Catalogue > Search

Waving hello to the filming cameraperson, the subjects through this very gesture, are also providing a future viewer with the acknowledgment of a constant good-bye to a fleeting moment. Yet when the film is projected and the captured gesture is seen, it’s as if the subjects are saying hello again from the past. This film is an homage to the artist’s father, the man behind the camera in these personal family archives.

The filmmaker Louise Bourque recently moved back to Montréal after spending 30 years in the United States and elsewhere. Her films have been screened in more than forty-five countries and broadcast on PBS and the Sundance Channel in the US as well as on Télé-Québec in Canada and SBS in Australia. Her work has been presented by major galleries and museums worldwide, including the Musée de la Civilisation and the Musée national des beaux-arts du Québec in Québec city, the National Gallery of Art in Washington, D.C., the Museum of Modern Art and the Whitney Museum of American Art in NYC.

A seemingly disembodied voice reflects on what it takes to survive, in a world modeled after a perception of reality far from what the one it experiences on a daily basis.

Nelson Bourrec Carter is a French-American filmmaker and visual artist. His practice combines photography, film, installation and performance while his research revolve around the links woven between real territories and fantasized landscapes, whether they be urban, peri-urban, or rural, influenced by the weight of popular imagery. His work focuses mainly on the influence of American iconography on identity construction and racial awareness, and operates from places whose hybridity, history or architecture lend themselves to a new interpretation. He demonstrates that these visual tropes are more interconnected than they appear and that they articulate questions of gender, race, and class, while raising the issue of which bodies - whether they are embodied or inscribed in a ghostlike manner within the architecture - occupy the spaces of representation in the American cultural economy. Nelson’s films have been shown in festivals such as New Directors/New Films, Entrevues Belfort, Vila do Conde or within institutions like the Cinémathèque Française or the Jeu de Paume.

Dawn spreads its luminous rays across the coast of Iceland, revealing a sorcerer standing between wine-dark sea and mountainous black rock. It is Tempestarii, a figure of medieval lore, undertaking a primitive rite manifested to conjure a storm. The tides of the deep ocean breathe heavily, rising and falling across the cinema screen with amplifying power as the weather-maker beats a mysterious sack against the monolithic cliffs with powerful repetition. As a magical tool, this sack contains forceful winds pulled from each corner of world. As an analogy, it is aligned with the revolutionary transformations of nature by water, air, solar radiation, and geological shifts and filled with the vast potential of man’s will in alliance with Nature. As an omen, the tempestarii signals profound change in both physical and metaphysical realms. (Amelia Ishmael)

Gast Bouschet & Nadine Hilbert were both born in Luxembourg and are currently based in Brussels, Belgium. They have worked together since 1990s, using a combination of photography, video, and sound to create potent social, political, and institutional critiques which they have exhibited at major international venues including The Wall Taipei, Taiwan; Cube Space Taipei, Taiwan; Philharmonie, Luxembourg; Muzeum Sztuki Lodz, Poland; Casino Forum d`Art Contemporain, Luxembourg; Trienal de Luanda, Angola; Busan Biennale of Contemporary Art, South-Korea; Camouflage Johannesburg, South Africa; MUHKA Antwerp Belgium, CCA Glasgow, Scotland among others. Gast Bouschet & Nadine Hilbert represented Luxembourg at the Venice Biennale in 2009.

"Zone of Initial Dilution" interests itself in the urban transformation of the Three Ravines region, China, disrupted by the implementation of the world`s largest hydraulic dam. This initial zone of dilution - term borrowed from engineers to define the perimeter of a body of water polluted by waste which will progressively dilute into the general current - illustrates the generalised situation in the region, with the gradual erasure of lifestyles and local practices. Before the end of construction, foreseen in 2008, the video lays out the state of the spaces, cities and banks of the Yangtze River, of those in ruin or those which have disappeared. The video also attempts to define the consequences on the landscape and the affected populations, within a planned perspective of the ultimate rising of the waters

