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The work is a paper made video composed of digital image and physical material that delves into the essence of moving image. I divided the digital video into the film ratio of 24-frame-per-second. Through the process of digital transforming in printing and scanning, the re-composed video is in between movement and stillness, virtual and concrete, digital and material. The contrasts have thus been thus related to the Oriental philosophy of Taoism, "one body with two sides". With the video, I was trying to visualize the abstract natural law which denies description. Tao is empty yet inexhaustible, hidden but always present, a way of life yet not a locatable truth. darkness within darkness seeks, in the same way, to be comprises of the very contrast between the established (material) and the abstract (digital) through revealing the invisible time in image.

Wu Chia-Yun (b.1988, Taiwan) received an MA degree in Visual Communication from the Royal College of Art (London) and an MFA degree in Motion Picture from the National Taiwan University of Arts (Taipei). She is an artist and filmmaker based in Taipei, her work is a mixture of image, video, mixed media and installation, focusing on the topics of “human condition” and “the time of image”. Wu has been awarded as Emerging Artist Made in Taiwan by the Ministry of Culture (2017), First Prize of Kaohsiung Awards by the Kaohsiung Museum of Fine Arts (2019), and has had a solo exhibition at the National Taiwan Museum of Fine Arts (2019). Her works have also been internationally selected to the European Media Art Festival (2020), The European Independent Film Channel (2015), Shanghai international Film Festival (2014).

A chilling voice from the past falls in line with the current wave of divisiveness, anti-immigrant rhetoric and political turmoil in an America torn by violence and bloodshed.

Nancy Wyllie's films have screened throughout the world including The Whitney Museum of American Art at Altria, the 7th International Berlin Director's Lounge, Tribeca Cinemas Video Art & Experimental Film Festival in New York and the Aesthetica Film Festival (AFF), York, UK. "Moth Vitals" was one of 28 international selections screened at 'Now & After" International Video Art Festival at The State Darwin Museum in Moscow in 2017 where her work became part of their permanent collection. “Moth Vitals’ screened at 2020 jellyfest film festival at the AFI /American Film Institute, Mark Goodson Theater, Los Angeles. Also in 2020, ‘Inquest’ was selected for the Blow-up International Arthouse Film Festival, Gene Siskel Theater, Chicago, IL. USA. In 2018, her short gun violence film, ‘Reenactments’ won The Americas Award for Best Experimental Short at The Americas Film Festival New York. The Awards Ceremony took place at the Smithsonian National Museum of the American Indian on June 15, 2018. “Soaked Earth” was selected for the Extremely Shorts Film Festival 2020, Aurora Picture Show, Houston Media Arts and received Honorable mention for Best Experimental at the SENE Film Festival 2021 with an LA Premiere at the Super Shorts Los Angeles Film Festival at the Lee Strasberg Theater and Film Institute, December 2021. Her film project exposing the underbelly of the global skin bleaching epidemic titled, “Getting Under Our Skin” was funded by The Puffin Foundation and screened at The Torpedo Factory in Through These Eyes July- September 2022. Also in 2022 her film “Inquest” was selected for screening at the International Portrait Film Festival (IPFF) in Sophia, Bulgaria and at “Diorama Room Presents: Tune Into Green,” 13 short experimental and expanded documentary films by international filmmaker, sound artists and musicians. 'Soaked Earth' screened at the New York Short Film Festival at Cinema Village, Manhattans oldest independent cinema, in 2022. In 2023, 'Twenty Square Feet' was a semi finalist at the Blow-up Arthouse Film Festival 2023 in Chicago. 'The Through Line' was a semi finalist at Berlin Shorts 2023 and received an Honorable Mention at the Video Art & Experimental Film Festival at Tribeca Cinemas. 'Soaked Earth' is part of Human Landscapes, a Loosenart International Art project, at Rome Art Week 2024. Wyllie holds Master’s degrees from RISD and Tulane University, New Orleans. She studied film at New York University and taught foundation art & design, digital media courses and video art at Ithaca College, RISD, Vermont College of Norwich University (MFA faculty) and at CCRI until 2018.

