Catalogue > Liste par artiste

Six millennials meet renowned writer Noel Riccardi at a former workers' holiday settlement in the Italian Alps. Intrigued by the younger generation, Noel invites them for an evening of food, drinks, and debate. But as political disagreements arise, a generational clash ensues, leading Noel to respond with a cowardly act of violence. The following morning, another friend of the group arrives and joins Maria, who has developed an affinity for the aging intellectual. Together, they pay him a visit.

Magdalena Mitterhofer (1994, Italy) is a director and artist living in Berlin. In her site-specific, narrative works, she explores the relationships between surrounding architectural, socio-political structures and their inhabitants. Magdalena received a Master's degree in Fine Arts from the class of Hito Steyerl at the University of the Arts Berlin and studied New Media at Tama University in Tokyo. 2021 she co-founded the nomadic performance project "lament.tv". Her work was shown, amongst others, at Volksbühne Berlin, Julia Stoschek Foundation, KW Institute for contemporary art Berlin, Tanzquartier Vienna.

Luc Ferrari (1929- 2005) est un musicien extraordinaire originaire du sud de la France. Il a une curiosité et un toupet sans fond pour absorber dans sa musique n?importe quelle expression radicale sans hésitation. Il est malheureusement mort en août 2005. Dans la conjoncture de la scène de la musique contemporaine, pleine de genre et cynisme, il poursuivait l?image de la musique comme ?plaisir?. Á sa manière, Ferrari n?a jamais perdu le pouvoir essentiel de la musique. Les musiciens donnant leurs appuis à la musique expérimentale populaire d?aujourd'hui comme Christian Marclay, John Zorn, Sonic Youth, David Grubbs, Yoshihide Otomo, DJ Olive, et Erikm on tous beaucoup de respect pour lui. Depuis la première rencontre du Studio mal parte avec Ferrari, alors qu?il était invité pour la première fois au Japon par Haruyuki Suzuki, une relation chaleureuse s?est établie entre eux et a ouvert la porte à la création de son Documentary>? LUC FERRARI \portrait off an abstract réaliste. ?? Qui présente des morceaux de sa musique et des ?moments présents? de sa vie à Paris. Hideyuki Miyaoka, un artiste du cinéma, a été invité au festival international du film de Rotterdam avec son film ? Mother Monika\for à film unfinished ? en 2005. Sur le chemin du retour au Japon, il a visité Paris pour filmer une répétition avec, le populaire, FJ Erikm de Marseille et Ferreri, ainsi que des moments de la vie du musicien avec sa femme avec laquelle il avait vécu tant d?années. Par ces scènes, la figure pleine de vie de Ferrari est mise en valeur. C?étaient une vision et un moment prenant des instants précieux de la vie du musicien, d?un homme et de derrière cet homme. Bien qu?il erre promis une réunion ave eux deux qui étaient et avaient déclaré être très touché par cette version complétée de la scène, Ferrari mourut d?une pneumonie en août. Cette vidéo est aussi un enregistrement de ?LAST DATE ?.

Il est réalisateur et représentant du Studio malpatre. Il est né en 1967 à Hiroshima et il s?est établi en 1997 dans un élément de ce qui devint Studio malparte et qui fut assemblé au fur et à mesure que les projets prirent place. Il a produit et présenté indépendamment une série de cinq évènements ?Sagi Poiesis ? ?des séminaires et des ateliers principalement sur l?expression cinématographique). En 1998, il alla en Russie pour travailler comme directeur assistant avec Aleksandr Sokurov sur le tournage de ?MOLOCH? (meilleur film au Festival International du Film de Canne en 1999). En ce moment, il produit et créé un programme artistique nommé ?Edge ? et d?autres programmes pour CSTV.

"Une minuscule buvette-épicerie de la ville industrielle de Kawasaki au Japon est le lieu de rencontre d’habitués occupés à boire des bières en cannette, à discuter de tout et de rien et à jouer aux courses cyclistes. Le vélodrome est tout proche, dans la grisaille du quartier, et représente le seul espace extérieur, la seule échappatoire des hommes qui se retrouvent au bar. Les neuf coureurs de keirin alignés dans les starting-blocks ou sur la piste, dans leurs combinaisons aux couleurs criardes, rythment avec rigueur les journées et entrecoupent les discussions. Au comptoir, les sujets semblent toujours être les mêmes : les paris, le temps qui passe, les cerisiers qui fleurissent... Et pourtant, c’est le repaire des retrouvailles, le lieu de la parenthèse dans un quotidien morne. On se saoule un peu et on partage quelque chose… « J’aime les choses qui flottent, parce que dans l’eau, je coule » confie le tenancier. Pour lui, comme pour ses clients, les cyclistes accrochés à leurs pédales, filant en ligne et imperturbables, sont un peu comme une bouée, le vélodrome, comme un bateau." Madeline Robert

Née en 1991 à Genève, Sayaka Mizuno a réalisé plusieurs courts-métrages et obtient son Bachelor Cinéma à la HEAD – Genève avec mention pour son moyen-métrage intitulé Kawasaki keirin. Présenté au festival Visions du réel 2017, le film reçoit le Prix du Jury SSA/ SUISSIMAGE du film suisse le plus innovant. Elle a participé au Locarno Filmmakers Academy 2017 et est actuellement en Master Cinéma à l’ECAL/ HEAD.