Firedive is a short documentary about La Vallette Bathing Pools on the east coast of the Island of Guernsey. The film describes the Island`s collective memory of the tidal pools, focusing on the floodlit swimming galas and `firedives` that once made the pools a central part of the local community. Bowditch?s mother relayed the almost mythical personal tales of her childhood, which inspired the film. Contributors include locals who all have their own complimentary and contrasting tales adding to the visual portrait presented of the pools. The narrators talk about the decline in usage of the pools before going on to describe the ritualistic ceremony of the torch light processions and ?firedives? that once took place. The film is not a recreation of events but rather documents Bowditch?s own experience and involvement in adding to the collective memory of the location. By staging a floodlit torchlight procession based on the tales and accounts of the inhabitants he adds to the islands history and represents it for a new generation. Production dialogue, filming equipment and crew are therefore included in the edit, showing it was an exploration based on intertwined memories rather than a factual straight re-enactment.

Tim Bowditch (b.1986 Guernsey, Channel Islands) graduated from the University of Portsmouth in 2008 with a BA Hons Degree is Photography. Bowditch moved from his childhood home of Guernsey to begin a career as a photographer in London in the Autmn of 2008. He has kept his ties with Guernsey by annually applying and receiving funding to make new work incorporating the Island in someway. The last two years have been spent working on a project entitled Firedive (submitted as a multimedia piece). Firedive saw Bowditch follow the current trend of the digital SLR film makers to shoot a short documentary about the about La Vallette Bathing Pools on the east coast of the Island. The film describes the Island`s collective memory of the pools, focusing on the floodlit swimming galas and `firedives` that once made the pools a central part of the local community. This year the film was premiered at a special open air screening at the pools accompanied by a swimming gala and torch light procession. Three Artists were invited to the Island to make work in response to the screening and gala. The third phase of the project is a proposed exhibition at the greenhouse gallery in Guernsey next Spring. I will curate an exhibition from the work made at the screening.

Supercharger-blown collective offers ‘Easy Asylum Booth ‘Bundu Edition’’, a satirical and situation specific, modular presentation which interrogates European asylum policies, (and attitudes to immigration as a whole) by inverting hegemonic narratives. The collective uses provocative spectacle as a vehicle to facilitate social engagement, partying, shisha smoking, music and political dialogue. Easy Asylum Booth ‘Bundu Edition’ is another chapter in the shifting, magical-real vision derived from the fictitious nation of Botrovia. The booth is a ‘pop up embassy’ offering instant refugee status to anyone seeking asylum in Botrovia. Applicants just need to demonstrate their loyalty by offering 7 x 7cm of their skin for a tattoo specially chosen for them by Skin of our Skin (SooS®), the Botrovian Ministry of Immigration and executed by a flying robotic tattoo gun. Benefits to refugee status include a direct telephone connection with the Botrovian Leader (‘Our Leader is Available’); Training in ‘DASHT (Drone Asylum Seeker Herding Techniques)’ with a fully featured computer game; a lifetime subscription to ‘Botrovian Seeker (Your Guide to Asylum Success)’ plus access to numerous helpful and supportive infographics, interviews and seminars. The project and multicultural collective are formally partnered with Oasis Cardiff, an asylum seeker and refugee charity.

Supercharger-blown collective is a group of artists, scientists and thinkers from a range of cultural backgrounds. Formed and led by the artist Ric Bower their knowingly complex, multi-disciplinary practice often assumes the appearance of an elaborate practical joke and usually explores issues relating to European asylum policy through magical-real narratives. Supercharger-blown collective’s influences include the magical-realism of Murakami and Bulgakov: the satirical illustrator Heath Robinson and the 19th century history painter Thomas Cole. Bower says of Supercharger-blown collective’s approach: ‘...we do not want to make work that sits quietly, meekly waiting to be observed. We mean to make madness that follows you out of the gallery space, slithers into the back seat behind you and shanks you as you drive home.’

United States Vice President Dick Cheney finally tells the truth.

San Francisco native Bryan Boyce is a film and video artist whose work has been shown around the world, including such venues as the Sundance, NY Underground, Cinematexas, RESfest, MTV and the Pacific Film Archive.