The chilling voice of 1960’s charismatic cult leader and mass murderer Charles Manson falls in line with the current wave of divisiveness, anti-immigrant hostility, antisemitism, misogyny and political turmoil in an America torn by the contagion of hatred and violence. The ultimate manipulator, Manson knew how cull the most inflammatory aspects of the zeitgeist during the tumultuous Vietnam era to fuel his own agenda. He alternately peddled fear and love and used his early exposure to Biblical teachings to stoke the fires of a deranged dogma that included an imminent race war that would be blamed on Blacks. Like a film director with the outward appearance of a peace loving hippie, Manson issued precise instructions to his followers as they set off to carry out grisly murders in the Hollywood Hills and beyond while he remained behind the scenes. Manson’s amalgam of white supremacy, the Dale Carnegie method and devotion to his twisted interpretation of Christian ideology strikes a dangerously familiar note in America in 2024.

Nancy Wyllie's films have screened throughout the world including The Whitney Museum of American Art at Altria, the 7th International Berlin Director's Lounge, Tribeca Cinemas Video Art & Experimental Film Festival in New York, Aesthetica Short Film Festival (ASFF), York, UK. and the New Media Film Festival in Los Angeles. "Moth Vitals" was one of 28 international selections screened at 'Now & After’ International Video Art Festival at The State Darwin Museum in Moscow in 2017 where her work became part of the permanent collection. In 2018, her short gun violence film, ‘Reenactments’ won The Americas Award for Best Experimental at TAFFNY The Americas Film Festival New York sponsored by the Division of Interdisciplinary Studies CUNY. Wyllie spoke about the proliferation of gun violence in the US at the Awards Ceremony which took place at the Smithsonian National Museum of the American Indian. Her film about Marilyn Monroe’s personal library titled ‘Cover to Cover ‘was made with support from the Sam Shaw Family Archives and screened in 2022 at IPFF International Portrait Film Festival, Sophia, Bulgaria. ‘Soaked Earth’ screened at Human Landscapes, Rome Art Week 2024. Wyllie holds a Master’s degree from RISD and studied film at NYU.

Full of feeling and cheerful meeting with Elvis Rromano, a teacher in a Gypsy school somewhere in the countryside of Romania, a fellow country of the European Union. He looks and dresses like Elvis Presley. A guitar and the evergreen songs of Elvis are his permanent companions. Giving an insight into the life of Gypsy-people`s in an untroubled manner, Elvis actually points out the crucial issues of Gypsy roots, European Union identity-politics, the social mobility of Gypsy and his own Otherness in European society. `Hello I am Elvis Rromano. Elvis Rromano means Gypsy Elvis, it?s because I sing Presley?s songs in the Gypsy language. I love what I do, and I do it with passion. I?m unique, I sing in Gypsy. Why? The old Gypsies love Elvis, but they don?t understand his lyrics, many of them don?t know English. So it was a gift for them. Elvis in my very own way, with my own words, in my language, in Gypsy. My lyrics are deeper, more serious. I sing about my roots and my feelings, my own life, as well as the life of the Gypsies. There?s one more reason. I discovered that Elvis was half-Gypsy, from his mother site`

Robert Rumas (b. 1966) ? visual artist and curator, associated with the current of critical art.; a graduate of Gdańsk Academy of Fine Arts; co-founder of Wyspa Gallery in Gdańsk. He creates installations, performances and actions in public space. His works use objects of religious cult, placing them in a non-religious context. His most famous projects include Termofory X 8 (Waterbottles X 8) and Manewry miejskie (City Maneouvers). Simultaneously to his artistic works he has been organizing space and set design in multimedia and theatre performances since 2004. He lives and works in Warsaw. Piotr Wyrzykowski alias Peter Style (b. 1968) - media artist, performer ans set designer. Studied interior architecture and media art at the Fine Arts Academy in Gdansk. He made his debut as a performer in 1990. In his practice he uses video, photography, Internet and sound - creating performances, installations, projects in public space, network projects and multimedia plays. Cofounder and artistic director of CUKT. The best known project of the group was ?Presidential Campaign of Wiktoria Cukt? that proposed a virtual candidate for the President of Poland. He`s work ?Beta Nassau? (1993) is in the collection of MoMA, New York. He lives and works in Gdansk & Kiev.

Cazarsa della Delizia, November 2011. A trip to the grave of a filmmaker, the discovering of the land of the grandfather, a country where people still speak a local language; is that what makes me an immigrant? The stories of the places mingle with those worn by the sea. But the sea is not a country. "I`m going to an unknown country. But I understand that this country is important. It attracts me like an indispensable thing. However a doubt remains. This journey is a crossing of a part of myself, to discover. When I am there, there might be nothing. Nothing, but seeing fascism. I`m not talking about politics, I mean the collapse of a thought, the clash with a reality without stories, without myths."

