written and performed with Ada M. Patterson and Raffia Li, the film is a cosmic love story between three transing beings whose desire unfolds across time and space, from the sensuality of early Christian sainthoods to future alien intimacies. Grounded in autobiographical experiences of tenderness, solidarity and grief within transgender friendships and everyday life; as the world splits apart, these undercover beings covertly learn to live in transformation and to give each other breath.

Lou Lou Sainsbury is a transfeminine artist based between Rotterdam, NL and Margate, UK, working across film, live-performance, poetry, installation and textiles. She identifies as a time traveller, making things that unwrite histories of living beings into tricksterish dreamscapes, exploring identity, community and ecological entanglement. She often works in collaboration, developing intimate long term projects guided by improvisation, cinematic processes and sonic thinking. Lou Lou’s work questions how we can become better listeners and how bodies can trouble history and geography. Moving across a poetics of sensual communion, her transformative work seeks to imagine stories for more liberated futures. After graduating from her MA in Art Praxis at the Dutch Art Institute (2021), Lou Lou was recipient of the Freelands Gasworks Partnership Programme. She was an associate artist at Open School East (2017), after completing her BA in Moving Image at the University of Brighton (2016). Her recent solo exhibitions include Roodkapje, Rotterdam (2023); Humber Street Gallery, Hull; Gasworks, London (2022) and Well Projects, Margate (2020). Recent performances and group presentations include: International Film Festival Rotterdam (2023); Whitstable Biennale (2022); Centre for Contemporary Arts, Prague (2021); La Casa Encendida, Madrid (2020), Tate Modern, London; Nottingham Contemporary and Yaby, Madrid (2019).

An abandoned construction site becomes the arena for a handful of men.  They prepare to fight and defeat the enemy; but who is the enemy?

Amira Louadah was born in Algiers. From 2014 to 2021, she studied design and visual arts at Ensci, les Ateliers de Paris, developing an enthusiasm for staging and storytelling. Her journey is marked by seminal stays, notably in Chang Maï in Thailand and New York in the United States, where she made her first field captures. She collects and deploys her perceptions in an empirical and exploratory approach. Her filmography includes La grosse moula ou li michan (2020). Her latest film L'Arche (2022) won the Renaud Victor Award at FID Marseille, and was selected in official competition at the Camden Film Festival in Rockland, the Rencontres internationales du documentaire de Montréal, the MedFilm Festival in Rome and The Clermont-Ferrand international short-film Festival 2023.

2007. East Baghdad. A US Army Apache helicopter shoots down a group of men outside a house. It’s a Reuters photographer, his driver and the contacts of the photojournalist actually doing a report. The military who shot them from a distance, using state-ofthe- art hyper-vision technology, assisted by satellites, mistook them for “insurgents” as the reporter’s camera was “seen” as an RPG. This degraded perception is illustrated here in its barbaric acme. That said, this killing is not isolated. Doesn’t virtuality gaining more and more of the reality territory? In those times of planetary virus and practically generalized lockdown, coercive power uses and abuses of its new tools for controlling the population in peacetime (drones, facial recognition, apps, etc.). The experimental film li(f/v)e interrogates through several typologies of images our relationship to reality when it has been invested by its virtual counterpart.

Ismaël a réalisé Babylon (Grand Prix du Festival International du Cinéma FIDMarseille et Prix des Université DOCLisboa 2012) et Leïla’s blues (Quinzaine des réalisateurs, Cannes et Mention Spéciale au Festival des Cinémas d’Afrique de Montréal). Il a produit The last of us (Lion du Futur à la Mostra de Venise 2016, candidature tunisienne aux Oscar 2018). Son film expérimental Fragments of self-phone-destruction (2018) a été primé au Festival des Cinémas Différents et Expérimentaux de Paris. Son premier long-métrage de fiction Black Medusa (2021) a été sélectionné aux compétitions de nombreux festivals : Rotterdam, New Horizons, Lima Alterna, Split, Fantaspoa, Tarifa, etc. Ismaël est par ailleurs artiste visuel et auteur. Il a été diffusé et/ou exposé au MoMa à New-York, au Museo Reina Sofia à Madrid, au Bal à Paris, ainsi que dans les galleries Momenta (New-York), Talmart (Paris), Le Cube (Rabat), A. Gorgi (Tunis), etc. Il a publié un essai : Cinéma en Tunisie (Tunis, 2008) et un recueil de poésie en revue : lettres à la mort (Toulouse, 2009). Il vit et travaille entre Tunis et Beyrouth.

