There Aren't Words for What We Do or How We Feel so We Have to Make Them Up
There Aren't Words for What We Do or How We Feel so We Have to Make Them Up
Investigating the relationship of the nationalism towards nature, the work explores the nuances between the political and the escapist. In the ﬁlm, a central part of the installation, nature is understood as a space beyond: beyond language, culture, media, and as the protagonist realizes, the nature seems to be the very product of that which it is supposed to be an escape from. Through the contemplation of the narrator and the imagery of national and nature parks, film There Aren`T Words for What We Do or How We Feel so We Have to Make Them Up explores both the film medium and the notion of the ?national essence?. Images of nature become the impulse for rethinking of the relationship between representation and reality or rather the relationship of the image and the myth of the nation ? quintessentially connected with the given territory. Through various topographies, from open plains to mountain peaks, the relationship of the narration and the image is free association. The camera intentionally avoids canonical, recognizable natural motives, so they can be placed everywhere and nowhere at the same time. This is also the reason the narrator is not a native English speaker.
Fokus Grupa is an artist collective based in Rijeka and Zagreb, Croatia. Their practice is collaborative and interdisciplinary, and they work across art, design and curating. Their artistic strategies take political shape, without becoming a representational form of ?political art?. Fokus Grupa concentrate on the relations between art and its public manifestations, in terms of working culture, aesthetics, and social and economic exchange values. Their work investigates the inherent power structures of the (art)system. To this effect, they explore it?s economic, spatial and legal implementations. They also explore ways in which politics employs artistic or esthetic means to (mis)appropriate and instrumentalize emotions, reclaiming certain methods back into their art practice. The collective tries to expand the boundaries of the art work, using printed matter, films and installations, works on paper, discussions, workshops and texts. Shows at museums & galleries; Gitte Bohr Gallery (Berlin), NOVA Gallery (Zagreb), GMK Gallery (Zagreb), NCCA (Moscow), HVCCA (New York), MOCA (Rijeka), MOCA (Zagreb), MOCA (Ljubljana), ACCA (Melbourne), SKUC Gallery (Ljubljana), Calvert 22 Gallery (London), Furini Arte Contemporanea (Roma), O3one Gallery, (Belgrade), Jakopic Gallery (Ljubljana), New Art Exchange (Nottingham), Fabbrica del Vapore (Milano)
Three Love Songs
Three Love Songs
Three Love Songs explores the multiple ways to use and manipulate images to create juxtapositions of meanings from the mundane to the extreme. This piece examines terror and love, and how façades are played through song, specifically Iraqi songs that were commissioned by Saddam Hussein, used to glorify the regime during the decades of his rule. The installation syncs three stylized music videos (lounge, jazz and pop) that each features an archetypal western chanteuse: young, blonde, and seductive. Each video?s dramatic ?look? creates a different atmosphere but the songs dedicated to Saddam Hussein tie them together. The lyrics are sung by the performers in Arabic (Iraqi dialect) and are subtitled in English and Arabic. The singers do not know what they are singing about, but they are directed to perform (though voice and gesture) as though the songs were traditional, passionate love songs. It is this uncomfortable juxtaposition ? between the lush visual romanticism and the harsh meaning of the lyrics, between the seduction of the performer and comprehension of the viewer ? that forms the main conceptual element of this work.