Born in Toulouse (France), 1987, Luca Wyss is a filmmaker based in Paris. He studied at the Ecole Nationale Supérieur d'Arts de Paris-Cergy. For years, he is member of the experimental cinema workshop "L'ETNA", before founding the collective "Les Inquiets" with Félix Albert. The collective works on the mediterranean space, aiming to weave bonds of sense and images between the shores of this sea. This work led them to film in Pristina (Kosovo), Alger (Algeria), Belgrade (Serbia), Tehran (Iran), in a hybrid approach, between documentary and contemporary art. In parallel with this work of co-directing, Luca Wyss develops a work of narrative experimentation, looking for new ways of seeing the space of possible in mythical stories and and personal testimonies. This work led him to shot in Beyrouth (Lebanon), Toulouse (France), Bienne (Swiss), Cazarsa (Italy). He tries to make the myth a vision of the reality. His latest movie belongs to this research.

Haxhi Xhihani (Xhiku) was born in 1953. Since 1973 he has worked in the bunker factory "Josif Pashko" in Tirana, Albania. Qualified as a model worker in helping the collective work, he was decorated with the Medal of Honor "Tireless worker" by the brigadier of factory Jani Ciko. After the communist regime, a part of the factory was destroyed and what remained is privatized, becoming a factory that producing tile for the sidewalks. The owner of the factory is the former brigadier. Currently, Xhiku is paid 3 euro per day.

Pleurad Xhafa is an visual artist and filmmaker who lives and work in Tirana, Albania. After studies in Bologna, he graduated with an MFA at the Academy of Fine Arts, Bologna in 2012. Continues his research work in critically engaged and investigative conceptual practice. Through his work he attends to the legacies of conceptual and documentary approaches in art, making it relevant in the landscape of contemporary art research. He has participated in International group shows including: Every revolution is a throw of dice, Genoa, Italy (2006); Onufri Prize, Albania (2008); Tirana Biennale, Albania (2009); Berlin Biennale, Germany (2010); Lavoro/Work/Vore, Udine, Italy (2013); Ardhja Award, Tirana, Albania (2013); Shame on you, Celje, Slovenia (2015) His work as been awarded first prizes at Young Visual Artist Award in 2013 by Tirana Institute of Contemporary Art (T.I.C.A) and International studio & Curator Program (ISCP), New York.

Loop Loop Loop attempts to explore film as a matter and its value from changing perspectives. Using a combination of 16mm, Super 8mm, handmade film strips, and found footages as materials, this film intends to represent the adventure of two nonhuman characters on a train ("chicken features garlic skin" is a Chinese idiom referring to trivial matters) , where they are having a conversation around "film stock".

Yifan Xu (b.1998, China) is an interdisciplinary artist and filmmaker who primarily works with photographic medium (still and moving images), sound, and installation. She received a B.A. degree with honors in Art and Film & Media Studies and a minor in Economics from Lafayette College in 2019. Currently, she is an MFA candidate in Film/Video at the California Institute of the Arts.

Piece together some Chinese characters to sound like English. Secrets are briefly revealed, but at the same time the door to them is closed forever. We linger at the door, and I just want to stay with you longer.

Mengzhu Xue is a Chinese director and artist. She is currently studying fine art and film in Germany. Mengzhu enjoys exploring the combination of different media to create images in a multi-dimensional way. She often draws inspiration from personal experiences and subtle observations of cross-cultural contradictions in everyday life. Through artistic transformation, she wants to create a space that transcends language.

"A Hot Sandfilled Wind" expresses the despair and hope of contemporary politics in Israel/Palestine. It is based on a poem by Nadia Habib, and part of the Palestine Trilogy: documentations in history, land & hope.

B.H. Yael is a Toronto based filmmaker, video, and installation artist. She is Professor and Chair of Integrated Media at the Ontario College of Art and Design, and past Assistant Dean in the Faculty of Art.

In the marshlands of southern Iraq, Ibrahim and his family live isolated from the rest of the world, deeply intertwined with the river, the reeds and the animals they tend. The quiet and withdrawn Ibrahim finds solace only in his buffalo, his one true companion. As Ibrahim’s world collapses, he must confront forces beyond his control that threaten not only his way of life but also the one living creature he truly understands.