"Since the downfall of the Soviet Union, no one really knows who the Russians are anymore - what their dreams are, who they believe in or how they live. The Moscow Skyscraper, "the unsinkable Titanic" was built under Stalin and has been for more than 50 years now, a true metaphor of Russia and its people. Former apparatchiks, children and grand-children of the Soviet elite mix with the "nouveaux riches" and businessmen in this huge skyscraper in Moscow. They all waver between the nostalgia of the Soviet time, with its imposing shapes and prefabricated but reassuring happiness, and the instantaneous pleasures capitalism offers. Pavel Lounguine went and looked for the Russian soul inside the Moscow Skyscraper. He knocked on the doors of this mythical building and, focusing on its inhabitants, he painted an ironic, funny and poetic picture of Russia today."

"Pavel Lounguine studied at the University of Moscow between 1965 and 1971 before entering the Moscow Film School in 1973. There he studied screen-writing till 1975 and wrote the scripts of many Russian films including Nepobedimyj (1983) and Poputchik (1986). In 1990, the first full-length film he directed, called Taxi Blues, was shown at the Cannes Film Festival. This tragic story depicts the friendship between a taxi driver and a penniless saxophonist. The film was well received by the critics and the director then became a regular visitor of the Croisette. Luna Park (1992), which tells the story of a young man who is looking for his Jewish origins, and La Noce (The Wedding) (2000), which is a tragicomedy about the unexpected progress of a wedding ceremony, were also shown in Cannes. Pavel Lounguine is interested in the economic and social changes his country is going through due to the downfall of communism. This interest is revealed in Lifeline (Ligne de Vie, 1996), in which Vincent Perez is battling against the Russian mafia, and in A New Russian (Un Nouveau Russe, 2003), a drama about a former scientist (Vladimir Machkov) who will do anything to get rich. In 2005, Pavel Lounguine directed Familles à vendre (Families to Be Sold), a film that deals with the exile and the geographic division of the Russian people. At the same time, he occasionally makes films for the Russian television.

A shot-sequence grasps the scenery from a car, along a wind beaten crest bordered by large windmills. The night comes. The film is landmarked by appearing titles: a confabulated filmography.

Julien Loustau was born in 1971 in Salies-de-Béarn, and now lives and works in Paris.

During this time, and for centuries now, norias have been turning. They sing Oronte's draught. On the banks of the Seine, a dialogue joins them.

Julien Loustau was born in 1971 in Salies-de-Béarn, and now lives and works in Paris.

Vostok Lake has been trapped under the Antarctic ice and isolated from the rest of the world for millions of years. This exceptional environment, deprived of light and subject to extreme pressures and temperatures, might shelter unknown forms of life. The only technology that would allow people to reach the lake without any risk to contaminate it is the Cryobot, a sounding line conceived by NASA and meant to explore sub-ice oceans on Mars and Europe. In China, in the area of the Three Gorges, the construction project of the biggest hydroelectric dam in the world is about to be finished. 600 km of valleys have already been flooded by this dam, which means that hundreds of towns have disappeared and 1.8 million Chinese people had to relocate. Throughout a night trip over the Yangtze River, in the distant exploration of its banks in a state of respite, this movie imagines the solitary odyssey of the Cryobot through the ice to Vostok lake.

Julien Loustau was born in 1971 in Salies-de-Béarn. He lives and works in Paris.

