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Endymion est un space opera intime et synthétique. On y rencontre, modélisés en 3D, Mamilou (ma grand-mère), Salvadam Dalire, un toréador à jambes d’asperges auquel un croissant tient lieu de cache-sexe (c’est mon père qui lui prête sa voix), plus un cochon qui se sent devenir « ?de plus en plus bête ?» (que j'interprète). Propulsés dans une sorte de Volvo P1800 interstellaire, ces trois-là devisent de questions métaphysiques et terre-à-terre, se renvoyant la balle avec un léger décalage. Assez vite, on comprend que cette conversation est un montage de propos enregistrés dans des cadres différents. Si le résultat paraît comique et absurde par ses inadéquations, il fonctionne aussi comme machine divinatoire : chaque phrase est comme une voie à explorer selon les préoccupations personnelles de la spectatrice ou du spectateur.

Bertrand Dezoteux (né en 1982) réalise des films d’animation où différentes histoires et généalogies technologiques se juxtaposent et s’entrechoquent, dans des paysages très variés : de territoires ruraux du Pays Basque à de possibles exoplanètes, peuplées de créatures de synthèse, humaines, animales ou hybrides. Son travail a été régulièrement présenté en France au Palais de Tokyo, Centre Pompidou et Fonds Régionaux d’art contemporain. À l’international, Bertrand Dezoteux a participé à Frieze Projects (Londres), Transmediale (Berlin), Artissima XYZ (Turin). En 2015, il est lauréat du prix Audi talents pour le projet En attendant Mars, mené en collaboration avec le Centre National d’Études Spatiales. En 2021, il est le commissaire invité de l’exposition inaugurale de la Fondation Pernod Ricard, pour laquelle il réunit 13 artistes de différentes générations et horizons. En 2022, il investit la HAB Galerie à Nantes avec l’exposition personnelle Mémoires d’un touriste, une vision acide des relations entre art et industrie des loisirs.

In everyday life, Clémence is a philosophy researcher. But during the medieval fantasy role-playing game The Legends of Hyborée, she plays the character of the chronicler Nuria Delorme, who has come from the distant lands of Aquilonia. Armed with a microphone, which becomes a talking stick during the game, she travels through the vastness of the lands of Hyborée to meet with hundreds of other characters who inhabit this imaginary world. She questions them about what they experience or feel, what they understand when the action is too fragmented to make sense individually. The chronicler will try to do this several times.

Arnaud Dezoteux (1987) lives and works in Paris. He graduated in 2011 from the Beaux-Arts de Paris and participated the following year in the exhibition Géographies Nomades with the video « G-COACH », which mixes improvisation and seduction coaching in a reality TV atmosphere. His projects, all have in common the use of the green inlay studio as a place for an atypical confrontation with actors. They have been shown at the Loop Art Fair in Barcelona, the Nuit Blanche Video in London, the Làzaro Galdiano Museum in Madrid, the Confort Moderne in Poitiers, the Lafayette Foundation and the Palais de Tokyo in Paris, the 221A gallery in Vancouver or the Forde gallery in Geneva. In 2016, he conceives a solo exhibition at the Edouard Manet Gallery in Gennevilliers entitled « A Fresh Breeze Over the Mountains« , dedicated to the actor Keanu Reeves. In 2017, he completes « Miroir de Haute-Valnia« , a saga on the border between documentary and Fantasy, shot in several art centers and presented for the first time at the Centre Pompidou. In 2019, he leaves for New Mexico and begins a project to re-interpret the life of Billy the Kid, if the latter was a teenager in the 21st century. Arnaud Dezoteux’s films were screened in 2019 at the Cinéma Spoutnik in Geneva, the Festival Côté Court, Ciné 104 in Pantin, Drive-In Theater, Tinflats in Los Angeles, the Forum des Images for the Nuit Blanche 2017 (in collaboration with Treize) and Hors-Pistes Production at the Centre Pompidou, as well as for the 25th anniversary of D.C.A. at the Palais de Tokyo in Paris. His latest solo exhibitions include : 2018, Braquage Therapy, Forde, Geneva / 2016, Sous le Soleil du Neubourg, Musée d’Art et d’Histoire d’Evreux, Evreux / 2016, L’oeil du Drone, Lycée Gilbert Martin, Le Neubourg / 2016, Brise fraîche au-dessus des montagnes, Galerie Edouard Manet, Gennevilliers / 2015, Vers le sous-bois des Aurores, Les Bains Douches, Alençon, Paris / 2013, Loop Art Fair, Hotel Las Ramblas, Barcelona / 2012, LA TACTILIA , Galerie Bendana-Pinel, Paris.

