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La vidéo Welcome to My World représente Woolstock un petit village, extrêmement isolé au centre des .États-Unis, dans l?Iowa. Comme dans beaucoup d?autres lieux de ce type, il ne se passe rien. Les habitants sont enfermés dans un quotidien calme, épuré, et serein, mais peut être aussi ennuyeux et répétitif. Les scènes sont tournées dans des paysages contemplatifs. Elles représentent des atmosphères nocturnes et crépusculaires, éclairées par la lumière incertaine des lampadaires et nous plongent dans un univers étrange, où nous attendons quelque chose que nous ignorons et qui nous échappe.

Annabelle Amoros est née en 1987 à Creil. Après avoir suivit une formation à l`École Supérieure d`art de Metz, elle poursuit aujourd`hui ses études à l`École Nationale Supérieure de la Photographie d`Arles. Suite à quelques voyages l`ayant menée au centre des États-Unis, en Finlande, en Laponie, sans oublier la France, elle ne cesse d`observer et de s`imprégner de la vie quotidienne des gens installés dans des petits villages très isolés. Elle tente de transformer les habitants en personnages et de créer des univers sous tension à partir d`un quotidien où il ne se passe presque rien. Par l`outil photographique ou vidéographie, elle ne cesse d`interroger ses images autour de la dualité réalité-fiction.

Portovesme, Sardinia. Images of a past summer. The waves of the sea crash ceaselessly on the rocks. A group of boys ride their bikes to the beach, passing abandoned industrial buildings that once heralded a new age. In this cross-genre film made up of archive footage and 16mm recordings, the time between 1969 and the present seems to merge. In a region in which development has come to a standstill, the group of boys symbolizes a whole generation.

Visual artist, editor and filmmaker, I trained as a painter at the Accademia di Belle Arti of Florence. I live and work in Marseille where I followed a Master in Documentary Film at the University of Aix-Marseille, I also trained at the Grenada Visual Centre in Manchester and at the ISRE in Nuoro with David and Judith McDougall. Seminal in my work on 16mm film are the Film Flamme-Polygone Etoilé collective and the Laboratoire L'Argent of which I am co-founder. My independent films have been screened at international festivals such as Berlinale, NYCIFF, Festival des Peoples, Film Femmes Mediterranée, SIEFF and ISREAL.

From the director of "Los Angeles Plays Itself" comes another city symphony exploring Los Angeles' gentrification through a thoughtful montage of façades and a playful excursus through its musical history.

?Reconversão? portrays 17 buildings and projects by Portuguese architect Eduardo Souto Moura, accompanied usually by his own writings. It is a search for his architecture, without critical commentary. Only the tour guide at Braga Stadium offers generalizations, which fit that work well enough, but it may be the exception, not the rule. Souto Moura has the last word: ?If there is nothing there, I invent a preexistence.? Technically, ?Reconversão? combines the crudeness of proto-cinema with the hyperrealism of digital cinema, bringing us back to the ideals of Dziga Vertov. Shooting only one or two frames per second and animating the images, in the manner of Muybridge, produces greater resolution, although not necessarily a greater sense of reality, and brings attention to the movements of water and vegetation that generally pass unnoticed.

Thom Andersen has lived in Los Angeles for most of his life. In 1974 he completed ?Eadweard Muybridge, Zoopraxographer?, an hour-long documentation of Muybridge?s photographic work. In 1995, with Noel Burch, he completed ?Red Hollywood?, a videotape about the filmwork created by the victims of the Hollywood Blacklist. In 2003 he complested ?Los Angeles Plays Itself?, a video essay about the representation of Los Angeles in movies. In 2010, he also directed ?Get Out of the Car?, about the visual archeology of the city. He has taught film composition at the California Institute of the Arts since 1987.

Film history can be written in many ways. One of the more speculative takes is due to the French philosopher Gilles Deleuze, and it is his famous two-volume `Cinéma I-II` that the American essayist Thom Andersen has adapted as a collage of extracts from hundreds of films. And even though there are both cult hits and canonised classics among them, we are light years from a traditional introduction to the bumpy history of cinema. Who would have thought, for example, that you could create a colour theory about black-and-white films? Deleuze draws new and unexpected connections across the film medium`s one hundred year history, and the poetically named `The Thoughts That Once We Had` draws lines between the dots that the French thinker had at the time. Just like Andersen`s magnum opus `Los Angeles Plays Itself`, his new essay is a cinematic whirlwind that blows through the history of the moving image without showing consideration for chronology. A film for everyone who is bitten by the cinephile bug – and for those who share a healthy enthusiasm for the infinite potential of both the film medium and the mind.