Adel Abidin is a visual artist. His multi-media practice explores the complex relationships between culture, politics, and identity. Using a sharp palette of irony and humor, Abidin gravitates towards social situations dealing with elusive experiences and cultural alienation. Abidin uses his cross-cultural background to create a distinct visual language often laced with sarcasm and paradox, while maintaining his ultimately humanistic approach. Abidin was born in Baghdad in 1973 and currently lives and works in Helsinki, Finland. He has exhibited in both group and solo exhibitions including the Helsinki Museum of Contemporary Art (KIASMA), the Centre of Contemporary Art, Salamanca, the 10th Sharjah Biennale, The 17th Sydney Biennale, and the 52nd and 54th Venice Biennale. In 2010 he exhibited his well-known video installation, Three Love Songs, at Mathaf. In 2011 he presented his critically acclaimed video installation, Consumption of War. Adel`s exhibitions in 2012 included: L`institut du Monde Arabe, a major solo exhibition at Arter ? space for art in Istanbul and at Kunsthalle Winterthur, Switzerland. He has also been selected to participate in a group show in Tokyo at The Mori Art Museum In 2013, his 2006 video installation, 52 Guaranteed Affections, got selected to be part of the big celebrated anniversary group exhibition at the Mori Art Museum. Adel`s work has been part of a group exhibition at the Mead Gallery in the UK. And also exhibited at Hauser & Wirth Gallery in London. The New York Times selected his work Al-Warqaa 2013, as the main piece of Middle Eastern art during Dubai art fair. In 2014, Adel will be exhibiting at the Louisiana Museum of Modern Art in Denmark, the Contemporary Art Museum in Rome, the Louvre-Lens Museum in France and many others.
"Asleep" is an experimental and poetic documentary , shot in Super 8, about the Capelinhos volcano in the Azorean island of Faial . Also included is some footage of the successive eruptions during 1957 and 1958.
Born in Lisbon 1964 Film/video Arts NYC 1991 Cinematographer and cameraman in several art projects and short films Director of several experimental shorts shot in Super 8
The Palace was once a grandiose hotel built by the Mufti of Jerusalem in 1929. Long abandoned, the building has recently been bought by Waldorf Astoria and entirely gutted so as to preserve only its historical façade. "Palace, 2013" is a collaboration with the workers on the construction site of Waldorf Astoria Jerusalem and presents a series of three atmospheric tableaux inspired by the formal qualities of the site and its history. By means of simple props and actions, the order of the site and its daily labour routine are temporarily disrupted, allowing for a multiplicity of resonances to occur. Adler de Oliveira thus acts as an observer of the broad range of possibilities embedded within the site: its current reality as a dismantled building on the one hand; and its latent future on the other. The hotel in its present form - a site in the making - presents an anomalous reality, since it functions as a temporary home for its construction workers. The site imbues the power relationships characteristic of Israeli society, contrasted against its designed purpose: to offer its visitors an escape from local reality; a total disconnection from time and place.
Samantha Adler de Oliveira was born in Paris in 1985 and grew up in Brussels. In 2003 she completed a BA in European Studies at King`s College London. She then went on to earn a Fine Art degree from the Bezalel Academy of Arts and Design, Jerusalem, during which time she spent a semester at the School of Visual Arts in New York. In 2011 she participated in the European Exchange Academy and is a recent graduate of the Skowhegan School of Painting and Sculpture, Maine. She received a special mention at the Mediatine Award for emerging artists in Belgium (2011) and the Aileen Cooper Prize for outstanding graduate show (2012). Her work has been shown in Israel, Belgium, Germany and New York. She had her first one-person exhibition in 2013 at the Architect House in Tel-Aviv Yaffo.