The first sentences could make us think of snippets of conversations gleened from a cocktail party, we recognise the contemporary all-entrepreneurship mixed with an ideology of ideal management. Behind thedialogues are reflections on work, its constraints and the space for freedom that everyone is looking for within the framework that they create or are subject to. And what about these people who work? Do they talk about work or activity, passion or flexible hours? Are we capable of living at full speed and feeling sensations in the same way? How is our self-awareness evolving in the face of this ambition for complete control of our lives, when chance and the vagaries of life often give it flavour?

Ariane Loze, Belgium 1988. Lives and works in Brussels, Belgium Since 2008 Ariane Loze researches the coming to life of a story out of seemingly unrelated images with her camera. In these series of videos she takes on all the parts: she is at the same time the actress, the camerawoman and the director. Through the editing of the images she develops a relation between two (or more) characters and the architecture. The videos of Ariane Loze put the spectator in the active role of creating his/her own story out of the basic principles of film editing: shot and counter-shot, the presumed continuity of movement, and the psychological suggestion of a narrative. The filming of these videos has been made public as a ongoing performance. Ariane Loze studied theatre direction at the RITCS Brussels, and took part in a.pass (Advanced Performance And Scenography Studies) in Antwerp. She is laureate of the HISK (Higher Institute for Fine Arts) Ghent 2016-17. The videos of Ariane Loze will be presented at the Salon de Montrouge Paris (May 2018) and in the new museum for contemporary art KANAL Centre Pompidou in Brussels (May 2018). Recent exhibition projects include Videoformes Clermont-Ferrand (2015), Traverse Vidéo Toulouse FRAC Midi-Pyrénées (2015), Medienwerkstatt Berlin (2016), S.M.A.K. Etcetera Ghent (2016), Boghossian Fondation Brussels (2016), De Appel "You are such a curator" Amsterdam (2016), "Kunst om de lijf" Emergent Veurne, New York Anthology Film Archive AXW screening (2017), Watch this Space Biennale #9 Lille Brussels (2017), Gemischte Gefühle Tempelhof Berlin (2017). Ariane Loze’s videos got selected for the Movimenta Video Art prize in Nice (2017), and the Prix Médiatine Brussels (2016) and got awarded at the Art Contest Brussels (2015), by the Art For All Society of Macau (2016) and Côté Court Festival Pantin (2017).

Collective consciousness has built itself up over the centuries, but society's boat is sailing on the seas of globalization. Voices sometimes very old warn us about the risks that men incur, when they are handed over to excess. The video features fragments of these discourses, which from generation to generation have brought fervor and citizen hope, in front of an empty room, symbol of our desertion in front of realities, sign of our increasing capitulation, expression of our renunciation. Outside, it rains more and more and a terrible wind rises. Climate change is on the horizon ... Increase the speed!