GROTESKKBASILISKK! MINERAL MIXTAPE looks at online subcultures premised on rapid technological acceleration and imperialist nostalgia, and their weird affinities with anti-rationalist ideas in the public sphere.

Mochu (b. India, 1983) works with video and text arranged as installations, lectures and publications. Techno-scientific fictions feature prominently in his practice, often overlapping with instances or figures drawn from art history and philosophy. Recent projects have explored cyberpunk nostalgia, corporate horror, mad geologies, psychedelic subcultures and Indian modernist painting. He is the author of the books Bezoar Delinqxenz (Edith-Russ-Haus / Sternberg Press, 2023), and Nervous Fossils: Syndromes of the Synthetic Nether (Reliable Copy / KNMA, 2022). His works have been exhibited at Edith-Russ-Haus für Medienkunst, Home Works Forum, 9th Asia Pacific Triennial, Sharjah Biennial 13, 4th Kochi-Muziris Biennale and transmediale:BWPWAP.

Toujours vers le haut. Parfois il avance lentement, parfois il s'arrête. Mais jamais il ne déscend.

Je suis né en 1980 à Maribor, en Slovénie. En 1999, j?ai fini l?école de design et de photographie de Ljubljana comme photographe professionnel. Entre 1999 et 2002, j?ai travaillé pour SNG Monitor (le théâtre national Slovène) comme photographe de théâtre. Pendant l?été 2002, j?ai pris part au programme d?artiste en résidence Unidee, Cittadellarte-Fondazione Pistoletto à Bielle n Italie. En juin 2005, j?ai fini mes études en art et média numériques à l?Académie des Beaux Arts de Vienne avec un diplôme de Magister Artium. En novembre 2005, j?ai commencé le programme d?artiste en résidence au AIRantwerp Antwerpen en Belgique.

As we part ways, there are still traces of each other in our memory or the infinite pool of the subconscious. These images linger, they flicker up. They give us hope, they make us sick. They have us question what has become. They complete us. They gently ask: who are we now?

Vincent-Kaya Möller, born 1992 in Berlin, is a German- Turkish director, editor and producer. He initially studied political science and psychology at Universität Halle before moving Berlin, where he graduated with a bachelor ’s degree from Universität der Künste in Communication in Social and Economic Contexts. Following his bachelor ’s he spent two years in New York working as a production and editing assistant for Kontentreal, Art Partner and Osmosis Film. He has also been working as a free-lance filmmaker and currently works for Studio Zentral. S i n c e 2019 he has been studying documentary directing at Filmakademie Baden-Würt- temberg. His third-year film FLIGHT MODE was co-pro- duced by SWR and arte and is currently in post-production.

In the immersive experimental fiction Image Technology Echoes by Lauren Moffatt, we enter a quiet gallery inside a cavernous museum space. The gallery is empty, except for an older man and a younger woman. The pair are having a stilted conversation about the painting they are looking at: a large expressionist canvas depicting a stormy ocean. This odd exchange seems to circulate indefinitely… unless we step inside the body of one of the two figures and are transported to their mental space. Each interior is a messy room with its own life. In this place, the person’s doppelgänger homunculus is reciting their stream of consciousness that the artist generated with a neural network, and the painting appears very different from what we just saw in the gallery.

Lauren Moffatt is an Australian artist working between video, performance and immersive technologies. Her works, often presented in multiple forms, explore the paradoxical subjectivity of connected bodies and the friction at the frontiers between digital and organic life. Lauren's works usually take the form of speculative fictions and environments, which are conceived using a mixture of obsolete and pioneering technologies and often occupy both physical and virtual space. Lauren completed her studies at the College of Fine Arts (AU), Université Paris VIII (FR), and at Le Fresnoy Studio National des Arts Contemporains. Lauren's works have been screened and exhibited most recently at Le Centre Pompidou (FR), Le Grand Palais Éphémère (FR) Hartware MedienkunstVerein (DE) Palais de Tokyo (FR), Villa Medici (IT), UNSW Galleries (AU), Daegu Art Museum (KOR), Museum Dr. Guislain (BE), SAVVY Contemporary (DE), FACT Liverpool (UK) The Sundance Film Festival (US) ZKM (DE), Q21 Freiraum (AT) and at La Gaïté Lyrique (FR). She lives and works between Berlin (DE) and Valencia (ES).