Ali Yahya is an Iraqi filmmaker, born in 1994 in Baghdad, where he has lived and worked his entire life. His journey began after studying Psychology at the bachelor’s level. He later moved into visual arts, first as a graphic designer and then as a Creative Director at Becorp, one of Iraq’s leading creative agencies, where he continues to lead visual storytelling and cultural-visual projects. He is currently pursuing a master’s degree in Film. He uses film to explore the human experience, capturing the beauty and complexities of everyday life. Through his work, he brings the stories of his homeland to the world. His debut short film Beneath Which Rivers Flow (2025), shot in the marshlands of southern Iraq, blends poetic observation with lived reality, exploring the fragile relationship between a community and its disappearing landscape. The film premiered at the 75th Berlin International Film Festival, where it received a Special Mention from the jury.

This work is based on works by Edward Hopper (1882?1967). Using a "realist" scene constructed by Hopper as a prototype, seven original works are intertwined with past works by the artist. The "reality of art" re-interprets the "super-arty" world. The whole mime is interspersed with the artist`s expressions concerning "arty" and "super-arty". All of the features that appear in this work point to an exploration of "art" itself. One could say that without the artist`s misinterpretation of "art", there would certainly be no better definition of "Super-Arty".

Born in Chongqing in 1986, Yan Xing graduated from the Oil Painting Department of Sichuan Fine Arts Institute in 2009 with a bachelor degree. Yan Xing currently lives and works in Beijing and Los Angeles. He is both the initiator and participant of the ?COMPANY? project. His works have been shown at institutions such as: Contemporary Arts Museum Houston (CAMH), Houston, USA; Central House of Artists (CHA), Moscow, Russia; PinchukArtCentre, Kiev, Ukraine; National Gallery of Indonesia, Jakarta, Indonesia; Ullens Center for Contemporary Art (UCCA), Beijing, China; China Central Academy of Fine Arts Museum (CAFAM), Beijing, China; Iberia Center for Contemporary Art, Beijing, China; Today Art Museum, Beijing, China; OCT Contemporary Art Terminal (OCAT), Shenzhen, China and the A4 Contemporary Arts Center, Chengdu, China. He has also been featured at Moscow International Biennale for Young Art (2012), Shenzhen Sculpture Biennale (2012). Yan Xing?s works involve an extremely broad range of creative media, including performance, video, installation and painting, among others. The solo exhibitions of his works were held at Chinese Arts Centre, Manchester, UK (2012); Galerie Urs Meile, Beijing-Lucerne, Beijing, China (2011; 2013), and his works have also been shown in important group exhibitions such as: Meulensteen Gallery, New York, USA; Boers-Li Gallery, Beijing, China; Pékin Fine Arts, Beijing, China; and Platform China Contemporary Art Institute, Beijing, China. Yan Xing?s works have been public collections include: Rubell Family Collection, Miami, USA; M+ Museum for Visual Culture, Hong Kong; Kadist Art Foundation, Paris, France; He Xiangning Art Museum, Shenzhen, China. In 2012 he won the Best Young Artist Award by CCAA (Chinese Contemporary Art Award). The same year, he was a finalist in the ?Future Generation Art Prize?, Victor Pinchuk Foundation, Kiev, Ukraine; ?Focus on Talents Project 2012?, Today Art Museum, Beijing, China, Martell Art Fund. Yan Xing has created and planned exhibitions such as: Dream Plant contemporary art exhibition, Sichuan Fine Arts Institute, Chongqing, China; Mummery, Art Channel, Beijing, China; and the Fact Study Institute, Yangtze River Space, Wuhan, China.

The film moves through the hidden storage spaces of the Montreal Museum of Fine Arts, revealing artworks whose ownership records remain incomplete. Some bear traces of wartime displacement and intentional omissions; others have shifted in attribution, altering the narratives attached to them. It traces how institutional structures shape what becomes visible and what remains unresolved. As the camera moves through the storage rooms, “Coming Home” observes the museum as an active system of organization, where artworks are continually recontextualized. Viewers encounter the collection as an unseen archive and are asked to navigate a place where certainty is partial and orientation never fixed.