Ariane Loze, Belgium 1988. Lives and works in Brussels, Belgium Since 2008 Ariane Loze researches the coming to life of a story out of seemingly unrelated images with her camera. In these series of videos she takes on all the parts: she is at the same time the actress, the camerawoman and the director. Through the editing of the images she develops a relation between two (or more) characters and the architecture. The videos of Ariane Loze put the spectator in the active role of creating his/her own story out of the basic principles of film editing: shot and counter-shot, the presumed continuity of movement, and the psychological suggestion of a narrative. The filming of these videos has been made public as a ongoing performance. Ariane Loze studied theatre direction at the RITCS Brussels, and took part in a.pass (Advanced Performance And Scenography Studies) in Antwerp. She is laureate of the HISK (Higher Institute for Fine Arts) Ghent 2016-17. Recent exhibition projects include Videoformes Clermont-Ferrand (2015), Traverse Vidéo Toulouse FRAC Midi-Pyrénées (2015), Medienwerkstatt Berlin (2016), S.M.A.K. Etcetera Ghent (2016), Boghossian Fondation Brussels (2016), De Appel "You are such a curator" Amsterdam (2016), "Kunst om de lijf" Emergent Veurne, New York Anthology Film Archive AXW screening (2017), Watch this Space Biennale #9 Lille Brussels (2017), Gemischte Gefühle Tempelhof Berlin (2017), Salon de Montrouge Paris (2018), RIBOCA Riga Biennial of Contemporary Art (2018), Moscow Biennial of Young Art (2108) KANAL Centre Pompidou Brussels (2018). Solo exhibition at Centre d’Art Contemporain Chanot, Paris, exhibition at Gallery Michel Rein Paris (2019), Urbane Künst Ruhr – Ruhr Ding : Territorien curated by Britta Peters Oberhausen (2019), Solo exhibition De Vereniging S.M.A.K., Ghent (2019), Solo exhibition Gallery Michel Rein Brussels (2019). Ariane Loze’s videos got selected for the Movimenta Video Art prize in Nice (2017), and the Prix Médiatine Brussels (2016) and got awarded at the Art Contest Brussels (2015), by the Art For All Society of Macau (2016), Côté Court Festival Pantin (2017), Watch this Space Biennale #9 (2017) and Salon de Montrouge (2018) Ariane Loze will be resident at ISCP New York on the invitation of the Salomon Foundation in from January until June 2020.

If we seek beyond our own vision, below the constraints and our primary needs, if we seek greater than ourselves, it is to better meet a whole made up of this multitude of separate individuals seeking in secret their ultimate common point: humanity.

Ariane Loze, Belgium 1988. Lives and works in Brussels, Belgium Since 2008 Ariane Loze researches the coming to life of a story out of seemingly unrelated images with her camera. In these series of videos she takes on all the parts: she is at the same time the actress, the camerawoman and the director. Through the editing of the images she develops a relation between two (or more) characters and the architecture. The videos of Ariane Loze put the spectator in the active role of creating his/her own story out of the basic principles of film editing: shot and counter-shot, the presumed continuity of movement, and the psychological suggestion of a narrative. The filming of these videos has been made public as a ongoing performance. Ariane Loze studied theatre direction at the RITCS Brussels, and took part in a.pass (Advanced Performance And Scenography Studies) in Antwerp. She is laureate of the HISK (Higher Institute for Fine Arts) Ghent 2016-17. The videos of Ariane Loze will be presented at the Salon de Montrouge Paris (May 2018) and in the new museum for contemporary art KANAL Centre Pompidou in Brussels (May 2018). Recent exhibition projects include Videoformes Clermont-Ferrand (2015), Traverse Vidéo Toulouse FRAC Midi-Pyrénées (2015), Medienwerkstatt Berlin (2016), S.M.A.K. Etcetera Ghent (2016), Boghossian Fondation Brussels (2016), De Appel "You are such a curator" Amsterdam (2016), "Kunst om de lijf" Emergent Veurne, New York Anthology Film Archive AXW screening (2017), Watch this Space Biennale #9 Lille Brussels (2017), Gemischte Gefühle Tempelhof Berlin (2017). Ariane Loze’s videos got selected for the Movimenta Video Art prize in Nice (2017), and the Prix Médiatine Brussels (2016) and got awarded at the Art Contest Brussels (2015), by the Art For All Society of Macau (2016) and Côté Court Festival Pantin (2017).

« We do not have to know each other in advance » is a hybrid video work that alternates moments of dance performance with archive footage and textual quotations. Gabriela Löffel draws on the political aspect of public space to construct her thinking, developing a visual essay that stages the ‘performativity of bodies in this zone of political action’. Drawing on the written work of Judith Butler, an American philosopher and gender theorist who has worked on the question of the body and its normalised representativeness in contemporary society, Löffel gives corporeality to the issues raised by the author. Quotations from Butler's work are shown alongside the danced and archival elements of the video. The almost fixed camera allows us to examine in detail the slow, precise movements of the dancers. The camera's movements are almost imperceptible, so subtle are they. The artist and choreographer Cédric Gagneur worked closely together to define the various movements that make up the choreography: they propose an abstraction of gestures of resistance or revolt, drawn from archive images from the collection of the Archives contestataires de Genève. The piece is inhabited by slowness and silence, giving the body enough space to unfold individually or collectively. The work offers a dialectic of the potential for protest in the public space. Co-produced by the Fonds cantonal d'art contemporain and the Fonds d'art contemporain de la Ville de Genève for the Mire program.