The Magic Hedge visite une réserve d`oiseaux située sur un ancien site de lancement de missiles datant de l’époque de la Guerre Froide situé sur la rive nord de Chicago. Le spectateur, en se promenant et en observant, découvre le prétendu secret du parc : des hommes cherchent de brefs moments de contact sexuel parmi les arbres et les buissons. La vidéo met en évidence les nombreuses contradictions d`un site autrefois consacré à la surveillance militaire et maintenant conçu pour préserver et réguler la vie des "animaux sauvages".

Frédéric Moffet est un artiste multidisciplinaire, un professeur, un monteur vidéo et un travailleur culturel. Il vit entre Montréal et Chicago. Son œuvre, maintes fois récompensée, explore le territoire insaisissable qui sépare l’histoire, l’expérience vécue et le fantasme. Ses bandes vidéo les plus récentes sont Hard Fat (2002), Jean Genet in Chicago (2006), Postface (2011) et, bientôt, The Faithful. Son travail a été diffusé dans divers festivals, universités et galeries à travers le monde, notamment Rotterdam Film Festival, Whitechapel Art Gallery (London), Walker Art Center (Minneapolis), Museum of Contemporary Art (Chicago), PPOW Gallery (New York), Biennial of Moving Images (Geneva), Pleasure Dome (Toronto), Other Cinema (San Francisco), Kassel Documentary Film Festival, Microwave (Hong Kong) and Taipei Golden Horse Film Festival.

A film titled Dance Movie (aka Rollerskate) appears in many Warhol filmographies, but no work with this title can be found in the Collection. The lost film, starring dancer Fred Herko gliding on a single roller skate, was shot in 1963. Herko was a talented dancer and choreographer who cofounded and performed with the Judson Dance Theater. Herko was also associated with the Mole People, a group of queer men and women who came together to get high on speed and listen to opera. In October 1964, unhoused and strung out on drugs, Herko leapt out of an open window while dancing naked to Mozart’s Coronation Mass in C Major. Although the current location of Dance Movie is unknown, accounts of it do exist, including Warhol’s evocative description in POPism of Herko “gliding in dance attitudes and looking as perfect as the ornament on the hood of a car.” Goddess of Speed poetically reimagines the missing film.

Frédéric Moffet is a media artist, educator, video editor, and cultural worker. He lives in Montreal and Chicago. His work explores the slippery territory between history, lived experience and fantasy. His projects include: Horsey, Fever Freaks, The Magic Hedge, Adresse Permanente, The Faithful, POSTFACE, Jean Genet in Chicago and Hard Fat.

2 scenes shot in a car driving in the occupied territories. Israeli Human Rights journalists on their way to a story. In one scene they ask themselves if they should continue driving down the road because the locals say there is an Israeli tank shooting at whoever comes near it. In the second scene they detect the Istraeli military post where they were shot at from a few months earlier. In the third scene the IDF orchestra plays a happy march.

Avi Mograbi, filmmaker and video artist. He is the director of: Details 11-13 (2009), Z32 (2008), Mrs. Goldstein (2006), Avenge but one of my two eyes (2005), Detail (2004), August (2002), Wait, it?s the soldiers, I`ll hang up now (2002), At the back (2000), Will you please stop bothering me and my family (2000) Relief, (1999), Happy Birthday Mr. Mograbi (1999), How I learned to overcome my fear and love Arik Sharon (1997), The reconstruction (1994), Deportation (1989).