Jinjoo Yang is a Montreal-based artist and architect whose films emerge from direct engagement with specific sites. She works with institutional interiors, using controlled camera movement to trace how places hold and mediate their histories. Her practice moves between observation and construction, turning regulated environments into temporal landscapes where visibility, authorship, and memory subtly shift. Yang’s recent works include “Coming Home,” filmed in the collection storage of the Montreal Museum of Fine Arts, and “Occupied,” a forthcoming film shaped by Cold War infrastructures. Her projects have been presented internationally at institutions such as the Montreal Museum of Fine Arts, the Center for Architecture in New York, and the Royal Danish Academy of Fine Arts in Copenhagen.

Retracing Wim Wenders' Paris, Texas filming locations, this 16mm film captures the American West's vastness while reflecting on memory's fragility. Shot on Kodak film with a score by Julian Tran, the work examines how we perceive through analog optics and how recollections distort over time. The digital scan is fabricated into pseudo-film via inkjet printing on clear film with laser-cut perforations. Each projection makes the ink melt and the film fall into decay, mirroring memory's erosion.

Lilan Yang (b. Chongqing, China) is a moving image artist merging analog filmmaking with computational processes. Rooted in the materiality of 16mm, their practice explores the flux of migration, the decay of memory and the intricacies of perception.

Make a Little Sun (2024) reimagines Little Sun (1963), the first and only science-fiction film made in China before the country’s economic reforms. Originally an educational film for children, Little Sun tells the utopian story of young researchers creating an artificial sun to boost food production. Banned during the Cultural Revolution, the film is now seen as an informal response to the Great Chinese Famine (1959–1961). This re-edited version fragments the original footage across a three-channel installation, combining it with new texts to reflect on global political crises since World War II. The sun becomes a metaphor for power, used to critique nuclear militarization, the colonial legacy of space exploration, and the failures of technological progress. Through disrupted narratives and visual manipulation, the work challenges modernization’s destructive trajectory and calls for collective alternatives to capitalist development.

Zhiyuan Yang’s practice examines the entanglement of personal histories and collective memory within broader political and economic systems. Through conceptual strategies that span moving image, installation, photography, and text, she investigates how experiences of loss—whether intimate or societal—reflect the failures and contradictions of modernization, institutional authority, and global power structures. Working with fragmentation, re-staging, and narrative disruption, Yang blurs the boundaries between fact and fiction to question how identity, memory, and belonging are constructed. Her practice often intervenes in existing frameworks—familial, political, or artistic—to expose the mechanisms of control and exclusion that shape lived experience. By revealing the limits of dominant narratives and institutional systems, she opens up spaces to reimagine collective forms of resistance, care, and alternative ways of being. Yang is an alumnus of the BPA// Berlin program and the Jan van Eyck Academie. Her recent and future exhibitions and screenings include Comrade Sun at Hartware MedienKunstVerein, DE; Half-Light at KW Institute for Contemporary Art, Berlin, DE; You Say I Have Unlimited Potential. I Disagree at Zilberman, Berlin, DE; and Conference Call: Moving Image at the Center for Performance Research, New York, USA.

"Coffee with Pina" ? Paris 2002, Wupertal 2005 A film with the choreographer Pina Bausch Director and Photographer ? Lee Yanor Editor - Mariana Bouhsira Production ? Lee Yanor. "It looks very chaotic but somehow it makes sense" ? Pina said to me in the rehearsal studio, where she danced parts of her solo from "Danzon". The dance was constantly interrupted, Which, enabled to capture the emotions that emerged from the intimate silences, conversations and relieving laughter. First time I met the choreographer Pina Bausch was at Café Mistral - Paris in 1993, We have had an ongoing dialogue for 12 years and the outcome of this was the idea for the film: "Coffee with Pina". A 50 minutes documentary - through a personal point of view, on Pina`s universe. Filmed in Paris in 2002, where we first met, and in Wuppertal Germany in 2005, home town of Pina Bausch and her company. Something between a memory and a dream Leading the associative development of the film. A cafe, fountain`s water in Paris, rehearsal studios, industrial chimneys, and railroad tracks, endless forests and underwater dancing polar bears ? All blend into the dance parts filmed from the creations "Agua" and "Rough Cut". The film links the different elements in order to convey ? A Choreography of state of mind.