Gabriela Löffel mainly works with time-based media and focuses on the zones of political and finance structures, and infrastructures. Shifting and translating from the documented immediate to the fields of interpretation and mise-en-scène are strategies she uses in her work process. A method that often results in long-term projects and enables her to create spaces for questions and to propose disruptions to linear narratives. She is interested in the obliquity of the subject and his context. It’s in this gap, brought about by her way of addressing subjects, that her work opens onto reflections on the sense of how we understand a world when we become conscious of the fragmentation of our knowledge. Her work has been presented at institutions and galleries including MAST Bologna, Aargauer Kunsthaus, EMAF Osnabrück, Galería Metropolitana Santiago, Dazibao Montreal, and the Kochi-Muziris Biennale among others. Gabriela Löffel is a recipient of the Swiss Art Award, the Lewis Baltz Research Fund, the Landis+Gyr Grant, as well as others.

Santiago in the shimmering summer heat. High-res images undergo a digital zoom which transforms spaces into surfaces and houses into textures. In between, there are the small gestures of everyday urban life as two women in search of a place for their love.

Pascal Viveros is a filmmaker intrigued by digital image possibilities, exploring new ways to represent his surrounding landscapes. His work in Santiago's cinema theaters reflects a profound interest in programming and curation. His first short film, AL SOL LEJOS DEL CENTRO was selected at the Berlinale Shorts competition in 2024. Luciana Merino is a Chilean director and screenwriter. She is interested in a hybrid cinema, putting into tension the margins of reality and its deviations. Her first short film, AL SOL LEJOS DEL CENTRO was selected at the Berlinale Shorts competition in 2024.

Blake awakes from a comatic episode for which there doesn't seem to be any explanation. Set in London, the film interweaves his and other characters' discontinued journeys marked by peculiar moments and encounters. At once sober and enigmatic, "The Partition" reflects on singularity, alienation and intangible windows in the wider context of a shifting techno-capitalist environment.

Birgit Ludwig (b. Luxembourg) is a filmmaker and artist based in London. Her films take the form of unconventional dramas or documentaries, interweaving realism and a poetic uncanny. She is a graduate of Central Saint Martins School of Art (BA Fine Art/Phoebe Llewellin Smith Scholarship Award) and Kingston University (MA Experimental Film).

The video consists of scenes, that describe the course of a morning in a suburban area in Southern California. Observing and subjective views of spaces and details establish the place. The images and the editing suggest a closed form of narrative development of the film. Shortly after it seems that a character will become established, a break happens. Images showing subjective views, which might have got assigned to a person, take on a shift and one can hear three US-Marines answering questions about there living conditions in Iraq, while the images stay in suburbia.

Immo Lüdemann wurde 1975 in Düsseldorf geboren und studierte bis zum Jahr 2005 an der Universität der Künste Berlin und dem California Institute of the Arts, Los Angeles, bei Heinz Emigholz, Harun Farocki und James Benning. Seine Arbeiten beschäftigen sich mit strukturellen Problemen des filmischen Erzählens und mit Fragen der narrativen Beziehungen von Bildern. Er lebt und arbeitet in Berlin und Hamburg. Immo Lüdemann was born in Düsseldorf in 1975. Until 2005 he studied at the University of the Arts Berlin and the California Institute of the Arts, Los Angeles, with Heinz Emigholz, Harun Farocki and James Benning. His works deals with structural problems of cinematic storytelling and with questions of narrative relations between images. He lives and works in Berlin and Hamburg.