A photograph circulates, showing five men staring out of a window. Actually, only four look out; the last man breaks protocol and looks at the camera. The light has a soft glow. The stage is a bombed building. All five men wear military fatigues; the color must have been olive green.Snapped by a Magnum photographer in 1982, the image is a teasing enigma. Arabic newspapers claim it as evidence of Bangladeshi fighters in the PLO (Fatah faction). Go a little deeper into the memory hole and sediments will darken the third world international. Still, the light was beautiful. Abu Ammar is Coming continues The Young Man Was project’s exploration of the 1970s revolutionary left as a form of tragic utopia. Previous chapters have shown at the 2015 Venice Biennale, the Museum of Modern Art (New York), and the 2011 Sharjah Biennial.[Abu Ammar was the nom de guerre of Yasser Arafat. His Fatah faction of PLO fascinated Bangladesh JSD (National Socialist Party) leader Major Jalil, despite the sharper Marxist tendencies of the George Habash faction.] Picture credit: Volunteers from Bangladesh fighting with Palestinians, 1982 © Chris Steele-Perkins / Magnum Photos The Young Man Was project examines the failures of radical, armed leftist movements of the 1970s. The protagonists often display misrecognition, ending up as an “accidental trojan horse” carrying tragic results to the countries in question (from Japanese hijackers commandeering Dhaka airport for “solidarity,” to migrant labor pipelines transformed into PLO “volunteers”). In spite of its failures, Mohaiemen’s reading of the potential of international left solidarity is still, always, one of hope. The first part (United Red Army, 2011) reconstructs the 1977 hijacking of Japan Airlines Flight 472 through a series of crisply polite negotiation tapes. The second film (Afsan’s Long Day, 2014) addresses the misrecognition of Marxist ideologies from the perspective of a young historian (Afsan Chowdhury, whose diary entry gives the series its name), slaloming between Bangladesh’s summer of tigers, and the German Autumn associated with the Rote Armee Fraktion. The third film (Last Man in Dhaka Central, 2015) traces, in reverse, the journey of Peter Custers, a Dutch journalist jailed in Bangladesh in 1975, accused of belonging to an underground armed Maoist group. A more recent short film, Abu Ammar is Coming (2016), digs into the illusions of a press photograph of “PLO fighters” taken by Chris Steele-Perkins for Magnum. In the form of Peter Custers, who unfortunately passed away in 2015, many of the questions of The Young Man Was project take a personal form. What lies behind utopian hope, especially within the idea of socialism, against the weight of history and experience? What also of the men who survived those terrible times, unlike so many of their comrades, and now spend their waning days in solitary apartments, writing down memories? What was such a man then, and how does he remember himself today? Was he John Reed, recording the Russian Revolution, in the last free moment before the Thermidor? What does it mean to be a survivor and witness—the last man standing on the eve of another collapse, surveying the wreckage of the socialist dream in the middle of a horrific present that teeters on the cusp of the Anthropocene?

Naeem Mohaiemen is a writer and visual artist. Since 2006, he has worked on "The Young Man Was," a series of projects on the 1970s radical left. The first two films in this sequence are "United Red Army" (2012), which premiered at Sharjah Biennial, IDFA, and Hot Docs, and "Afsan`s Long Day" (2014), which premiered at MoMA, New York, and Oberhausen. He is researching the third installment, "Last Man In Dhaka Central" (2015). The project has been supported by grants from Creative Capital, Creative Time, Franklin Furnace, Rhizome, Puffin Foundation, and Arts Network Asia. He is a 2014 Guggenheim Fellow. The works are also in private collections, as well as the permanent collection of the Tate Modern and the British Museum.

Walking towards the commemorative obelisk, the memorial of establishing Delhi as capital of British India, We trace passed the land exactly 101 year after the coronation celebrated there. Nostalgic about the moment in history simultaneously relaxed due to its ruined state, all of our cameras started shooting the actor, unknown character and new encounters. The documented images showed intense moments of repetition and reappearances, where we expose cameras to ourselves in different position, composition and perspective. The video plays with the idea of echo in repeated intervention, engagement and performative ordinary gestures. The cinematic time in loop becomes a still image of walking, looking and hearing as rehearsing, acting bodies and a resurrected site.