Ce projet a pour origine le célèbre ballet Parade (1917), dont les costumes et décors avaient été créés par Picasso, sur un texte de Cocteau, musique de Satie, et chorégraphie de Massine. En 1980, ce monument de l’avant-garde européenne est adapté à la télévision par Jean-Christophe Averty, réalisateur héritier du surréalisme, et pionnier de la technique d’incrustation (chroma key) en France. Picasso Land tente de perpétuer cet esprit d’avant garde en proposant un troisième opus, en 3D. Décors et personnages ont été modélisés à partir de peintures et sculptures de Picasso, formant un petit peuple hétéroclite et dansant. Pour mettre en action ces corps singuliers, leur donner vie, une chorégraphie a été créée en collaboration avec le danseur Yaïr Barelli. Il a développé un vocabulaire de gestes, de pas et d’attitudes qui furent numérisés puis injectés dans les personnages. Cette relecture de l’oeuvre de Picasso dévoile un “ Pays “, qui se construirait d’oeuvre en oeuvre, qui aurait ses propres moeurs, sa culture, son territoire.

Bertrand Dezoteux. Né en 1982, formé au Fresnoy Studio national des arts contemporains, il développe sa pratique autour de nouvelles formes audiovisuelles. À la frontière du documentaire, de la fiction et de la science-fiction, ses films s’inspirent des logiciels de modélisation 3D, pour créer des objets visuels hybrides. Il réalise ainsi “ Le Corso ” en 2008, “ L`Histoire de France en 3D ” en 2012, “ Animal Glisse ” en 2015, “ Picasso Land ” en 2016 ou encore "Super-règne" en 2017. Présenté en France et à l’étranger, le travail de B. Dezoteux interroge notre rapport aux autres, au travail ou au quotidien, notre imaginaire du futur et notre désir d’ailleurs. En 2015, il est lauréat du prix Audi talents awards pour le projet “ En attendant Mars ”, mené en collaboration avec l`Observatoire de l`espace du CNES (Centre national d`études spatiales). En 2017, l’artiste a été exposé au Palais de Tokyo (Paris) et à la Station (Nice), ses films ont été montrés au New York Film Festival et au Toronto International Film Festival. En mars 2018, il est programmé au théâtre des Amandiers (Nanterre) ; en avril, la galerie Édouard Manet (Gennevilliers) lui consacre une exposition personnelle.

Roubaix 3000 est un film de famille d?anticipation politique. Je suis descendu dans le Sud avec un magnétophone pour enregistrer mes proches. J?ai récolté là-bas beaucoup de voix et dès mon retour dans le Nord, je les ai entendues des heures durant. J?ai tenté d?adopter une écoute flottante, et de sélectionner les éléments paraboliques, ceux qui semblaient au premier abord anodins, mais qui au final dessinaient une géopolitique familiale. Il apparaît alors une structure où les générations cohabitent et évoluent avec leurs préoccupations et leurs langages singuliers. Le montage fut mon outil d?écriture. J?élaborai un scénario par l?agencement des paroles, l?assemblage des phonèmes, le chevauchement des interjections. Il m?importe que les voix ne soient pas jouées, qu?elles soient spontanées, rythmées, que les dialogues ne soient pas écrits pour être interprétés. Il y a deux forces qui luttent dans ce système de conception : les voix d?un côté sont souveraines et indomptables, obéissant aux lois de leurs propriétaires. De l?autre côté, les acteurs, tous Roubaisiens et amateurs, tentent par le play-back de jouer leur partition, de donner corps à ces paroles qui ne sont pas les leurs. Ces deux expressions se rassemblent lors du tournage, à Roubaix, où l?architecture est riche en collages, en assemblages, en greffes, en citations antiques.