Le travail de Marie Aerts questionne les notions de pouvoir et d?organisation sociale qui régissent les sociétés humaines. Traversée par des héritages philosophiques, tel le concept du Corps Sans Organes de Gilles Deleuze et Felix Guattari, ses recherches débutent notamment par la création d`un personnage iconoclaste : l`Homme sans tête. Inspiré par l?atmosphère des quartiers d?affaires de la City à Londres, la figure de l?Homme sans tête est la représentation d?un être humain générique. Sans passé ni avenir, ce corps apparaît vide de désir, d?ambition, d?amour? Présent dans de nombreuses ?uvres, ce personnage reflète les interrogations et les problématiques de l?individu et d?une communauté face à l?opacité des pouvoirs qui cimente le corps social. La vidéo Grâce aborde la thématique de la migration. Il s?agit pour l?artiste de rendre hommage à ces êtres humains, en quête d?une vie meilleure, qui traversent au péril de leur vie des frontières surveillées et protégées. Alors que la circulation des marchandises relève de l?évidence, cette bénédiction n?est pas accordée à toute l?humanité. Grâce, comme une demande de faveur pour ces conquérants ignorés qui s?efforcent, pour ne pas perdre leur dignité, de gagner leur liberté. Marie Aerts et Marianne Feder
Marie Aerts (1984), vit et travaille à Paris. Le travail de Marie Aerts questionne les notions de pouvoir et d?organisation sociale qui régissent les sociétés humaines. La jeune artiste française interroge les méthodes de légitimations d?un pouvoir, ou d?une forme de domination et les rapports que celles-ci entretiennent avec la croyance. Elle explore les interstices d?un pouvoir, là où les symboles s?installent et déploient leur capacité de fascination. À travers diverses stratégies d`altération, Marie Aerts s`attaque à ces concentrés de représentations, à l`aide d?opérations de soustraction et de transformation qui lui sont chères. En 2013, elle a été présentée dans les expositions collectives, Aqua Vitalis, commissariat Claire Tangy et Paul Ardenne de l?Artothèque de Caen et Égarements, commissariat Agnès Barruol et Véronique Baton au Château d?Avignon (Arles). La galerie Dix9 lui consacre une deuxième exposition personnelle jusqu?au 22 février 2014. Elle prépare plusieurs expositions, dont une résidence dans l?espace projet de l?Artothèque de Caen prévue en 2015.
Dive : approach and exit
Dive : approach and exit
Before the assault, feel the weight of the body.
Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.
For the sake of freedom she leaves the door to her memory open. So Omer enters her room every day healing her broken heart through his word and spirit.
My Name is Abdalla Mohamed Gaffar Ahmed, a young and aspiring Sudanese film director who shot and directed my first short feature entitled ?Beyond Memory? ON 11-2012, And second short documentary film about " US Technology Sanctions on Sudan" ON 1-2014 . Born in the United Arab Emirates Since 1990, I moved back to Sudan in 2002, when my family resettled back to my native land. I am currently enrolled in a local undergraduate study program undertaking a media degree in ALMASHREQ Universty of Science and Technology. I consider my recent found interest and work in film making to be the crowning of my collective long running interests in photography and creative writing. Throughout my childhood and early youth, living in diverse spaces, has helped increase and develop my sensitivities towards international cultures all which seem to feature in the pattern of my arts. As a young artist I hope to retain my experimental and dependent artistic nature, being the sole mode of which I can express myself and the dynamic and vibrant context around me. Abdalla Ahmed 00249910112202 email@example.com
Curriculum is a tiny scale documentary set in Los Angelescentered around the larger theme of knowledge. It loosely follows a character, a tutor for the No Child Left Behind Act implemented by the Los Angeles Unified School District. Running through a few simple ideological questions rather than investigatingcharacters, facts, or events (as one would expect of a documentary), the film was made to open up the matter of education in Los Angeles in relation to socio-economic as well as subjective positions.
Stella Ahn is a Los Angeles native. With a B.A. in Film & Media Studies from the University of California, Irvine, she went on to California Institute of the Arts, where she received her MFA in Film/Video. She likes to make experimental narratives, essay films, and video loops. Her work focuses on unsteadily dismantling the intersections of image, fiction/reality, and politics.
A Família do Capitão Gervasio
A Família do Capitão Gervasio
Captain Gervasio`s Family is a 16mm black and white silent portrait of a Spiritist community in Palmelo, a small town in the interior of Brazil. It?s a town of 2000 inhabitants, half of whom are psychic mediums. The film refers to a map drawn by a Spiritist woman in Palmelo, charting twenty astral cities hovering above the whole of the Brazilian territory. Cities ?like those on earth, but infinitely more perfect?. The Spiritists in Palmelo practice what is known as `the magnetic chain?, a legacy from the German physician Franz Mesmer, the founder of Spiritism Allan Kardec, and the French botanist François Deleuze. The film is a collaboration between the artists Tamar Guimaraes (BR) and Kasper Akhøj (DK).