SOLO EXHIBITION 2012 Kino is the Name of a Forest, Solo Exhibition, Vadehra Art Gallery, New Delhi, India EXHIBITIONS 2015 Kochi Biennale Foundation Young Curatorial Award-Fellowship 2016/2017 on the KBF Student’s Biennale. 2015 BLAST! ASIA NOW, Stand SP1, Espace Pierre Cardin, 1 Avenue Gabriel, 75008 Paris. 2015 59th BFI London Film Festival, curated by William Fowler London, United Kingdom. 2015 Rendez-vous Singapour Exposition, Institute of Contemporary Art Singapore. 2015 Undivided Mind Part- ii, Art + Science Exhibition, Curated by Lieah Smith, KHOJ international Artist Association, New Delhi, India 2015 Forever Now, Curated by Willoh S. Weiland, Brian Ritche, Thea Baumann and Jeff Khan, Aphids Epic Contemporary Project, Mofo, Hobart 2014 TokyoStory Part- ii, Tokyo Wonder Site, Shibuya, Tokyo, Japan 2014 Field Trip Project, Curated by Daisuke Takeya, Tokyo, Japan 2014 Insert- Common Ground Curated by Raqs Media Collective, IGNCA, New Delhi India 2013 Rendez-vous 13, Institute of Contemporary Art Lyon, Lyon, France 2013 Ideas of the Sublime curated by Gayatri Sinha, Rabindra Bhawan, New Delhi, India 2012 Sarai Reader 09: Exhibition, Curated by Raqs Media Collective, Devi Art Foundation, Gurgaon, India 2012 Video Wednesday II, Curated by Gayatri Sinha, Gallery Espace, New Delhi 2012 Broadening the Canvas: Contemporary Visual Culture of Alternate Sexuality, Curated by Rahul Bhattacharya, Part of Kolkata Rainbow Pride Festival, Kolkata 2012 In Other Words, Sarai-CSDS, New Delhi 2011 Regards Croisés: A Selection of Asian Contemporary Art, Art Plural Gallery, Singapore 2011 Collective Metamorphosis, Curated by Kapil Chopra, Nature Morte, New Delhi 2011 To be continued… The FICA Group Show, Curated by Bhooma Padmanabhan, Volte Gallery, Mumbai 2011 Hong Kong Art Fair, works presented by Nature Morte 2011 Outset Inaugural Exhibition, co-ordinated by Peter Nagy and organized by Feroze Gujral, New Delhi 2010 Drifiting Still, Curated by Rahul Bhattacharya, Art Konsult, New Delhi 2010 ARTIST + NATURE = ART The Sandarbh Workshop and residency. The Lahori Forest, Dadra Nagar & Hawali (UT) India 2010 Present is Now, Curated by Peter Nagy, Bestcollegeart.com 2010 City as Studio: EXB 10.04, Sarai, CSDS, New Delhi. 2010 City as Studio: EXB 10.01, curated by Iram Ghufran and Amitabh Kumar as part of ‘Ten Years of Sarai’, Sarai, CSDS, New Delhi (Feb 15 – March 10) 2010 Renewed Intensity, Curated by Jagannath Panda, B K College of Art, Bhubaneswar 2010 Drifters, Curated by Rahul Bhattacharya, Gallery Beyond, Mumbai (as part of Kala Ghoda Arts Festival, February) 2009 Drifters, Curated by Rahul Bhattacharya, Art Konsult, New Delhi (18 Dec – 10th Jan) 2009 Fantasy, Curated by Sunil Gupta and Gautam Bhan, Nigah Queer Festival, Max Mueller Bhavan, New Delhi. AWARDS / RESIDENCIES 2015 Kochi Biennale Foundation Young Curatorial Award- 16-month Fellowship 2016/2017 on the KBF Student’s Biennale. 2015 T.A.J. RESIDENCY & SKE PROJECTS, Bangalore, India 2015 Undivided Mind- Part II, Art + Science One Month Residency at KHOJ, KHOJ International Artist Association, New Delhi, India. 2014 Writing Intensive, Kiran Nadar Museum of Art, Noida, New Delhi 2014 International Creator Residency Program 2013, Tokyo Wander Site, Tokyo, Japan 2013 An Anatomy and Politics of Video Art, A workshop by Marcel Odenbach, Kolkata, India 2011 Three-months residency hosted by Stadt galerie, Bern (Switzerland) in collaboration with Pro Helvetia (Swiss Arts Council) and FICA 2010 Sandarbh Artists Residency, Dadra Nagar and Havelli 2010 EMERGING ARTIST AWARD, Foundation of Indian Contemporary Art (FICA), New Delhi 2010 Awarded ‘the City as Studio’ – Sarai-CSDS Media Lab Associate Fellowship for Contemporary Art and Media Practices and Residency

Observing reality with my camera. How can I put the memory of 9-11 into a context which is giving meaning tot he meaningless. What does it all mean after all? Memory, experience, feelings felt, countless impressions, perceptions. Aware and unaware, hidden and obviously on the surface. Tragedy, drama, upheaval, turmoil, change processed more or less into mind matter. Several approaches to the material of my archive containing meanwhile more than 800000 photo’s taken from 1985 until now. music: Michael Bonaventure: Prelude XI, Interlude XI, Postlude Xi Biography Thomas Mohr

Born in Mainz, Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and “films”. How do we proces what we see and encounter? Working with computer­ generated processes combined with manual execution based on a growing photo archive regarding to important moments of modern history as to major and minor personal events. Works are in various ways referring to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. IFFR/Rotterdam, JMAF/Tokio, Sonic Acts/Amsterdam, Ars Electronica/LInz, IFFR/Rotterdam, Transmediale Berlin, IFF Japan, NeMaf/Seoul,mJMAF Tokio, SICAF/Seoul, IKFF/Hamburg ,Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro/ Wroclaw, Underdox/Munich, Werkstattkino/ Les Recontres International/Paris/Berlin, Stedelijk Museum/Amsterdam, Edith­Russ­Haus for Media Art/Oldenburg, EMAF, Videomedeja, Berlin Atonal