Thom Andersen (born 1943, Chicago) is a filmmaker, film critic and teacher. He attended Berkeley in the early 1960s and then returned to his hometown of Los Angeles to attend USC School of Cinematic Arts, where he studied with Arthur Knight and eventually assisted on Knight`s project The History of Sex in Cinema. While at USC Andersen met long-time friend and collaborator Morgan Fisher, who assisted on Andersen`s student film Melting, a portrait of a sundae. He regularly attended local screening series including shows by the Trak Film Group and Movies `Round Midnight and famously wrote about an unpopular screening of Andy Warhol`s Sleep. After USC, Andersen attended UCLA and completed his experimental documentaries Olivia`s Place and Eadweard Muybridge, Zoopraxographer. During the 1970s, his films screened at Los Angeles` Theatre Vanguard and Berkeley`s Pacific Film Archive. He was the programmer for LA Filmforum in Los Angeles during the late 90`s. Andersen`s film Los Angeles Plays Itself won the National Film Board Award for Best Documentary at the 2003 Vancouver International Film Festival, was voted best documentary of 2004 by the Village Voice Critic`s Poll, and was voted one of the Top Ten Films of the Decade by critics at Cinema Scope. In 2010 he completed Get Out of the Car, a portrait of signs and abandoned spaces set to Los Angeles music. In spring 2012, Andersen took part in the three month exposition of Whitney Biennial. He has taught at the SUNY Buffalo and Ohio State University. He currently teaches film theory and history at the California Institute of the Arts.

"While remastering Los Angles Plays Itself, I re-edited a number of clips, including The Takeover (Troy Cook, 1995), a grungy, sordid straight-to-video film remarkable only because executive producer Michael Woods and star David Amos had in 1990 planned and carried out the murder of Horace McKenna, Woods's partner in the operation of a chain of strip clubs around Los Angeles - a crime echoed in the movie. After repeated viewings, I noticed a miniature tragedy (or black comedy) spread out over the first sixty minutes. Its protagonist is Waldo the bouncer, the victim of ruses and sucker punches, whose multiple failures lead him to one final heroic attempt to make amends. This is his story."

Thom Andersen has lived in Los Angeles for most of his life. In the 1960s, he made short films, including Melting (1965), Olivia’s Place (1966), and --- ------- (1967, with Malcolm Brodwick). In 1974 he completed Eadweard Muybridge, Zoopraxographer, an hour-long documentary film about Muybridge’s photographic work: It was restored by the UCLA Film and Television Archive in 2013. In 1995, with Noël Burch, he completed Red Hollywood, a critical video essay about the film works created by the victims of the Hollywood Blacklist. Their work on the history of the Blacklist also produced a book, Les Communistes de Hollywood: Autre chose que des martyrs, published in 1994. In 2003 he completed Los Angeles Plays Itself, a three hour-long movie about the representation of Los Angeles in movies. It was voted the Best Documentary of 2003 in the Village Voice Film Critics’ Poll. He completed Get Out of the Car, a short 16mm portrait of Los Angeles. In 2012, he directed Reconversão, an HD video about the work of Portuguese architect Eduard Souto Moura, the winner of Pritzker Prize in 2011. He has taught at the California Institute of the Arts since 1987.

"Take a look at these hands. Take a look at these hands. The hand speaks."

J Tobias Anderson was born in 1971 and grew up on Gotland in the Baltic Sea. His education includes the University Collage of Arts Crafts & Design as well as the Royal Collage of Art, both in Stockholm. He lives in Nacka just outside of Stockholm. Working mainly with video and animation Anderson has moved between narrative and non-narrative works and through the years he has created almost 40 films. He has also been experimenting with different forms of music and sound installations. Notable exhibitions include P.S.1 Contemporary Art Center in New York, Kunst-Werke Berlin, CaixaForum in Barcelona and Museo de Colecciones ICO in Madrid, as well as solo exhibitions at MMC Luka in Pula Croatia, ak28 in Stockholm and Uppsala Art Museum in Uppsala, Sweden. He is collaborating with Filmform Foundation in Stockholm, Espaivisor in Valencia, Spain and Factory-Art in Berlin.

"A Small Part of the World" is a video full of statements and slogans. Which should we believe in, and which should we not? In an overpopulated world, how shall we find the true way to live our lives in harmony? Don't treat the sayings of religious or political leaders as truths and let them steer you off your way to what's right in life. The Chinese Communist Party's slogan: "Seek truth from facts" might be a statement to follow, but which are the "right" truths - which is the way you choose in life?