Lee Yanor Born in Haifa 1963. Education: 1991-1993: Paris VIII University. Maitrise - Plastic Arts. 1991: Artist in Residence at Villa Arson. Nice, France. 1990: Scholarship to Paris VIII University, Sponsored by the French Embassy. Tel-Aviv, Israel. 1986: Pratt Institute, Brooklyn, N.Y. Photography. 1984-1988: Bezalel Academy of Art. Jerusalem, Israel, B.F.A. Photography. Selected One-person Exhibition: 2008: `Cloud 9` theheder Gallery, Tel Aviv. 2007: `Memory Fields`. Fine Arts Museum, Taipei Taiwan. 2004: `Forget me not`. Theheder Gallery, Tel-Aviv. 2003: `Art-Attack`. Video. Rosenfeld Gallery, Tel-Aviv. 2003: `Erato`. Morel Drefler Gallery, Vitzo, Haifa. 2000: `Works`. The Museum of Israeli Art, Ramat-Gan, Israel. 1999: `Nanti-Dulou`. C.C.F. Bandung, Indonesia 1997: `Five Passages in the Shadow`, (Exhibition and Stage-Set for the Choreography of Paco Decina). Blan-Mesnil, France. 1994: `Images de Danse`. Center Georges Pompidou. Paris, France. 1994: `The Ships Sail On`. Outdoor Installation, Bastille Theater, Paris. 1994: `Carrousel`. Beit Haomnim, Jerusalem, Israel. 1993: `Longings`. Limbus Gallery, Tel-Aviv, Israel. 1992: `For Arthur Rimbaud`. La Villette, Paris, France. Selected Group Exhibition: 2007: Tel Aviv Museum, Moods and Modes in Israeli photography, works from the collection 2007: Videodanse Center Pompidou, Paris, France. 2007: `H2O`. Water Institute Givaataim. 2005: `Israeli Photographers Photographing Themselves Photographing`. The University Art Gallery. Tel Aviv, Israel. 2003: Videodanse, Tel-Aviv Museum. 2003: Videodanse, Center Pompidou, Paris, France. Coffee with Pina, Sophie?s Garden, Sud-Est. 2002: The Leon Constantiner Award, Tel Aviv Museum of Israeli Art. 2001: `Aspirations`. Ohio Arts Council?s Riffe Gallery, Columbus, Ohio. 2001: Israeli Photography. Mane Catz Museum, Haifa, Israel. 1996: `Variation on Rites of springs`. The Israeli Pavilion, Venice Biennale of Architecture. 1995: International Salon of Photography, Auch, France. 1994: S.K.I.T.E. Lisbon, Portugal. 1994: Photography month. Arles, France. Collections: Tel-Aviv Museum for Israeli Art. Fine Arts Museum, Taipei, Taiwan. The Genia Schreiber University Art Gallery. Seine-Saint-Denis, Paris, France Privet collections. Leon Constantiner award. Tel Aviv museum of Israeli Art. 2002. Films: 2006: "Coffee with Pina" Paris 2002 ? Wuppertal 2005. Video 52 min. With the participation of Pina Bausch. Jerusalem Film Festival, WMW Taiwan, FIFA Montreal, Danse on Camera L.A . Center Pompidou. 2002: "Hitgaagati". Video 3 min Loop. 2002: "Sophie?s Garden". Video 3min. 2000: "Lenny`s Dream". Super-8/video, 8min. With the participation of Cristina Formaggia. "Rami". Super-8/Video, 3min. With the participation of Rami Hoiberger. 1998: "Sud-Est". Super-8/Video, 13min. With the participation of Bernardo Montet. 1997: "Five Passages in the Shadow". Super-8 films, (from stage- set), Projected on glass & on dancer`s bodies. 1996: "Lapis-Lazuli". 16mm, 10min. Homage to Christian Ferry. 1995: "Au Bout Des Doigts". Video, 11min. With the participation of Jean Sasportes. 1986: Marshal Glasier. Video, 20min.

"Filmer à Dakar, présences singulières entre le sable, la ville et le delta" est un diptyque vidéo mettant en relation des espaces naturels, des espaces construits et leurs occupants. Les séquences formées par le diptyque tissent une trame dont l’agencement se renouvelle au gré des projections en boucle. D’une part un défilement de lieux tels que la ville en construction de Diamniadio ou des espaces en transition comme les espaces en démontage de la Biennale de Dakar dans l’ancien palais de justice. D’autre part, l’activité dense au cœur de la Corniche en bord de mer, où la caméra avance dans le mouvement fluide des séances d’entraînements. Un jeune garçon à l’écart tente un "selfie". Circulant d’une projection à l’autre on se rend compte de la complémentarité de celles-ci: l’énergie déployée sur la Corniche magnétise les espaces vides, en transition, présentés dans l’autre écran. Ces deux projections dans lesquelles se déploient espaces intérieurs et extérieurs, et leurs occupants, interpellent l’écologie du vivre ensemble, dont les paramètres sont en perpétuelle mouvance.