What role does childhood play in developing experience? How are personal present and past connected in the process of aging? The longing for the places of the personal past was the reason for a trip to Flensburg in 2001 a few weeks before 9/11. More than 2000 photos were taken in just a few days. It was only many years later that the negatives were digitized and it was only more than 20 years later that the need to process these recordings into a composition arose. The turbulent German-Danish history on both sides of today's border and the places of childhood come together in a whole where the past merges into one experience in the now. 3636 images are processed frame by frame in the first 3 movements. Each movement is containing 24 sequences of stills. The amount of images in the stills increases from 4 to 625 images simultaneously. After the first 3 movements the process is repeated towards the infinite to end in structures similar to the layers one would find in rock formations.

Thomas Mohr is exploring processes of perception and memory systematically in performance, painting, video, installations. From 1985 onwards a growing archive containing more then 600000 pictures regarding a wide range of events of transition from a collective meaning to very personal moments. Distributed by LIMA. Sreenings at various festivals since 2009: IFFR/Rotterdam, JMAF/Tokio, Ars Electronica, Transmediale Berlin, IFF Japan, NeMaf/Seoul, IKFF/Hamburg, Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro, Rencontres Paris/Berlin, EMAF, Atonal Berlin, Projects with music at Stedelijk Museum, Orgelpark Amsterdam, Edith Russ Haus Oldenburg, CCAM / Scène Nationale de Vandœuvre. Michael Bonaventure , based in Edinburgh & Amsterdam, is composer, organist and collaborator in new and experimental music projects; Extended cyclic works predominate in his output including huge body of electronic and electro-acoustic pieces as well as instrumental and organ music. From a sonic universe deriving its inspiration from mysticism and ritual, natural and imaginary worlds, astronomical and supernatural phenomena.

"Habitat 2.4" est la première collaboration entre le vidéaste Thomas Mohr et le compositeur Reinier van Houdt. Thomas Mohr traite plus de 7000 photos prises à chaque instant pendant ses explorations des quartiers de Noisy-le-Grand, Nanterre et Paris dans le cadre d'un projet plus vaste sur l'expérience de l'espace public début 2019, juste avant le premier confinement. Reiner Van Houdt utilise du "found sound" provenant de situations et d'appareils qui transcendent la distance, comme les trains, les radios, les télévisions, les satellites de la NASA, le réseau électrique, les téléphones portables, les oscillateurs - tous captés à la frontière entre la nature cyclique des sons stationnaires ou "gelés", et les sons transitoires du mouvement rapide. Dans "Habitat 2.4", au premier niveau de traitement, Mohr compose et structure son matériel photographique dans un système temporel qui se rapproche à bien des égards de la mesure habituelle du temps, mais qui est plus dynamique. L'expérience du moment présent, avec son avant et son après, la transformation du présent en passé, est réassemblée de manière répétitive dans une structure de cadres, de séquences et d'unités. Reiner Van Houdt a composé des structures rigides et fermées, et a peuplé cette architecture de blocs sonores complexes créés à partir de sons trouvés, qui déforment, réarrangent ou ravagent sa structure, pour montrer la glorieuse impossibilité de contenir la matière sonore - comme un défi à la contingence.

Thomas Mohr : Mouvement, changement, transformation, expérience. Exploration systématique des processus de perception et de mémoire depuis la fin des années 80. Depuis 1985, il construit une archive encore en expansion, composée de plus de 600000 photos - concernant un large éventail d'événements de transition, s’étendant d'un sens collectif à des moments très personnels – ainsi que des milliers de captures d'écran tirées de médias sociaux. Il vit et travaille à Amsterdam (Pays-Bas), et est distribué par LIMA. Depuis 2009 son travail a été projeté dans divers festivals, notamment au Festival international du film de Rotterdam (Pays-Bas); au JMAF – Japan Media Art Festival, Tokyo (Japon); à Ars Electronica, Linz (Autriche); à la Transmediale, Berlin (Allemagne); au Japan Media Arts Festival (Japon); au NeMaf – Seoul International New Media Festival, Séoul (Corée du Sud); au IKFF – Internationales Kurzfilm Festival Hamburg, Hambourg (Allemagne); au Jihalva International Documentary Film Festival, Jihalva (République tchèque); au HAFF – Holland Animation Film Festival, Utrecht (Pays-Bas); à la Media Art Biennale Wro, Wroclaw (Pologne); aux Rencontres Internationales Paris/Berlin (France/Allemagne); au European Media Art Festival, Osnabrück (Allemagne); et à Berlin Atonal (Allemagne). Reinier van Houdt est compositeur/musicien. Il vit à Rotterdam (Pays-Bas). Il utilise le piano, des objets et le field recording. Il a développé une fascination pour les matières qui échappent à la notation: le son, le timing, l'espace, la physicalité, la mémoire, le bruit, l'environnement - des éléments qui vont au-delà de la composition, de l'interprétation et de l'improvisation. En dehors de son propre travail, il a collaboré avec Robert Ashley, Annea Lockwood, John Cage, Alvin Curran, Michael Pisaro, Francisco Lopez, Alessandro Bosetti, Christian Marclay et Luc Ferrari. Il a donné des performances au festival CTM Berlin (Allemagne); au Meltdown London, Londres (Royaume-Uni); à Alternativa Moscow, Moscou (Russie); au festival AngelicA, Bologne (Italie); au Huddersfield Contemporary Music Festival, Huddersfield (Royaume-Uni); au festival Unsound, Cracovie (Pologne); à Art Basel Hong Kong (Chine); et au Primavera Sound Festival, Barcelone (Espagne). Reinier van Houdt fait également partie du groupe de David Tibet, Current 93, et a travaillé avec Takashi Makino sur son film "Memento Stella".