Né le 22 février 1982 à Bayonne (64), Bertrand Dezoteux est un jeune artiste basque qui n?a cessé dès lors de s?éloigner de sa terre natale. Il s?exile à Angoulême pour étudier la narration graphique entre 2001 et 2003, puis migre en 2004 à Pusan, en Corée du Sud, où il apprend les exigences et la rigueur de la peinture Coréenne. Enfin, il achève sa scolarité à Strasbourg pour passer son DNSEP en juin 2006. En ce moment étudiant au Fresnoy, il vit et travaille à Roubaix, où il a réalisé le projet « Roubaix 3000 » (www.roubaix3000.com).

Sous le ciel des fétiches répond à la difficulté de montrer l’ubiquité des archives coloniales dans l’histoire du séga mauricien. Née pendant la colonisation et l’esclavage au sein de communautés de fugitif.ves, cette pratique de danse et de poésie chantée survit aujourd’hui principalement sur les scènes touristiques des hôtels. Travaillant la relation d’emprise avec le passé colonial, le film réinvestit les spectres d’un regard qui hante. Comment projeter – littéralement faire sortir de soi – le récit de nos agresseurs ?

Caroline Déodat est artiste et chercheure. Docteure en anthropologie de l'EHESS, elle a été formée à l'École des Beaux-Arts de Lyon dans le cadre du post-diplôme Art. Par le biais de films et d'installations, elle explore les dimensions spectrales de l'image en mouvement dans une circulation entre fiction et ethnographie. De ses obsessions pour les processus d'archivage et d'aliénation, l'histoire et les mythes de la violence, elle exhume des récits par la convocation de mémoires hantologiques, d'archives en différé et d'images orales. Son travail a été montré au Musée Reina Sofía à Madrid, dans les Résonances de la Biennale d'art contemporain de Lyon, à la Fondation Sandretto Re Rebaudengo à Turin, et prochainement au Salon de Montrouge, au Ji.hlava International Documentary Film Festival à Prague, au Magasin à Grenoble et à l'IFAN à Dakar.

In "Klang zur Stille zum Klang" ? a composite storytelling video installation ? are superimposed the meeting of the she-Krampus (a legendary character from the Austrian Alps), the new inhabitants of the mountains, and the tribulations of Tchumuki, a rebel employee of the silence factory...

Choreographer, dancer, and writer, Ines Birkhan, and stage and video director, musician, and art critic Bertram Dhellemmes, have collaborated on several projects since 2002 and are currently co-directing the Berlin-based performance company Real Dance Super Sentai. Being both multimedia artists, their collaboration has led them to the field of multimedia, with a predilection for the exploration of alternative narrative, on stage or in videos. Amongst their recent works are: "den kreisrunden Todengwalzer tanzen", which so far consists of three forms of an on-going project; a video installation, a dance performance, and a book by Ines Bikhan - released in Peter Lang Verlag, March 2007.

Authentic News of Invisible Things explores mechanisms of pretence and make-believe by focusing on military camouflage. Camouflage was first used at the end of the nineteenth century to help prevent armies from being detected by enemy forces. Colours and materials are used to conceal uniforms, vehicles and equipment and make them look like something else. Camouflage also extends to the construction of mock military equipment to confuse and deceive the enemy, generating a situation of alert. Examples of this include dummy tanks constructed using wooden structures or panels of chipboard, and then painted or decorated. Used already in the Second World War and to a lesser extent in WWI, these are still widespread: in the 1990s fibreglass models produced by an Italian company were successfully deployed in the Gulf War. Iveco Defence Vehicle (Iveco DV), part of the Fiat Group, headquartered in Bolzano, makes vehicles for military and civil defence purposes. The company receives orders directly from the Ministry of Defence to produce these vehicles and the production process and all related information is therefore covered by the Official Secrets Act. However once these vehicles are decommissioned they are no longer regarded as classified and can be used by the film industry, for marketing, entertainment and by private individuals. Indeed there are numerous collectors and theme parks in possession of working vehicles, also from foreign armies, that can be hired or tried out to get a taste of military life. It is therefore easy for the film industry to get hold of functioning, but unarmed vehicles, for use in battle scenes. The situation is therefore paradoxically subverted: real tanks enter the world of make-believe, while mock-ups are deployed in real-life conflict situations. Authentic News of Invisible Things sits on the dividing line between fact and fiction, with documentary-style scenes and a theatrical re-enactment. With the support of historic photographs and film footage from public and private collections, the video becomes a sort of short journey through the paradoxes of both history and contemporary life. One of the two key scenes of the video, which mingles performance art and cinema, has been shot in the historic city centre of Bolzano. A real-life, working tank drives through the city centre in broad daylight, with no prior warning to stage a paradox. Various cameramen hidden among the public filmed the action and people`s reactions. The other scene is a recreation of an archive photograph of a group of French civilians gathered around a wooden dummy tank made by the Germans and abandoned in Lille, the 20th of October 1918.