Kasper Akhøj was born in Copenhagen, Denmark where he lives and works. He studied at the Czech National Film School (FAMU), Städelschule - Staatliche Hochschule für Bildende Künste, Frankfurt, and the Royal Danish Academy of Fine Arts, Copenhagen. He is also a former participant of the Whitney Museum Independent Study Program in New York. He is represented by Ellen de Bruijne Projects in Amsterdam and has exhibited widely at major museums and biennials, both solo and in collaboration with Brazilian artist Tamar Guimaraes, most recently at last years 55th Venice Biennale, The Encyclopedic Palace. Tamar Guimarães was born in Belo Horizonte, Brazil and lives and works in Copenhagen, Denmark. She holds a BFA from Goldsmiths College, University of London, and MFA from Malmö Art Academy, Sweden. She is also a former participant of the Whitney Museum Independent Study Program in New York. She is represented by Galeria Fortes Vilaça in Sao Paolo, and has exhibited widely at major museums and biennials, both solo and in collaboration with Danish artist Kasper Akhøj, most recently at last years 55th Venice Biennale, The Encyclopedic Palace.
Filmed in a neglected expat housing complex in Hawalli, this out of context mirage disorients the familiarity or nostalgia of the space. The multicultural neighborhood vibrates with a multicultural working force who have consciously migrated from their diverse backgrounds to participate in the daily routine designated by a profiting developer. The tiling of the colonnade, as is the tiling of the dress, is reflective of the blurring of these expat cultures to camouflage within the existing- the existing which is not only foreign to them but foreign to the space - creating the out of context "Where am I?" phenomenon. These diverse cultures try to adapt to a "?" culture imposed by another country whilst struggling to identify between pre-imposed ethnic stereotypes and their traditional heritage. The freedom of the body is limited to the disproportion of the imposed cage, irritated within the larger cage of the structure.
Dana Aljouder is a designer, writer, and performance artist who graduated with a Bachelors Architecture from Pratt Institute in 2009. She received the Twinings Scholarship to research allegories of the Medici in Renaissance Art in Florence, and is currently an academic researcher for the Kuwait Pavilion at the Venice Biennale 2014. She has also presented her furniture "The Chair" at Higgins Hall Gallery in Brooklyn in 2009 and "Kursi" at the Design Terminal in Budapest in 2013. She has worked with OOS on the winebox installations of the Albert Reichmuth showroom in Zurich. Aljouder has also collaborated with sound artist Bassem Mansour at the Beirut Art Center show "Exposures" and Altofest Performance Festival in Naples in 2012 and 2013.
Welcome to My World
Welcome to My World
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.
The film shot on Super 8 was filmed at the Zoology museum in Bologna. The museum was founded in 1860 part of the University of Bologna and is the largest and most significant in Italy. Rows and rows of cabinets filled with strangely shaped animals. It traces its roots all the way back to the very first cabinet of curiosity and the collection of Ulisse Aldrovandi, who allegedly coined the word Geology and is undisputedly one of the fathers of natural history. The film follows Arancio?s fascination with the human? s preoccupation to bring order to the world around us and the aesthetics related to the systems of classification used for this purpose. With this work the artist presents us with a subjective vision of the ornithological collection created by Zafagnini-Bertocchi in the first half of the 20th Century. Through the juxtaposition of deep gravitational rumbling sounds by LA cosmic cult music project Expo 70 and Arancio? s precise editing, still close ups and slow camera panning, the film exposes the sinister and uncanny nature of the displays, resulting in an ambiguous temporality, a visionary experience that transcends and transforms the original scientific illustrative purpose of the cabinets.