From Berlin to Hiroshima, from Hiroshima to Berlin. From Past to Now, from Now to Past. Connecting events, remembering the suffering of war and new beginnings. Observations. 7 identical defined time units each containing a series of 24 progressing intervals of shifting box systems descending from 25x25=625 to 2x2=4 images. The construction of each unit is exactly the same, the content of each unit is entirely individual. Walking through a winter night in Berlin, going from Miyajima island to Hiroshima, the experience of My Facebook Timeline Having devastating destruction in mind and reconstruction. Straight forward, up side down, rotating. Positive, negative. Complex layers, more complex layers. Text, subtext.

Biografy: Moving, changing, transformation, experience. Exploring processes of perception and memory systematically since the late 1980ties. From 1985 onwards a growing archive containing more then 500000 pictures and thousands screenshots regarding a wide range of events of transition from a collective meaning to very personal moments. Living and working in Amsterdam. Distributed by LIMA. Sreenings at various festivals since 2009: IFFR/Rotterdam, JMAF/Tokio, Ars Electronica/LInz, Transmediale Berlin, IFF Japan, NeMaf/Seoul, IKFF/Hamburg, Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro, Rencontres Paris/Berlin, EMAF, Atonal Berlin

After a moment of brightness, a memory unit containing 59.049 images is explored from the totality to its individual images, creating connections on various levels in various directions in a shifting dynamic system. Beginning with a sudden and rough recall of memories the information merges with increasing compression in several cycles and repetitive feedback to transform in an almost ad infinitum expanding time space topology of intense subtlety. The visual composition is inverted and disrupted several times by visual blanks of bright white. The original images were taken handheld in 2002/3 when the experience of 9/11 still was present. The composition is made frame by frame using “contact sheets” (6, 5 fps). The integration of the outdated format SD in the more contemporary HD leaves empty space in the memory levels and in the processing levels. The memory unit used in this video is the second out of nine units, which will become one total memory at a later stage covering 30 years from 1985 to 2015. The music composed by Michael Bonaventure (organ sounds) and René Baptist Huysmans (electronic sounds) is inspired by the poem “The Comet at Yalbury” by Thomas Hardy ?

Born in Mainz, Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and "films" referring inter alia to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. Working with computer-generated processes combined with manual execution based on a growing photo archive containing at this moment more then 500000 pictures taken from 1985 regarding important moments of modern history as to major and minor personal events.

Cousin et cousine, un espace sans paroles. Une voix au piano. Au bout des doigts, le sens. Un pont, trop haut. Cousin Cousine est un film personnel entre témoignage et poésie. Sur un amour impossible.

Maria Mohr est née en 1974 à Mainz, en Rhénanie. Elle a étudié le français et l'architecture à Paris et à Darmstadt. Depuis 1998 Maria Mohr vit à Berlin. Elle a contribué à divers projets indépendants de théâtre et de danse et a travaillé en parallèle dans le domaine du cinéma, de la vidéo et de la photographie. De 2002 à 2005 elle étudie le film expérimental à l'université des arts de Berlin. Son film de fin d'études "Cousin Cousine" est présenté depuis dans des festivals nationaux et internationaux et a remporté de nombreux prix, dont le prix du court-métrage allemand en 2005. Actuellement Maria Mohr travaille sur un film documentaire long.