Les œuvres de Myriam Yates se déploient sous forme de grandes projections vidéographiques ou de séries photographiques. Elle privilégie une approche hybride de l’image entre une certaine forme de document et l’essai vidéo. Elle s’intéresse à la construction de l’espace public, aux jonctions entre l’aménagement et la nature ainsi qu’à la notion de territoire. Ses œuvres ont été présentées lors d’événements tels que le Kasseler Dokfest, Kassel (Allemagne); le Images Festival, Toronto (Canada), les Rencontres Internationales Paris/Berlin (France/Allemagne), le Mois de la Photo à Montréal (Canada) et Nuit Blanche, Toronto (Canada). Elles ont fait l’objet d’expositions individuelles et collectives, notamment à la Galerie d’art Foreman de l’Université Bishop’s, Sherbrooke (Canada), au Hessel Museum of Art — CCS Bard, New York (USA), au Musée d’art contemporain de Montréal (Canada), au centre d’art contemporain OPTICA, Montréal (Canada), à Dazibao, Montréal (Canada). Un essai dans la revue Prefix Photo sur les architectures improbables a été consacré à ses œuvres vidéographiques accompagnant une exposition au Prefix ICA – Institute of Contemporary Art, Toronto (Canada). Elle remporte en 2015 le Prix Victor-Martyn-Lynch-Staunton (arts médiatiques) du Conseil des arts du Canada. Originaire de Montréal, elle vit présentement à Sherbrooke. Ses projets sont régulièrement financés par les Conseils des arts et des lettres du Québec et du Canada.

In the video diptych Occupants the camera takes us into two neglected sites of a North American city; an hippodrome and an abandoned pavilion of the EXPO 67 (Montreal?s international fair, 1967). By waiting, listening and investigating, three individuals, placed in the frame of the camera, are the recipients of a background noise created by site-specific captures from the two spaces. These two vast and open places form the perimeter of a space of reflection and experimentation related to the rapid disappearance of cultural sites and the obsolescence of a place where people gathered. Is the cameraman filming a real race? Through a pile of magnetic tapes, the characters are looking for clues that would create links between the two sites and situate us in the time.

Myriam Yates?s photography and video based practice tends towards a documentary approach, exploring the tenuous relationship between public and private space as well as obsolete urban sites related to leisure and culture. She has recently completed a master`s degree in visual and media arts at University of Québec at Montréal. Interested in the many ways images are used in the public arena, she has also studied advertising and graphic design. Her work has been shown in individual and collective exhibitions in artists centres in Canada (Gallery44, La Centrale, Skol, Dare-Dare) and at the Montreal Contemporary Art Museum. Parallel to her practice she works as programming coordinator of StudioXX, a media art center in Montreal.

Myriam Yates, Racetrack Superstar Ghost, 2011, Film 16mm transféré sur fichier numérique et son, projeté en boucle. 7 min. 10 sec. (7 min. 37 avec générique). La projection filmique Racetrack Superstar Ghost propose un regard contemplatif qui met en parallèle deux structures événementielles, soit les estrades montées temporairement pour le méga concert rock de U2 et les bâtiments désaffectés des anciennes estrades de l`Hippodrome de Montréal. En l`espace de deux soirs ce site longtemps délaissé, mais récemment abandonné, devient illuminé de l`extérieur par un spectacle qui le réactualise. Ce projet s`inscrit dans un moment unique de la «fin de vie» de cette piste historique qui sera démolie incessamment où deux temporalités se déroulent dans un même site. Par des plans d`ensemble en film 16mm, le projet consiste à investiguer autour du contraste entre ces deux structures de rassemblements populaires. Des lieux tels que l`hippodrome, qui ont rassemblé des milliers de gens à une époque révolue, nous montrent une réalité en marge de la nôtre. Présents dans l`urbanité, en état d`attente, ils deviennent des espaces parallèles propices à la projection d`une certaine narrativité. Cette recherche s`inscrit dans une pensée hétérotopique où plusieurs lieux, plusieurs temporalités se côtoient sur un même site. En ce sens, l`événement du concert de U2 à l`hippodrome est un paroxysme. Présenté sous forme d`installation en primeur dans le cadre de l`exposition collective la Triennale québécoise : Le travail qui nous attend du Musée d`art contemporain de Montréal du 6 octobre 2011 au 3 janvier 2012. Présenté ensuite à CCS Bard Hessel Museum (Annandale-on-Hudson, New-York), Spring exhibitions and projects, du 18 mars au 15 avril 2012, commissaire : Janine Armin Programmé à la 25e édition d`Images Festival (Toronto), du 12 au 21 avril. À venir : Centre Canadien d?Architecture (Montréal, automne 2012). Kasseler DokFest, (Kassel, Allemagne, novembre 2012). Remerciements : Conseil des arts du Canada, Conseil des arts et des lettres du Québec, Kodak Canada et le centre d`arts médiatiques Prim. Crédits : Réalisation et montage : Myriam Yates; Direction photo : Etienne Boilard; Assistants caméra : Ina Lopez, Nicolas René; Prise de son et mixage : Alexis Bellavance.