Born 1971 in Gothenburg, Sweden, J. Tobias Anderson lives and works in Stockholm, Sweden. From 1993-98 he studied Crafts and Design at the University College of Arts, in Stockholm. From 1998-99 he was a student in the Video Department at the Royal College of Art, Stockholm. He is a video artist who focuses mainly on animation and appropriation art. He experiments with a number of different techniques, such as video, painting, illustration, sound, and music, with the main work still being made for video - around 30 video works have been created between 1997 and 2006. His explorations with the starting point in material that somehow can be considered generally well known are usually the bases for the creation of his works; often the videos are based on cinematographic issues, and deal with visual or audiovisual explorations. His works have been screened on numerous occasions in exhibitions and festivals worldwide. His with video work is represented at several art institutions, among them Moderna Museet in Stockholm.

In a colorful setting, where thoughts and ideas aren’t necessarily black or white, a situation of non-communication is enacted. Two men and a woman are throwing their most inner thoughts at each other, but finding little solace in the others’ words. Communication can sometimes be unidirectional, even though a dialogue is taking place, and where certainty can be a comfort, perhaps skepticism and doubt should be the default.

Born in 1971. Grew up on Gotland in the Baltic Sea. Education includes the University Collage of Arts Crafts & Design as well as the Royal Collage of Art, both in Stockholm. Lives in Nacka just outside of Stockholm. Working mainly with video and animation and moving between narrative and non-narrative works. Has created around 40 films. Also experimenting with different forms of music and sound installations. Notable exhibitions include P.S.1 Contemporary Art Center in New York, Kunst-Werke Berlin, CaixaForum in Barcelona and Museo de Colecciones ICO in Madrid, as well as solo exhibitions at MMC Luka in Pula Croatia, ak28 in Stockholm and Uppsala Art Museum in Sweden.

A reflection on the artist’s own work, mirrored in a dialogue involving three secondhand characters. Together they make an honest evaluation of the artwork to reveal the harsh truth.

Born in 1971. Grew up on Gotland in the Baltic Sea. Education includes the University Collage of Arts Crafts & Design as well as the Royal Collage of Art, both in Stockholm. Lives in Nacka just outside of Stockholm. Working mainly with video and animation and moving between narrative and non-narrative works. Has created around 40 films. Also experimenting with different forms of music and sound installations. Notable exhibitions include P.S.1 Contemporary Art Center in New York, Kunst-Werke Berlin, CaixaForum in Barcelona and Museo de Colecciones ICO in Madrid, as well as solo exhibitions at MMC Luka in Pula Croatia, ak28 in Stockholm and Uppsala Art Museum in Sweden.

A man in confrontation with two women, one vulnerable and easily influenced, the other hesitant and questioning. On one hand the man is preching a veracity to the already converted and on the other a mendacity to the doubtful. Or is it the other way around? "A Veracity A Mendacity" questions if there, in the name of reason, can exist only one truth to any situation, and who should have the mandate to tell others what is right and what is wrong.

J Tobias Anderson was born in 1971 and grew up on Gotland in the Baltic Sea. His education includes the University Collage of Arts Crafts & Design as well as the Royal Collage of Art, both in Stockholm. He lives in Nacka just outside of Stockholm. Working mainly with video and animation Anderson has moved between narrative and non-narrative works and through the years he has created almost 40 films. He has also been experimenting with different forms of music and sound installations. Notable exhibitions include P.S.1 Contemporary Art Center in New York, Kunst-Werke Berlin, CaixaForum in Barcelona and Museo de Colecciones ICO in Madrid, as well as solo exhibitions at MMC Luka in Pula Croatia, ak28 in Stockholm and Uppsala Art Museum in Uppsala, Sweden. He is collaborating with Filmform Foundation in Stockholm and Espaivisor in Valencia, Spain.

Material is what counts!

Born in 1971. Grew up on Gotland in the Baltic Sea. Education includes the University Collage of Arts Crafts & Design as well as the Royal Collage of Art, both in Stockholm. Lives in Nacka just outside of Stockholm. Working mainly with video and animation and moving between narrative and non-narrative works. Has created around 40 films. Also experimenting with different forms of music and sound installations. Notable exhibitions include P.S.1 Contemporary Art Center in New York, Kunst-Werke Berlin, CaixaForum in Barcelona and Museo de Colecciones ICO in Madrid, as well as solo exhibitions at MMC Luka in Pula Croatia, ak28 in Stockholm and Uppsala Art Museum in Sweden.