My Prisoner is a video work that reconstructs the event that occurred on 3 April 1994 in war-torn Bosnia by intermixing archival footage with contemporary reimagining of the occasion. It shows a young man being escorted by an army intelligence officer to visit his imprisoned father. As the men travel side-by-side in the back seat of a car Shine on You Crazy Diamond by Pink Floyd begins to play on the car radio. The young man acknowledges the music and tries to make conversation but the officer does not even recognize the track. A composite of autobiography, documentary and fiction, My Prisoner navigates through the space where the historical, the personal and the fictional simultaneously interfere with and enhance one another.

Velibor Božović grew up in Sarajevo, Bosnia-Herzegovina. When he was in his twenties, the country of his youth became a war zone and he spent the duration of the siege of Sarajevo honing his survival skills. In 1999, Velibor moved to Montréal where he worked, for eight years, as an engineer in aerospace industry until he gave up his engineering career to devote his time fully to art practice. Subsequently, Velibor completed a Master of Fine Arts degree in Studio Arts at Concordia University. He is the recipient of the Claudine and Stephen Bronfman Fellowship in Contemporary Art (2015), Concordia International Mobility Award (2014), the Bourse de Maîtrise en Recherche from FRQSC - Fonds de recherche sur la société et la culture Quebec (2012) and Roloff Beny Foundation Fellowship in Photography (2011). His work has been exhibited in the United States, Cuba, Canada, and Bosnia-Herzegovina. His images appeared in The New York Times, The Paris Review, Descant, International Herald Tribune, Chicago Tribune, Granta, BH Dani and others.

?It is not the literal past that rules us, it is images of the past...? George Steiner Hotel Balkan is meditative and ambiental video which defines borders between futuristic memory of past and present thinking of future. I?ve been wondering about something: Why is it that images from the past - the actual past - often feel more futuristic than our current images of an imagined future? But if the future doesn?t look much like the future, the past often does. There are pictures from the past that, while you immediately recognize them as being from the past, nevertheless feel futuristic. It?s as though there?s something in your brain that wants to read them as images from the future. In this concept there is an idea that Tito?s nuclear bunker is equivavelnt for some kind of motel, or maybe even a hotel. Nowadays, Tito?s nuclear bunker wants sunshine instead of fluorescent lights, the sound of wind blowing through trees instead of the dull noise of its massive air-conditioning unit. It looks forward to the chatter of people and the sound of their footsteps instead of the noise produced by the closing of its steel antinuclear doors.

Born 1981 in Sarajevo, former Yugoslavia. Lives & work in Trebinje, Bosnia & Herzegovina. He is mainly working within the fields of film, video, concept, installation & photography. Also works as a video curator & freelance theoretician. Curently works as a asistant professor at Academy of Visual Arts in Trebinje. Education 2005 Academy of Visual Arts (BA) in Trebinje, Department of Painting 2006 Founder and the curator of the international namaTREba project biennial 2008 Interdisciplinary master (MA) studies at the University of Arts in Belgrade, Theory of Art & Media Department 2011 Interdisciplinary (PhD) studies at the University of Arts in Belgrade / Theory of Art & Media Department His works shows and exhibited at Kunsthal Charlottenborg, Copenhagen, Moscow Museum of Modern Art, Moscow, Atopia Film & VideoKunst Gallery, Oslo, CAM Casoria, Contemporary Art Museum, Naples, Kunst Museum, Bonn, Galleria d? Arte Moderna Palazzo Forti, Verona, Museum of Contemporary Art RS, Banja Luka, Point Ephemere, Paris, Contemporary Music Centre, Dublin, Espacio Center Canarias, Tenerife, Fabbrica del Vapore, Milan, Center of Contemporary Art, Plovdiv, Budapest Art Fair Mucsarnok, Budapest, Spazio Monitor, Museum of Contemporary Art, Rome, Tapetenwerk Halle C, Leipzig, A+A Galerie, Art Verona, Venice, Gallery Remont, Belgrade... more info: www.igorbosnjak.com

Memory Gate shows desolated Herzegovinian landscape with a forgotten monument dedicated to pilots of Yugoslav National Army during the Second World War. Critical deserted landscape followed by weird sound and music called ganga* which is typical for that region of the south part of Bosnia and Herzegovina. This video confronts utopian modernistic Yugoslavian architecture with a traditional sound and landscape, creating a very disturbing and eerie cinematic experience. *Ganga - stands for old traditional folk music and singing which is usually played by a group of old men.