Born in Catania, Italy in 1974. Lives and works in London. He received his MA in Photography from the Royal College of Art. His artistic signature is photo-etching, but he works across a range of media such as sculpture, collage, animation and video. Arancio?s main interest lies in the potential of images. Departing from their literal meaning, he creates new juxtapositions that are both beautifully evocative and deeply disquieting. He looks to nature and science for his sources of inspiration, while unsettling any hint of the sublime by re-framing the images and the viewer?s experience. His constructed landscapes contain a sense of both the familiar and the unknown that enhances their symbolic readings and implications. Selected exhibitions: PROJECT: Salvatore Arancio, Rachel Cattle & Steve Richards, James Pyman, Maureen Paley Gallery, London, UK, 2013; PROJECT 03: Data, Contemporary Art Society, London, UK, 2013 (group show); Le Ragioni della Pittura. Esisti e prospettive di un medium, Palazzo de Sanctis, Castelbasso (Teramo), Italy, 2013 (group show); Curiosity. Art & the Pleasure of Knowing (Hayward Touring), Turner Contemporary, Margate, UK, 2013, touring to Norwich Castle Museum & Art Gallery, Norwich, UK, Royal Hibernian Academy, Dublin, Ireland, de Appel, Amsterdam, The Netherlands (group show); Cyclorama, Museo Tamayo Arte Contemporáneo, Mexico DF, Mexico (group show), 2013; Alternating Layers of Contrasting Resistance, Rowing Gallery, London, UK; The Little Man of the Forest With the Big Hat, Federica Schiavo Gallery, Rome, Italy; Relatively Absolute, Wysing Arts Centre, Cambridge, UK; Solo Presentation, Art Rotterdam 2013-New Art Section, Rotterdam, The Netherlands; The Little Man of the Forest With the Big Hat, MCZ-Museo Carlo Zauli, Faenza, Italy, 2012; An Arrangement of the Materials Ejected, Spacex, Exeter, UK, 2011; To See an Object to See a Light, Fondazione Sandretto Re Rebaudengo, Guarene d?Alba, Italy, 2011; Shasta, Federica Schiavo Gallery, Roma, 2011; Sentinel - PPS//Meetings#4, Palazzo Riso - Museo d?Arte Contemporanea della Sicilia, Palermo, Italy, 2011; SI-Sindrome Italiana, Le Magasin - Centre National d?Art contemporain de Grenoble, France, 2010; An Account of the Composition of the Earth?s Crust: Dirt Cones and Lava Bombs, Frame, Frieze Art Fair, London, UK, 2010; Catastrophe? Quelle Catastrophe!, Manif d?Art 5, The Quebec City Biennial, Engramme, Quebec City, Canada, 2010; Prague Biennale 4, Karlin Hall, Prague, Czech Republic, 2009; I giovani che visitano le nostre rovine non vi vedono che uno stile, GAM-Galleria d?Arte Moderna, Turin, Italy, 2009. Arancio was selected fot the Résidences Internationales aux Recollets, Paris, France, 2013; Sundaymorning@ekwc, European Ceramic WorkCentre, SG ?s-Hertogenbosch, The Netherlands; Wysing Arts Center Artist Residency, Cambridge, UK and Artist Residency and Ceramic Workshop, Museo Carlo Zauli, Faenza in 2012. He won The Elephant Trust Grant, London and The Art Omi Residency, New York in 2011, the Premio ?New York? in 2009 and was selected for the Bloomberg New Contemporaries in 2006.
EVERYTHING NEAR BECOMES FAR
EVERYTHING NEAR BECOMES FAR
Everything Near Becomes Far follows a day in the life of a couple living in a cabin nestled deep within the Andes mountain range in Colombia. They begin their day as usual, but something seems strange to the woman. A fearsome group of men awaits them. An atmosphere of dread develops gradually through the sounds and silences, a looming landscape and the threatening visions of wild animals observing the main characters from the distance. The film`s title is inspired by an observation the poet Borgues made on Goethe: ?Alles Nähe werde fern, everything near becomes far. Goethe was referring to the evening twilight. Everything near becomes far. It is true. At nightfall, the closest to us seems to move away from our eyes. So the visible world has moved away from my eye, perhaps forever. Goethe could be referring not only to twilight but to life. All things go off, leaving us. Old age is probably the supreme solitude -except that the supreme solitude is death?.?