Rä di Martino (Rome, 1975) studied in London where she’s graduated with an MFA at the Slade School of Art and after spending a few years in New York she moved back to Italy. Her practice explores the passage of time, as well as the discrepancies that differentiate epic narratives from lived experiences. Her films have been shown at the Venice film Festival, Locarno film festival and Torino International Film Festivals amongst other and in Istitutions and museums such as: Moma-PS1, NY; Tate Modern, London; MCA Chicago; Museion, Bozen; Palazzo Grassi, Venice; Artists Space, New York. In 2014/15 she has participated to the Venice Film festival 2014, winning the SIAE award and Gillo Pontecorvo award, and a Nastro d’argento for best docufilm.

Two actors create a sort of tableau-vivant; a frozen moment from what seems a movie from the 50`s. Suddenly they start singing the news (all from August 2008 headlines) in a minimalistic chorus.

Rä di Martino was born in Rome in 1975; she lived in London since 1997 where she?s graduated with an MFA at the Slade School of Art. In 2005 she moved to New York. Her work focuses on film and video work and has participated to many international film festivals. Since 2005, she has broadly exhibited her work. Her exhibition include : Media Art Festival Friesland 07; Dallas Video Festival 07; Unclassifiable @ Malmö Film Festival 07; Pesaro Film Festival 07; Trieste Film Festival 07; Kassel Documentary Film&Video Fest 08; Turin Gay&Lesbian Film Festival 08; Manifesta 7, 2008; Italics at Palazzo Grassi and the Quadriennale in Rome, Galleria Maze, Turin, PS1, NY; the Busan Biennale in Korea, the Turin Triennale T1, MACRO, Rome, Montevideo/Times; Based Arts, Amsterdam. Her films and videos have been shown in many festivals around the world including: KunstFilmBiennale, Cologne & Munich 09; Impakt Video Art Festival, Utrecht 09; EMAF, Osnabrueck European Video Art Festival, Germany 09. In 2009 she had a solo show at Monitor Gallery, Rome; CAV Foundation, Coimbra Portugal, and in Vilnius for Artscape, Vilnius Cultural Capital of Europe, Vartaj Gallery.

The video recalls a story and resembles something - a hazy memory or dream - from somewhere. The film appears to be part of a feature film, perhaps one that we have seen, but can`t quite remember the name. It can be read as found footage, a fake found footage.

Rä di Martino was born in Rome in 1975; she lived in London since 1997 where she?s graduated with an MFA at the Slade School of Art and a BA from Chelsea College of Art. In 2005 she moved to New York with a bursary at Columbia University and the Italian Cultural Institute. Her work focuses on film and video work and has participated to many International film festivals. This summer she?ll be participating to MANIFESTA7; AIM at the Bronx Museum; Italics at Palazzo Grassi. In February she opened a solo show at galleria maze in Turin and has participated to the exhibition Senso Unico at PS1 earlier in the year. She has also shown at the Busan Biennale in Korea, the Turin Triennale T1, MACRO, Rome, MONTEVIDEO/Times Based Arts, Amsterdam; Artists Space, NY; GAM Galleria d?Arte Moderna, Bologna; Locarno Film Festival; Viper Basel; Impakt Film&Video Festival; Kassel Video & Doc Festival; New York Underground Film Festival; Transmediale, Berlin. She was awarded a residency at Art Omi in 2006, Artists in The Market Place at bronx Museum 2007-8 and Fondazione Ratti in 2005.

A documentary on the recreational circles that appeared in the interwar period in a provincial town. The film observes what happens and everything that surrounds a group made up entirely of senior citizens who are absolutely determined to enjoy themselves. The settings evoke memories of a past that may have never actually existed, with common and recurring aesthetics in which wartime images frequently play a part, and locations steeped in visual images that are perhaps slightly stereotyped.