A dark forest, a neverending road, two men with differing ideas on how to approach a problem. The outline of Delusion Disillusion is quite simple, but the possibilities of interpretation are more complex. Are the men referring to a matter of more personal character, or are they speaking of something much more general? The contrast between the density of the trees in the beginning of the video and the final, almost clear-cut forest, gives us one hint towards a possible solution.

Born 1971 in Gothenburg, Sweden. Living and working in Stockholm, Sweden Artistic education: 1993-98 University Collage of Arts, Crafts and Design, Art Department, Stockholm 1998-99 Royal Collage of Art, Video Department, Stockholm Videoartist focusing mainly on animation and appropriation art. Experimenting with a number of different techniques, such as video, painting, illustration, sound and music, with the main work still being made for video - around 30 videoworks have been created between 1997 and 2006. Explorations with the starting point in material that somehow can be considered generally well known are usually the bases for the creation of the works. Often the videos are based on cinematographic issues, and deal with visual or audiovisual explorations. Has been screened at numerous occasions, in exhibitions and festivals worldwide. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and IVAM, Institut Valencià d`Art Modern.

The simplest of questions. An overwhelming silence. The conundrum of existence.

Born in 1971. Grew up on Gotland in the Baltic Sea. Education includes the University Collage of Arts Crafts & Design as well as the Royal Collage of Art, both in Stockholm. Lives in Nacka just outside of Stockholm. Working mainly with video and animation and moving between narrative and non-narrative works. Has created around 40 films. Also experimenting with different forms of music and sound installations. Notable exhibitions include P.S.1 Contemporary Art Center in New York, Kunst-Werke Berlin, CaixaForum in Barcelona and Museo de Colecciones ICO in Madrid, as well as solo exhibitions at MMC Luka in Pula Croatia, ak28 in Stockholm and Uppsala Art Museum in Sweden.

In a gymnasium, a seventeen year old girl is training on a trampoline. Her father, who is coaching her, is barking out instructions. The forced training causes her to suffer but she is obsessed with the idea of winning the big double somersault competition. With the prize money her father will finally be able to pay their debts. Natasha cannot disappoint him. She has the feeling that he doesn't love her as much now that she has grown up. The gold medal will change everything. The accident is inevitable, she misses her landing and hurts her head. Lacking money, his father decides to look after her himself: the mother recommands total isolation in one particular room of the house. For several weeks, the father has been observing Natasha through the key hole of the room with mirrors. She talks alone, he thinks. And she doesn't look like she wants to get better. The great somersault competition seems compromised. Then, one day, the door opens and Natasha receives a gift from her father: a role-play. The mother gets dangeroulsly close to her. Now she is ready. She convinces her father to contact the judges of the federation so that they accept her late inscription to the competition. She is determined to show them what she is capable of, her father is going to love her again, unless her mother intervenes...

Alice Anderson was born in London in 1976 and was raised in the south of France. She studied at the Beaux-Arts of Paris (1998-2001), received the Gilles Dusein prize for her videos (2002), then left for London to complete a M.A. at Goldsmiths College in London (2002-04), where she has been living since. She has shown her work in such prestigious places as: The European House of Photography, The Pompidou Centre, Emap Museum in Korea, The Anna Norlender Museum in Sweden, The Man Museum in Italy, Bloomberg Space in London, and Art Unlimited in Basel. Most recently she presented a new tale at the Yvon Lambert Gallery at her personal exhibition in January 2007.

These words are all true. These words are all used. This is the way the wind is blowing. This is the wind of the reality in which we live. All words are already spoken. All things are already said. Nothing is original. Nothing is new.

J Tobias Anderson was born in 1971 and grew up on Gotland in the Baltic Sea. His education includes the University Collage of Arts Crafts & Design as well as the Royal Collage of Art, both in Stockholm. He lives in Nacka just outside of Stockholm. Working mainly with video and animation Anderson has moved between narrative and non-narrative works and through the years he has created almost 40 films. He has also been experimenting with different forms of music and sound installations. Notable exhibitions include P.S.1 Contemporary Art Center in New York, Kunst-Werke Berlin, CaixaForum in Barcelona and Museo de Colecciones ICO in Madrid, as well as solo exhibitions at MMC Luka in Pula Croatia, ak28 in Stockholm and Uppsala Art Museum in Uppsala, Sweden. He is collaborating with Filmform Foundation in Stockholm and Espaivisor in Valencia, Spain.

A video that displays a man's confrontation with his own self. A meeting that is not always as rewarding as one might have hoped. Classic filmsequences have been re-cut and animated to illustrate this dilemma, and the final imagery is created in a highly contrasted style, with characters echoing of decades from long ago.