Igor Bošnjak (b. 1981 in Sarajevo, Yugoslavia) lives and works in Trebinje (Bosnia & Herzegovina). As an interdisciplinary artist, he works on visual, cinematical, geographical and documentary research addressing archives, maps, migrations, monuments, history and image-time relations as key refference in the experience of contemporary society. He is mainly working within the media fields of contemporary art: moving images, video, 3d animation, installation, objects, drawing & photography. In 2005 he finished Academy of Visual Arts (BA) in Trebinje, Department of Painting. From 2007 to 2008 he finished (MA) Interdisciplinary studies, Theory of Art & Media Department at the University of Arts in Belgrade, Serbia. From 2006 to 2016 he was founder and curator of namaTRE.ba project biennial. From 2009 works as a professor at Academy of Visual Arts in Trebinje, University of East Sarajevo on courses of Intermedia art, Video art, Digital art. From 2019 to 2021 he was working as visiting lecturer on Faculty of Fine Arts, Cetinje, University of Montenegro.

An attempt on aesthetic-technological-ideological objectivity in non-objective reality. How can we see today, the monuments of the NOB (National Liberation War), what they represent to us in the context of the new division of fashion as well as changes in paradigm and ideology in the former Yugoslavia. Is a new reading possible without a nostalgic undertone? How to think about architectural and concrete structures in the 2000s? What is the relationship between monument and human, what is the relationship between monument and unbridled nature. What is the relationship between monuments and contemporary technology and contemporary art today? How much contemporary and how much tech addiction? How to reinterpret the artifacts of the anti-fascist struggle, but so that the monument of the NOB remains at the denotative level of meaning of the monument, that new meanings do not endanger the given basic meaning, the one that is. Creating narratives as a new reading and a new "seeing" and seeing of monuments and creating new visual realities.

Igor Bošnjak (b. 1981 in Sarajevo, Yugoslavia) lives and works in Trebinje (Bosnia & Herzegovina). He is mainly working within the fields of contemporary art: moving images, video, installation, objects, drawing & photography. From 2009 works as a professor at Academy of Visual Arts in Trebinje, University of East Sarajevo on courses Intermedia art, Video art, Digital art. From 2019 works as visiting lecturer on Faculty of Fine Arts, Cetinje, University of Montenegro.

starting from the continuous filming of a clock`s display for two minutes, the video was processed in a realtime-programming-environment for video . the individual frames were then printed on paper and subsequently redrawn frame by frame in charcoal and oil paint. scanned back, the frames were animated as the final video. This video was commissioned for the "Essays on Radio: Can I have 2 minutes of your time?" compilation produced by the media label Crónica (www.cronicaelectronica.org) that proposed all the audio and visual artists to reflect upon the technology and culture of radio in the early 21st century media-scape. The goal of this video was then to explore the idea of time in the crossing of analogue and digital techniques: starting from 2 minutes, reducing the video to 6 single images and then expanding it once again to 2 minutes, restoring the loss of quality introduced by the digital/mechanical manipulation trough the use of diverse analogue/manual recreations of each discrete frame. In the end, the symbolic representation of time is no longer readable but time and the mechanisms for representing and capturing it are felt all along the piece.

Born 1972, lives and works in Vienna, Austria Studies of theatre-and media criticism, artist, photographer, vj, dj, currently teaching videoediting at a private multimedia-school in Vienna. Curated "Cinemasonic-Lounge", a threemonths experimental video festival in Vienna, in 1999. Changed her focus from analogue photography and film towards digital video. In her work she reorganizes geometric and anatomic dominated image collections in a recursive compositing process, using a set of video applications and developing environments. With her videos she tries to generate emotive sequences from reassembling stills (photographic images, grafics, sketches etc.) into animated trajectories beyond their original context.

Soft voices and soothing sounds will take the audience on a sensory audiovisual journey through a dystopian near future. The resulting work is based on the collaborative composition and exploration of intimate fears and tribulations related to current climate change narratives, and represented through the implementation of the experimental ASMR methods presented at the “ASMR for earthly survival” workshop held by the artists. “ASMR for Earthly Survival” explores the potential of ASMR (Autonomous Sensory Meridian Response) as a tool for the creation of intimate science fiction storytelling narratives.