Mauricio Arango was born in Colombia and lives and works in New York. He is an alumnus of the Independent Study Program at the Whitney Museum (New York, 2007), was a resident at the International Academy of Fine Arts in Salzburg (2005), Austria and earned an MFA from the University of Minnesota (2003). He is a fellow at the MacDowell Artist Colony, USA. His films and works have been shown in multiple festivals and screened in more than twenty countries including New Directors/New Films at the Lincoln Film Society and The Museum of Modern Art in New York, Kino Der Kunst in Münich, VideoBrasil in Sao Paulo, IndieLisboa in Portugal. He has received support from the Foundation for Contemporary Art, New York; Rooftop Films, New York; and The Bush Foundation for the Arts, USA, among others.
Count Off for Eo ipso: Replay Only Memory
Count Off for Eo ipso: Replay Only Memory
The Remains of the Father
The Remains of the Father
The Remains of the Father: Fragments of a Trilogy (Transhumance) is an experimental film and installation. It considers marginally remembered Italian colonial history in Eritrea and Ethiopia between 1930 and 1941. An Eritrean researcher Lula Teclehaimanot discovers an archive of non-official ethnographic literature collected by a Bolognese couple Giovanni Ellero and Maria Pia Pezzoli who had worked for the ?Ministry of Italian Africa? in Eritrea and Ethiopia during that period. Lula has been tasked by the municipality of Asmara to translate from Amharic into Tigryna: A contribution to the birth of the colonial style, an unpublished manuscript written by Ellero promoting the rationale of a modernist Ethiopian architectural vernacular. While she works Lula listens to a radio interview conducted in Italian, Tigryna and Amharic about the contemporary relevance of proverbs in Eritrean and Ethiopian societies. Set within a single room of a derelict house in Bologna which had been built for retired fascist army officials, is also the imagined office of Ellero. Many of the documents laying about the office; Eritrean and Ethiopian proverbs, hand drawn maps, and family emblems and curiously amongst these are the traces of her own family history, collated by Ellero before she was born.
Bridget Baker is an artist from South Africa. She is based in London and Cape Town. Baker?s work is situated at the intersection of documentary and myth creation, forming a series of complex visual fragments realized through film making, installation and documented re-stagings. Baker`s practice and visual language, while based on in-depth research, is often speculative and nomadic, seldom offering a finite position on events or histories. Her work has been exhibited extensively but also at The Museum of African Art (NYC), MAMbo (Bologna, Italy) Centro des Artes Contemporanea (Burgos, Spain), Palazzo delle Papesse (Siena, Italy), Neue Berliner Kunstverein (Berlin), the 2nd Johannesburg Biennale (Cape Town), Bow Arts Centre (London), Glasgow Film Festival (Scotland), Dak?art 2012 (Senegal), Wapping Project (London), South African National Gallery (Cape Town), the South Africa National Arts Festival (Grahamstown, South Africa), and the Oberhausen Short Film Festival (Germany).
CONVERSATIONS IN MILTON KEYNES
CONVERSATIONS IN MILTON KEYNES
One evening, by chance, the filmmaker arrives at Milton Keynes, an English ?New Town? the existence of which he had never suspected. A city in no way responsive to his orientation reflexes, at odds with his intuition, scornful of his judgment, which becomes his subject and muse. On his route, alone with his camera, from the outskirts to the town center, he strikes up the odd acquaintanceship. A beer drinker, a family inspecting a model home, a ?shepherd? of shopping caddies, various and sundry officials and ?users?: each contributes, from a unique perspective, to the image of this ?town for the 21st century?. Amongst those met is Derek Walker, the city?s first chief architect and planner - only 32 years old at the time of its conception in 1967 - who guides us through its workings even while taking issue with today`s reality. Filmed over several years as a complete autoproduction, ?Conversations in Milton Keynes? is Ingo Baltes? first film.