REHEARSAL vidéo monobande HD, 10 min. (2013). La vidéo Rehearsal nous transporte dans un studio d`entraînement situé au siège social du Cirque du Soleil à Montréal (Québec, Canada). Une équipe composée de six gymnastes d`élite de l?Europe de l?Est (russes et ukrainien) s`entraînent à adapter leur savoir-faire pour une performance de Grand volant dans l`éventualité d`intégrer un spectacle. Je propose ici un regard qui délaisse les costumes et le spectaculaire de la scène pour mettre l`accent sur la concentration des athlètes, leur état psychologique et leur effort physique, éléments qui sont camouflés lors de leur performance scénique. Je tente de créer un dialogue formel entre la structure des studios d?entraînement et les corps qui doivent effectuer des mouvements précis dans cet espace que je me plais à comparer à un vaisseau spatial.

Biographie: La pratique de l?artiste en arts visuels Myriam Yates, basée sur la photographie et la vidéo, explore la relation précaire entre l?espace public et l?espace privé, à l?image de celle existant entre l?architecture et celles et ceux qui l?habitent. Elle s?intéresse particulièrement aux lieux en phase de transition. Yates est titulaire d?un baccalauréat en arts plastiques et d?une maîtrise en arts visuels et médiatiques de l?Université du Québec à Montréal. Ses ?uvres ont été présentées lors d?événements tels que le Buenos Aires International Documentary Film Festival (2013), la Kasseler Dockfest (Kassel, Allemagne, 2012), lmages Festival (Toronto, 2012), Le Mois de la Photo à Montréal (2007), les Rencontres internationales Paris/Berlin/Madrid (2007, 2012, 2013). Son travail a fait l?objet d?expositions individuelles et collectives : au Hessel Museum of Arts du CCS Bard (N. Y., 2012), lors de la Triennale québécoise au Musée d?art contemporain de Montréal (2011), à Optica, centre d?art contemporain (Montréal, 2009). Elle a participé au programme de résidences du Banff Center et à ses conférences du New Media Institute (Alberta, 2004-05). Au printemps 2014 Prefix photo magazine lui consacrera un essai/portefolio, et le Prefix Institute of Contemporary Art (Toronto) une exposition en 2015.

Isolated in Central Newfoundland (Canada), Gander Airport had played a vital role from 1940s as a refueling stop for transatlantic flights. During the Cold War, Gander was one of the few refueling points where airplanes could stop en route from Eastern Europe or the Soviet Union to Cuba. Intended to present a progressive image of Canada, the historical international lounge was built in the late fifties with furniture by influential designers of the time. With the advent of jets with longer range in the 1960s most flights no longer needed to refuel. Gander has decreased in importance. The imposing lounge of the international zone today stands still, only occupied by US air force and private jets. Gander Islands (diptych) focuses on the smokers` room adjacent to the lounge. During the filming, deposited on the floor, a barely started drink with an Arabic writing on the bottle label - recalling the use of the place by American soldiers in transit from a mission. Punctuated by stickers of various tactical forces placed here and there in the terminal, this discrete presence hovers the lounge. The two images that run in synchronicity are close to a drift, a reverie of a hypothetical occupant.

Myriam Yates has developed a practice based essentially on the image (videographic, cinematic and photographic). Her work takes the form of large projections, installations and photographic series. She explores the connection between sites and their representation, often basing her projects on modern sites or sites in transition whose singular status interrogates the connections between the individual, modernity and architecture.