S()fia Braga is an Italian transmedia artist who lives and works between Vienna and Linz, conducting artistic research that combines digital and post-digital practices. Her work is focused on exploring new technologies to create speculative fabulations that delve into themes such as transhumanism, human and non-human collaboration and non-human agency. S()fia’s identity constantly changes and goes hand in hand with the narratives she creates: over the last years she has been an artist, a transhumanist entrepreneur, an AI auteur, a cyberstalker, and has mutated several times into a monstrous creature. Matthias Pitscher works as an artist, designer, meditation teacher, barista, researcher, entrepreneur and bad influencer. The artifacts he produces deal with the constant changes we face in our transition to a technologically connected society. Analytical yet humorous, he demonstrates how digital media transforms our perception of reality. Fabricio Lamoncha is an artist, designer and researcher from Spain, currently based in Austria. Since 2018 he is lecturer and PhD researcher at the Kunstuniversität Linz. Also member of the Art|Sci Center at UCLA (Los Angeles) and co-founder and organizer of the Leonardo Laser Talks Linz. His practices explore the entanglements of media ecology and bioethics.

Of Stains, Scrap & Tires is a calm, documentary miniature that chooses the auto export business of three young Nigerians in the Erzberg region as a point of association and departure for formulating something more fundamental about the first and third worlds, movement and standstill, business, space, and freedom.

Sebastian Brameshuber studied scenography at the Vienna University of Applied Arts and contemporary arts at Le Fresnoy - Studio National des Arts Contemporains in France. His earlier films are in the tradition of Austrian avant-garde cinema and examine the nature of the moving image. In his documentary works, he maintains a strong interest in form, while emphasising human relationships and sociopolitical issues. His work has been presented at major film and media art festivals such as the Berlinale, Viennale, FID Marseille, BAFICI, Karlovy Vary Film Festival, Sarajevo Film Festival, EMAF Osnabrueck, Impakt Utrecht, Media Art Friesland, etc. He currently lives and works in Vienna.

It's not clear what kind of relation Tom & Jerry have. Friends, enemies or a couple? Anyway, the video talks about the love, hate, sadness, and tenderness in their peculiar relationship.

Nicolas Branca Rosse was born in 1972 in Montevideo, Uruguay. He is a visual artist, photographer, video artist, and filmmaker. Among his most recent works are found: 2002-03, "OVNI", fiction; 2004, "Panamericano", experimental loop exhibited at Centro Cultural de España, Montevideo; 2005, "Victima", experimental exhibited at Bar Tasende, Entrepiso Artístico; "Las Nuevas Aventuras de Tom y Jerry", experimental exhibited at Festival de Cine y Video Latino de Buenos Aires 2005, received First Place in the experimental category; 2006, Exhibition - Zemos98 Festival Acción Paralela; "El Teórico" video installation loop; Exhibition - Centro Cultural Ex Teresa. México DF, Mexico.

CAUSALITY AND MEANING consists of a fast clocked sequence of a total of 635 image files, which – isolated against a white background – show logos, symbols, graphics, internet memes, illustrations and product images. In terms of content, questions arise on topics such as transhumanism, right-wing internet and meme culture, white supremacy, anti-feminism and men’s rights movement, macho culture and chauvinism, unbroken masculinity stereotypes, neoliberal consumption and violence-oriented entertainment culture. On the auditory level, a composition by the trombonist and experimental musician Matthias Muche, who lives in Cologne, can be heard, accompanied by spoken words by the British composer Anthony Moore. The sounds made with the trombone in connection with the distorted-sounding and not always understandable male voice of Moore seem to comment on the picture sequence or even to illustrate the content, sometimes they work against it in their own way and assert themselves as an autonomous part of the work.