Ingo Baltes was born in Singen (Germany) in 1972. After his Master in philological studies (French, Spanish, Swedish & Icelandic), he came to Brussels to graduate in film direction at INSAS (2002). Today, he works as an independant filmmaker as well as director for children and magazine programmes at Belgian TV RTBF. His documentary films, always linked to one definite place in Europe, analyse phenomena and changes in society in the long term. He is a member of Polymorfilms since 2007.
Panorama zéro est une progression nocturne dans lieu incertain. Le film commence dans une obscurité presque totale, puis l`espace commence à se révéler, à être de plus en plus construit et luminescent. Il retrace un parcours entre nuit ambiante et éléments lumineux surgissant, et rend l`incapacité à cartographier cet espace, en donnant une impression floue et sibylline, un ressenti.
Le travail de Théodora Barat se situe entre le cinéma et les arts plastiques touchant à la fois à l`installation, à la vidéo et au film. Elle a étudié aux Beaux-Arts de Nantes avant d`intégrer le Fresnoy - Studio national des arts contemporains où elle a réalisé son premier film Or anything at all except the dark pavement, diffusé sous la forme d`une installation et d?un film. Elle est la lauréate de la résidence d`artiste de Côté Court pour l`année 2012-2013.
Missing Green (2013) is a poetic journey through Cork Street, Dublin, Ireland. Two parallel stories inter mesh to create one underlying narrative.
Anne Maree Barry is a film artist based in Dublin. Barry?s experimental short films have screened internationally and her work has also been installed in a gallery context at The LAB, Dublin and the Tampere Art Museum, Finland. Missing Green, her most recent short film, was selected for the Stranger Than Fiction Documentary Festival and Indie Cork.An in-depth interview concerning her research methodologies and practice featured in Film Ireland last year.
Cachée derrière Maharaja Sayajirao University de Baroda, se tenait une jungle vallonnée accessible par un petit muret, comme une miniature Moghol. Muni d?une couronne, d?un portant à oiseaux et d?une lampe torche, j?ai demandé à des amis sculpteurs d?incarner dans ce décor les personnages de la Flûte enchantée, comme un prélude à l?Opéra, comme le temps suspendu d?une nuit à rebours, comme la coulisse d?un mélodrame absurde et grave.
Historien de formation ayant étudié à l?Université Paris I, puis diplômé des Beaux-Arts de Paris en 2013, Léandre Bernard-Brunel développe un travail en vidéo à la lisière du cinéma. Les questions de la théâtralité, de la voix et de l`objet y tiennent une place centrale. Ses formes brouillent journal filmé, théâtralisation, récits sonores et images hypnotiques. Léandre Bernard-Brunel part toujours d`un document, d`un réel qu?il distord avec une simplicité dans les moyens optiques et acoustiques utilisés. Il recherche des formes au seuil de l`hypnose et de la fantasmagorie, à l`agonie du sommeil. Ses films ont été montrés ces deux dernières années au Palais de Tokyo, à la Haus der Kulturen der Welt à Berlin, au Salon de Montrouge, à la chapelle des Carmélites à Toulouse, à la Kunsthalle de Mainz ou encore dans les galeries de Jerôme Poggi et de Virginie Louvet à Paris pour sa première exposition personnelle en 2012. Ses recherches plastiques et filmiques ont été soutenues, entre autres, par Jean-Max Colard des Inrok?s pour la Biennale de Belleville en 2012, par la ville de Paris pour son film « Colorature » en 2012, et par le prix Scribe 2013 pour le cinéma.
/ l'autre /
/ l'autre /
Lors d`un pique nique, deux femmes sont réunies. L`une d`elle partage avec l`autre des notions sur les questions de l`argent et de l`amour.
Valérie Bert a d`abord été présente dans le champ de l`art contemporain sous la forme de performances, de pratique multimédia, ou de vidéos. Depuis quelques années, elle travaille plus particulièrement autour de projets de films de format courts et longs. Son travail questionne les notions d`économie, de politique et d`utopie.