Alessio Di Zio is graduated from high school. He produced "Far Away", "Casimiro's Tales", "The Park", "The Pleasure", "Infantry Cavalry", "Swinging Horsese", "Roberto Pellegrinaggio", "2.15". A group of portraits of people, landscapes and circumstances from his birthpalce. His short films have screend in many film festivals and exhibitions including l'Arcipelago Film Festival, Venice Film Festival, Minneapolis Film Festival, Circuito Off, Monfilmfest, Premio Marzocco and CinemAvvenire, receiving several awards. Working with musical band Micro b, he made the videoclip "Euforica", which was the winner at the Sottodiciotto (under eighteen) Film Festival in Turin.

One winter night, the sea threatens once again the tower block where two neighbours live. The next day, their children come to prompt them to leave everything behind.

Francisco Dias was born in 1999 in Porto, Portugal. In 2019, he lived and studied in Norway. In 2020, he completed the Bachelor's in Sound and Image and in 2023 the Master's in Cinema at Universidade Católica Portuguesa, having obtained scholarships for both courses. Rooted in his culture and personal experiences, his films focus on coming of age, human relationships and landscape. "I Don't Like 5 PM", winner of the Take One! competition at Curtas Vila do Conde International Film Festival, and "Coast" stand out in his filmography.

The serie Talk with Dust is composed of 8 video works and explores the idea of the fantastic or extraordinary. This fantastic is not the one that interrupts the ordinary course of things but rather that which is at once strange and present, at the same time its contradiction and its confirmation. The protagonist of a last sequence is a dog. Wandering through a semi deserted landscape, it encounters different situations that leads him to question what he sees, understands or knows. The sequence never completes a narrative. It is also fragmented into parts, which seem disconnected from a story. Therefore the script also pictures only fragments of what could be the entire movie or narrative.

Sebastian Diaz Morales (Comodoro Rivadavia, Argentina, 1975) studied both in Argentina and at the Rijksakademie in Amsterdam. Morales’s video work blurs fiction and documentary genres and has been screened extensively at in museum, gallery and festival context and his work has been supported by a number of grants and awards including the Guggenheim Fellowship in 2009. With its spliced footage and stills and jumbled observations, his work follows the tradition of Latin-American narrative film. Morales plays with the structure of narrative within his work, typically documenting and constructing journeys that explore social and political concerns.

1-channel video / 2k format / 10min / 2018 Soundscore Berend Dubbe & Gwendolyn Thomas / Photography Niels Boon / Special effects Arjan van Drunen / Production Bart van Dam Produced with financial support of the Mondriaan Fonds The multiverse (or metaverse) is a hypothetical group of multiple universes including the universe in which humans live. Together, these universes comprise everything that exists: the entirety of space, time, matter, energy, the physical laws and the constants that describe them. The different universes within the multiverse are called the "parallel universes", "other universes", or "alternative universes". #3 Multiverse is part of a series of videos which are ultimately sequences of a whole. Both a concept and a blurred narrative. The latter is not explicitly delineated in the course of the series but it is intuited. The sequences generate, rather than a narrative, a concept. All these sequences are thought to be shown on separate screens. In large and small shapes, vertically and horizontally they spread into one or various spaces in different combinations resembling an aleatory puzzle which ultimately takes a more clear and narrative shape in one last sequence/installation. The serie Talk with Dust is composed of 8 video works and explores the idea of the fantastic or extraordinary. This fantastic is not the one that interrupts the ordinary course of things but rather that which is at once strange and present, at the same time its contradiction and its confirmation. For something to be fantastic, it is not enough to be different from the real: also (and above all) it is necessary to mix inexplicably with the real thing. In more philosophical terms we can say that the fantastic is not the other of the same but its alteration: not the contradiction of the real, but its subversion. That is why the cinematic condition of the fantastic, which on the other hand can serve as an exact definition, is not at all in the production of real or supernatural beings, but in the fact that they affect what is recognized as real and natural through a contagion of the other who comes to seize the same in person. The feat made by the fantastic cinema does not consist only in this visible manifestation of the real as another. These are duplicated, in fact, and apparently paradoxically, by the work of an invocation of the Real as such, considered in its effective and singular existence; and in a way that is in itself quite strange. 1 The effects on this and the rest of the works had been recreated entirely on stage without the use of postproduction editing. 1 Clement Rosset, El Objeto Singular, Editorial Sexto Piso, 2007

Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam. He attended the Universidad del Cine de Antín in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy Studio des Arts Contemporains in Roubaix, France from 2003-2004. His work has been exhibited widely, including solo shows and presentations at Venice Biennale; Tate Modern, London; Center Pompidou, Paris; Miro Fundation, Barcelona; Stedelijk Museum Bureau Amsterdam; CAC, Vilnius; Le Fresnoy, Roubaix, France; Museum für Gegenwartskunst Siegen, Germany and group shows at De Appel, Amsterdam; Art in General, NY; Ludwin Museum Budapest, Bienale Sao Pablo; Biennale of Sydney; MUDAM, Luxemburg; Calouste Gulbenkian Foundation in Lisbon. His work is represented in numerous collections, including Center Pompidou, Paris; Tate modern, London; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; Fundacion de Arte Moderna, Museo Berardo, Lisboa; Kadist Foundation, San Francisco. He was a recipient of the Guggenheim Fellowship in 2009

In Pasajes IV the idea follows the same narrative, concept and structure as in the other videos from the series. In the previous three Pasajes video works a formula repeats on different backdrops: a character unites places through gateways, doors, stairs and roads which are otherwise spatially disconnected from each other. This is the geography of a story expressed in an alteration of normalcy. In this formulation of Pasajes IV, the video explores the landscape of Patagonia. Crisscrossing this territory in search for differences within the landscape, a character as a guide, unites different territories disconnected in their geography, as essential pieces of a puzzle to understand this region’s present topography and history.

Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and now lives and works in Amsterdam, The Netherlands. He attended the Universidad del Cine de Antin in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001 and Le Fresnoy Studio des arts contemporains in Roubaix, France from 2003-2004. He has had solo exhibitions in the USA, Mexico, and numerous cities in Europe, and his work has been supported by a number of grants and awards. Díaz Morales uses a number of different formal strategies to create his videos, ranging from the digital manipulation of appropriated news clips to lengthy, film-like narrative works made from footage filmed by himself. Díaz Morales explores the relationship between large-scale socio-political power dynamics and individual action in works which create a sense of uneasiness for the viewer. His films are often somewhat surreal, establishing a tension between a depicted social reality and its representation in a visually abstract or fantasy-inflected way. Throughout his works, multiple forms of dependence are explored, including dependent relationships between people, the environment, and social structures.

Insight is the total abstraction. A carefully assembled film-crew appears like a tableau vivant facing the viewer. Then suddenly, they shatter- an analogy of breaking through the surface to expose the simulation - a mirror slowly explodes into a thousand pieces. Filmed in beautifully rendered high definition Insight is a tribute to the camera obscuras of old mingled with a critical spirit directed towards the mass media today. Regarded as a phenomenon brought about by a world lacking distinction between real and simulacra, Diaz Morales borrows media industry tactics to expose and undermine. Revealing rather than concealing his methods allows for a moment of realisation to occur. As the pieces of glass crumble into tiny galaxies, context is deconstructed and the universalising tendency of Diaz Morales' practise literally portrayed. With timeless grace the artist contemplates the nature of existence. (text Nathalie Levi) We look at a film crew; the film crew is watching us. Cinema as a mirror of reality that becomes fiction. Or is it vice versa? A world with a mirror image, one that can be accessed by crossing the mirror’s surface. Indeed, within the realm of fiction, mirrors provide characters and readers alike with a gateway to a different world. Interaction with that new environment, be it purely fantastic or disturbingly didactic, pushes one to expand one’s horizons and reconsider the concept of a real world.

The mind was dreaming. The world was its dream. Jorge Luis Borges It is in the nature of men to be absorbed by the future as if magnetized by timeless gravity, falling deeper and deeper into their own humanity. And if in Walter Benjamin’s angelus novus we picture his gaze of horror, shaken and frightened by what he sees as he gazes upon the past, the man in his fall evinces unperturbed passivity towards the future. As in a dream state, through that suspended fall the man’s mind is a container holding past, present and future in a single consciousness. It is in this construction, as in a dream, in his mind, where man envisions and shapes the world. Out there, there may be no more than void, and the fall may be eternal. Perhaps this is the reason why we recurrently dream about falling. Perhaps falling isn’t a dream at all—perhaps falling is what’s real.