This work interlinks filmic, installative and performative layers. Joseph Kosuth?s compiled collection of contemporary art in the Freud Museum in Vienna is used as a filmset. Accompanied by a cameraman and sound technician a journalist interviews an artist pacing through the exhibition. The takes of this scene discuss conditions of myths of biographical narration and are being repeated over and over for about 50 minutes. The spectators transform into extras.

born 1976 in Feldkirch (Aut), lives and works in Vienna and Lower Austria 1994 Studies Architecture at the Technical University Vienna. 1996-2003 Studies at the Academy of Fine Arts Vienna. since 2008 Saprophyt, Projectspace (Co-founded with Barbara Kapusta), Webgasse 29, Vienna.

In Fragments of a Jam my intention was to stage a choice of research material circling the topics of the voyage, the search and espionage. The project emerged as part of a group show of commissioned works on behalf of the abbey of Melk to celebrate the anniversary year of their patron. The curatorial notion circled around similar topics. On the opening night the audience could attend the filming in the abbeys pavillon. Similar to About Me and The Tour (The Mackeys), that combine forms of live performance with filmic language, this work is oscillating between a theatrical performance and a film shoot. For the duration of the exhibition, the various coloured frames/panels used as props for the set, now form an environment to present the resulting film of the opening night.

Stephan Lugbauer born in Feldkirch Austria in 1976 now lives and works in Vienna and Lower Austria. He studied Architecture at the Technical University Vienna, received his MFA at the Academy of Fine Arts, New Media Department, Vienna and was fellow of the MAK Schindler Residency, Los Angeles and of the BMUKK Studio Resicency in Mexico City. He is co-founder of Saprophyt, an independent conzeptual art space and project (www.saprophyt.net). His work has been featured in several international exhibitions and festivals such as Hors Pistes, Centre George Pompidou, Les Rencontres Internationales Paris, Madrid, Berlin, CAAM, Gran Canaria, Kunsthalle Wien, Secession, Vienna. His work is fundamentally critic and analytic, interrogating the role of creation and artists. It re-evaluates the porosity of art, which is pervaded with contemporary political and economical areas. "My notion of art has always been a sphere apart from any kind of constraints. A realm of freedom which most probably can only exist in our imagination, but for which I nonetheless fight for. In my vision of art the artist himself plays the role of the antagonist to the mainstream. He is the rebel, the outsider - a professional un-professional. "

In Eating Secrets, we bear witness to a mysterious ritual, based on psycho-magic exercises by the cult filmmaker Alejandro Jodorowsky. In psycho-magic, images are used as symbols to appear to the unconscious mind as real events. A similar thing can be said about the impression of films onto the soul. Haunted by a suggestive soundtrack from the recently deceased Mika Vainio (Pan Sonic) we enter into a dreamlike state, where time is fluid and the ritual is very real. This eight minute short film was shot on super 16mm in my studio and its adjacent garden.

tephan Lugbauer (1976, AUT) now lives and works in Paris, France and on the countryside in Austria. He studied Architecture at the Technical University Vienna, received his MFA at the Academy of Fine Arts, New Media Department, Vienna and was fellow of the MAK Schindler Residency, Los Angeles, the BMUKK Studio Resicency in Mexico City and of the Cite? des Arts, Paris. He is co-founder of Saprophyt, an independent conceptual art-space and project (www.saprophyt. net). His work has been featured in several international exhibitions and festivals such as Hors Pistes, Centre George Pompidou, Paris; Les Rencontres Internationales Paris, Madrid, Berlin; Videobureau, Beijing and Guangzhou; Sigmund Freud-Museum, Vienna; MAK Center for Art and Architecture, Los Angeles; Kunsthalle, Vienna; CAAM, Las Palmas, Gran Canaria; Secession, Vienna. Stephan Lugbauer’s work analyses and interrogates the role of creation and artists. It re-evaluates the porosity of art, which is pervaded with contemporary political and economical areas.