Martin Brand was born in Bochum, Germany in 1975, and studied Art and German philology in Bochum and Dortmund until 2002. He lives and works in Cologne. In his artistic work, he deals with social and political issues, which he explores with filmic and photographic means. The starting point for him are often phenomena, that he finds disturbing, irritating and unsettling, but at the same time also attracts and fascinates him. Starting from the surface, he tries to reveal connections and structures, to look behind the façade, and ultimately to confront the viewer with a counterpart, challenging him to a critical confrontation. Topics such as youth and subculture, the search for identity, violence, gender stereotypes, orientation on role models, influence by mass media and advertising, group hierarchies and mechanisms are central to his work. His works have been shown at numerous exhibitions and festivals and are part of various art collections such as the Goetz Collection in Munich, the Museum Ostwall in Dortmund or the Hessisches Landesmuseum Darmstadt. He received project grants and scholarships and was awarded for his work several times.

Energy cannot be destroyed - it can only be transformed. The legacy of enslavement strips the fullness of life from those caught in its suffocating nightmare. In moving and static images, Director Charlotte Brathwaite in collaboration with Photographer Malick Welli imagine the dreams and nightmares of forcibly enslaved Muslim scholar Omar ibn Said. In shifting projections and large form photographs – the work unfolds as a cinematic ghost song that connects Said’s stolen spirit back to the living presence of his ancestors across the oceans, across time and space. FORGOTTEN PARADISE transforms the darkness of captivity into the light of knowing freedom, and loving family.

Creator/Director CHARLOTTE BRATHWAITE is the recipient of a Doris Duke Award, Art Matters Award, Creative Capital Award, Pew Center for Arts & Heritage Fellowship Grant, a United States Artist Fellowship, multiple Map Fund Awards and the Princess Grace George C. Wolfe Award amongst others. Brathwaite’s genre-defying work illuminates the realities and dreams of marginalized people; people whose stories have been silenced, disappeared, and ignored. Dealing with subject matter from the historical past to the distant future, her work brings to light issues of social justice, race, power, and the complexities of the human condition. A director of classical texts, multimedia, site-specific works, dance performances, operas, concerts, film, and installations - her trans-disciplinary inquiry manifests in spectacles of color and music. Her works – presented across the globe from North and South America, Europe, Africa, Asia and Australia – live in the deep time of aural/oral history and create an immersive experience for audience and performer alike which offers new perspectives in both form and content. MFA from Yale School of Drama and BA Amsterdam School for the Arts (the Netherlands). As an educator, she has taught and mentored at several institutions including the University of Fortaleza (Brazil), Barbados Community College (the Caribbean), Massachusetts Institute of Technology, Amherst College, New York University, Stanford University amongst others. www.charlottebrathwaite.com ________________ Malick Welli is a Senegalese visual artist who lives and works in Dakar, Senegal. His work addresses themes of duality, spirituality, history and the restitution of memory, pedagogy and displaced identity. Welli is interested in the convergence of religion and material influences, economics and power dynamics, and how these elements shape visual culture. There's a quest for ecology and interdependence, and how seemingly independent events coincide and influence each other. Welli contrasts these material concerns of the community with individual spiritual needs. Welli's work has been collected and exhibited worldwide: "In Brilliant Light" at the Afrika Museum in Berg en Dal and MuseumVolkenkunde in Leiden, Netherlands (2023-2024); "Insistent Presence: Contemporary African Art from the Chazen Collection" at the Chazen Museum of Art, Wisconsin, USA (2023); 1.54 Contemporary Art Fair, New York, USA (2023); "Sur le fil... " at 19M in Paris (2023) ; 1-54 African Contemporary Art Fair , Marrakech, Morocco (2023) ; Art x Lagos, Nigeria (2022), "Lightness of Being" a solo exhibition at Galerie Atiss Dakar (2022) ; "Les Invincibles" at the Biennale de Dakar (2022) ; Blackstar Film Festival, Philadelphia, USA (2022); 1- 54 Contemporary African Art Fair, New York (2021); EXPO CHGO, Chicago, USA (2019); Cairo Biennale, Egypt (2019); "Saint-Louis to St Louis", Barret Barrera projects, Missouri, USA (2019); AKAA: Also Known As Africa fair, Paris, France (2018); "Pour les Noirs et pour les Blancs , Hierro Desvilles Gallery, Lille, France" (2016).