Sebastian Diaz Morales was born in the Patagonian region of Argentina, in 1975 and studied both in Argentina at the Universidad del cine de Antín and at the Rijksakademie in Amsterdam. Morales’s video work blurs fiction and documentary genres and has been screened extensively at film festivals as well as in a gallery context. With its spliced footage and stills and jumbled observations, his work follows the tradition of Latin-American narrative film. Morales plays with the structure of narrative within his work, typically documenting and constructing journeys that explore social and political concerns. His work has been exhibited widely at many prominent venues—such as the Tate Modern, London; Centre Pompidou; Stedelijk Museum and De Appel, Amsterdam; Art in General, New York City; Ludwin Museum, Budapest; Bienale Sao Pablo; Biennale of Sydney; Miro Foundation, Barcelona; MUDAM, Luxemburg; and the Calouste Gulbenkian Foundation, Lisbon—and is the permanent collections of the Centre Pompidou; Tate Modern; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; and the Fundacion de Arte Moderna, Museo Berardo, Lisbon. In 2009 he was awarded with a Guggenheim Fellowship.

The Lost Object is the final video in a trilogy that examines the complex mechanisms of how we perceive the constructed nature of reality?and how this construction is performed, both in the realm our imagination and the one of film. As curator Cuauhtémoc Medina notes in a recent monograph dedicated to Diaz Morale’s work, the artist approaches film as a “factory of simulacra” a conceptual thread that carries throughout his trilogy, which began with Insight (2012) and was followed by Suspension (2014). A slow, steady shot travels into the set of The Lost Object, accompanied by the din of a whirring film reel that seems to methodically introduce the viewer into a world of artifice: a soundstage containing the set of a curiously dated, yet nonetheless anonymous room. The scenario slowly begins to unravel, disarticulating both the language and apparatus of filmmaking. Following Jean Baudrillard?s notion that the world has disappeared behind its own representation and therefore its impossible to return to it, The Lost Object proposes a new world in which fiction and reality merge into one single element. In this universe, fiction is autonomous and auto-generates itself.

Sebastiàn Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam. He attended the Universidad del Cine de Antón in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy Studio des Arts Contemporains in Roubaix, France from 2003-2004. His work has been exhibited widely, including solo shows and presentations at Tate Modern, London; Center Pompidou, Paris; Miro Fundation, Barcelona; Stedelijk Museum Bureau Amsterdam; CAC, Vilnius; Le Fresnoy, Roubaix, France; Museum für Gegenwartskunst Siegen, Germany and group shows at De Appel, Amsterdam; Art in General, NY; Ludwin Museum Budapest, Bienale Sao Pablo; Biennale of Sydney; MUDAM, Luxemburg; Calouste Gulbenkian Foundation in Lisbon. His work is represented in numerous collections, including Center Pompidou, Paris; Tate modern, London; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; Fundacion de Arte Moderna, Museo Berardo, Lisboa; Kadist Foundation, San Francisco. He was a recipient of the Guggenheim Fellowship in 2009

"A man is running like crazy through the desolate landscape of Patagonia. Chased by the wind and unseen assailants he keeps losing things from his luggage. The spectator finds himself somewhere between the man and his assailants, sharing his anxiety and paranoia. Is the spectator the persecutor or is he, like the man, being chased himself? And what?s with the peculiar ?split screen? that makes the ?vanishing point? manifest itself so quite literally? "

"Sebastian Diaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and now lives and works between Amsterdam and Buenos Aires. He attended the Universidad del Cine de Antin in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and did a residency at La Fresnoy in Roubain, France from 2003-2004. He has had solo exhibitions in the USA, Mexico, and numerous cities in Europe, and his work has been supported by a number of grants and awards. Diaz Morales uses a number of different formal strategies to create his videos, ranging from the digital manipulation of appropriated news clips to lengthy, film-like narrative works made from footage filmed by filmself. Diaz Morales explores the relationship between large-scale socio-political power dynamics and individual action in works which create a sense of uneasiness for the viewer. His films are often somewhat surreal, establishing a tension between a depicted social reality and its representation in a visually abstract or fantasy-inflected way. Throughout his works, multiple forms of dependence are explored, including dependent relationships between people, the environment, and social structures."