J Tobias Anderson was born in 1971 in Gothenburg, Sweden. He lives and works in Stockholm, Sweden. Originally a painter, and since 1993 working with videoart and animation, he now experiments with a number of different techniques, such as video, painting, illustration, sound and music, with the main work still being made for video. He has been screened at numerous occasions, festivals and exhibitions worldwide. He is represented with videoworks for instance at the Modern Museum of Art in Stockholm.

"No river protects me from myself" takes as its starting point the mysterious theft of filmed material shot in the Congo Basin rainforest. This accident offered a response to conflicts arising from the fragile and transubjective encounter with the “non-I”, which could only be practised or experienced; if one tries to virtualise it, it ceases to exist. The impossibility of representing a reality that is not one's own without creating distance or detachment, or conversely, taking control of it, leads to a backwards retreat in which, through conversations with my mother, I discover a fragmented and contradictory identity based on fragile foundations. This incessant external search for forms of knowledge that differ from the consensus—or compulsory—reality becomes internal.

An interest in the aesthetic experience and how it works as a transformer of conscience led Carla Andrade (Vigo, Spain, 1983) to study both a Degree in Audio-Visual Communication Studies and Philosophy, as well as an M.A in Artists’ Film and Moving Image at Goldsmiths University of London. This intersection between the means of visual expression and a field close to reflection is, precisely, the central aspect that defines her work. Travelling is also an important part of her process so she has carried out Artist Residencies in Iceland, Sweden, Nepal, Chile or Paris, among others. She has shown her work (both individually and collectively) in renowned contemporary art venues such as Guggenheim Museum of Bilbao, MARCO Vigo, Le 104 Paris, CaixaForum Barcelona, Tabacalera Madrid, La Casa Encendida Madrid, Bilbaoarte, Lux London or Tabakalera Donosti, etc; and in prestigious international Photography and Film Festivals such as PhotoEspaña, Mois de la Photo (Paris) or Encontros da imagem (Portugal); International Film Festival Rotterdam, Zinebi, PortoPostDoc, Courtisane, Ji.hlava, L’Alternativa Barcelona, Curtocircuito or Alchemy Film Festival. Furthermore, her work has been part of important international publications from South Korea, USA, Brazil or Spain and acquired by public and private art collections such as CA2M or CGAC. Likewise, her work has obtained awards including the First Prize of Visual Arts 2013 from Complutense University of Madrid, Emerging Artists Award Absolut 2013, Frac Vila Acquisition Award 2013 from Luis Adelantado Gallery, Women Award-Forum-Dialogue Alliance Francaise / Pilar Citoler 2012, Photography Award Madrid SUMMA 201, etc; and grants from Injuve, Institut Français, BilbaoArte Foundation, VEGAP, Agadic and the Scholarships for Abroad Artistic Creation Gas Natural Fenosa.

This musical music is only composed from two short samples proposed by the composer Pyo. One of these two samples is used to build up the whole composition, transformed via various digital processes while the other one appears punctually with very few modifications in comparison with the original. This musical piece is inspired by Danae?s myth.

Born in 1978, he had a scientific formation in mathematics and cognitive sciences. After his masmaster in computing ergonomics - while doing narrative acoustic music composition (http://ieva70.free.fr/sound/iev.htm), he definitely turns to the use and the practice of the computer and the use of this informatic tool as the continuation of oneself ? reflection around the gesture, a grammar or almost a language and its representation through a communication network that is internet: the lengthening of the work started in 2000 at the SCRIME ? Studio of Creation and Informatics Research and Eclectro-acoustic Music -, on sound manipulation interface conception ergonomics and improvisation meant for children. His major practice remains music, written (composition or video music) or improvised; He produces also poetic multimedia forms and a few experimental movies.

A game with simulation and reality in a strange but real environment. Its ?reality? recalls not only the cold milieu of simulation programs, but also the artifical ?happiness? of an IKEA store. Without a trace of a human, the environment starts to change - the objects are exploding. The film subverts the viewer?s destructive instincts in a playful way, reflecting as well on the artificiality of the media (industry) surrounding us day by day.

Andrea Schneemeier °1969, (Budapest, Hungary) Andrea Schneemeier studied painting and mixed media at the Art Academy of Budapest in 1996. Afterwards, she studied at the Higher Institute for Fine Arts (HISK) in Antwerp. She creates conceptual art, makes videos and interactive installations where she raises critical social-political questions. She investigates social positions, social conventions and the place of the individual in society. Other recurring subjects in her work are violence and aggression, and the questioning of gender-related role patterns. She often shows all kinds of (gun)fights, with both men and women. Her work was internationally shown and she received several prizes for her mixed media work. Currently she is living in Berlin.