One Glass Eye Melting conjures the common imaginary of dystopia to rearticulate it in search of new possibilities. A close-up of a rotating eye gazes back at the viewer, its pupil reflecting a montage of disasters—war, natural catastrophe, and mundane accidents—juxtaposed with scenes of regeneration: microbial life, cosmic expansion, and technological evolution. Filmed in a raw, single-shot sequence with minimal post-production, the eye becomes both a mirror and a fractured “memory container,” destabilised by glitches, scratches, and analogue/digital noise. The work interrogates the act of looking itself, transforming reality into something surreal yet unnervingly familiar. As the eye spins 360 degrees, the pupi’s reflection remains fixed, anchoring chaos and renewal as cyclical, interdependent forces. One Glass Eye Melting reframes disaster as inseparable from rebirth, arguing that collapse harbours the potential to reimagine—and rebuild—our narratives. Rather than revisiting catastrophe, the work asks: What do we do with these images of disaster? The work summons the collective imagination of dystopia, rearticulating its imagery in pursuit of uncharted possibilities. Part of the series Bajo el cielo cayendo (Under the Falling Sky), which explores the tension between systemic disaster and fragile hope.

Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam. He attended the Universidad del Cine de Antín in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy Studio des Arts Contemporains in Roubaix, France from 2003-2004. Díaz Morales’s examination of perception and reality is based on the assumption that reality itself is by nature highly fictional. Thus, his films do not simply transport the viewer into another, surreal, or phantasmal realm, but they strip reality of its familiarity and distort it, making it seem like something else. With Diaz Morales, the viewer’s imagination does not function as a basic counterpart to the real. Rather, it operates as a force capable of evoking space and producing it diegetically, one that, beyond generating a direct visual impression, fills in the gaps in seeing and, as the film unfolds, gradually reveals to the viewer the constructedness of what we call reality. Reality is presented here as a phantasm, as something that always eludes its defining in images. It is therefore always “a little bit ahead” of the image and the viewer’s gaze. His work has been exhibited widely at venues—such as the Tate Modern, London; Centre Pompidou; Stedelijk Museum and De Appel, Amsterdam; Le Fresnoy, Roubaix; CAC, Vilnius; Art in General, New York City; Ludwig Museum, Budapest; Biennale Sao Pablo; Biennale of Sydney; Miro Foundation, Barcelona; MUDAM, Luxemburg; Calouste Gulbenkian Foundation, Lisbon; the Biennale di Venezia and Documenta Fifteen.

Sara Bartman who is more commonly known as Venus Hottentot was a South African Khoisan woman who was brought to England to be exhibited in 1810. Her genitals and buttocks where far beyond the understanding of what most Europeans at that time considered a human body in that sense connecting humanity with their race solely, she was considered almost like an animal and was exposed like an object. After her death her genitals and her brain were kept, as well as a wax model of her body and her skeleton have being exposed in the Musée de l`Homme in France.This performance is the result of an investigation into the black performing body, and how blackness has become an act in itself, wearing her body as a skin was a solution to disguise myself and at the same time become myself through the other.The reason why Sara Bartman has become this icon for the African people in Africa and in the diaspora as well as for European people, is a reaction to the registered and legitimate scientific and voyeuristic rape of her body. The verticality of the sculptures and monuments that glorify the heroic acts of man is now simply the body of an African woman, silent, erect, awake.

Born in Santo Domingo, Dominican Republic 9 April 1982, currently living in Amsterdam and making a Master in Fine Arts at the Dutch Art Institute in Enschede, The Netherlands. Graduated in 2007 from the Gerrit Rietveld Academie, Amsterdam, The Netherlands at the Fine Arts department where I developed my last works, all of which are performances Hommage à Sara Bartman 2007, Throne of Gold 2007, Trujillo`s Island 2007, Trujillo 2006.

"Die Nacht" est une émission sur Arte, présentée par Paul Ouazan. Participent à la 25ème édition Marianne Müller, Bernard Rouget, Hiraki Sawa et Marina Abramovic

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