Is it possible to understand the work of the artist and composer Hanne Darboven (1941 - 2009) famous for her large scale installation containing thousands of drawings and notes? The project Zu / On Hanne Darboven is an exploration of herless known music  in relation to her  visual oeuvre. Abschliessend (In conclusion) is based on 1853 pictures handheld taken- as meticolous as possible - very close to the details of the works in the last space of the exhibition “The order of time and things. The home studio of Hanne Darboven” organised by the Museo Nacional Centro de Arte Reina Sofía and the Deichtorhallen Hamburg - Sammlung Falckenberg in collaboration with the Hanne Darboven. The music is the last part of Hanne Darbovens Requiem recorded in eleven volumes. The pictures are processed in still compositions frame by frame in a series of cycles increasingly compressing the original information.

Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and "films" referring inter alia to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. Working with computer-generated processes combined with manual execution based on a growing photo archive containing at this moment more then 500000 pictures regarding major and minor personal and historic events. Main themes recently the reverberation of historic incidents and and the intertwined relations of culture. Thomas Mohr’s particular way of composing films since 2008 begins with smallest elements - taking single images. This material is processed in repetitive steps to higly compressed structures where the visual properties are almost dissolved. Since 2010 works specifically related to the body of work of Hanne Darboven. Now working on constructing an episodic memory covering the information of 30 years (1985-2015).

Time is the main determinant of the events, a dimension that defines the place of an object in the vast space More specific manner rather than relying on the three main dimensions (length - width - height) where you can not any event in the universe characterization without the addition of a fourth dimension. Thus, the movement of objects may be a relative change with time, and the concept of time is no longer a constant.

Ahmed Mohsen Mansour. Visual Artist born in October 1987, lives between Saudi Arabia and Egypt. Graduated from Faculty of Applied Arts- Advertising department, Recently I preparing MFA degree in Faculty of Fine arts – Graphic department- entitled “Installation Art as an Access to the Three Dimensional Ads Design”. Participated in several exhibitions and workshops in the fields of video, photography and animation in Cairo, Alexandria, London, Italy, Germany, France,Slovakia,Spain, Emirates and Saudi Arabia. Had a three experiments in the theatre field where I worked as an actor and assistant director in “The Hunchback of Notre Dame” and “The Ghosts," They are two theatre shows produced by “Woshosh” theatre group, also worked as a scenographer in “Inside the Mirror," another play produced by the same group.

The videoart “I, who ignore so many things, know that I ignore one more" is based on a short story by Brazilian writer Vilma Aguiar. The film aims to ponder between decisions, choices, and mistakes in order to understand the present and project the future through observations about the past, as the misunderstandings resulting from a time full of certainties led us to a hazy and fluctuating period between apathy, anesthesia, post-truth, torment, endless work-fun, euphoria, and fervor. Thus, aware of the yes and no, we could let ourselves be carried away by oscillations, abuse time, and get lost in it, in a lucid labyrinth.

Fernando Moletta is a visual artist and researcher (FBAUL). He holds a Master's degree from the Faculty of Fine Arts of the University of Lisbon. His artistic practice arises from an exploration of the challenges posed by modernism in contemporary times. Through an examination of temporal concepts and their intersections, he delves into the themes of failure, biopolitics, allegorical plasticity, and technological noise. These notions manifest as specters, hovering and intertwining to form a hybrid body of work that encompasses video, sculpture, and drawing. His recent exhibitions include solo shows such as "Three Sad Flawed" at the Gallery of the Faculty of Fine Arts of the University of Lisbon and "O que há entre o acima e o abaixo?" at the Museum of Art of Blumenau (Brazil), as well as group exhibitions including the 14th International Biennial of Contemporary Art in Curitiba (Brazil), "Drifting Time Misplaced" at Mono (Lisbon), "New future" at Industra (Brno, Czech Republic), and the 50th Contemporary Art Salon Luis Sacilotto (Santo André, Brazil). He has also participated in video and cinema festivals such as "Caminhos do Cinema Português" (Coimbra, Portugal) and the 36th Stuttgarter Filmwinter - Festival for Expanded Media (Stuttgart, Germany). He has taken part in artistic residencies at Duplex AiR (Lisbon) and Stalker/Mattatoio (Rome). His work has received awards and is part of the institutional collection at the Museum of Art of Goiânia (Brazil).

On 1972 the astronaut Charles Duke landed on the Moon on the Apollo XVI. He was in charge of taking photos of the lunar surface with a high-resolution camera. ‘The Sasha’ is a film about the human perspective on Earth and our constant struggle with our temporal and spatial limitations. From the exploration of space to cyberspace, from an analogue Moon in 1972 to a virtual Moon in Google Earth today. A story about parallel universes where eternity seems to be lost between frames and interfaces.

María Molina Peiró is a Spanish audiovisual artist, filmmaker and researcher. Her film and installations explore layered realities that connect humans, technology and nature. She is particularly interested in memory systems (from geology to digital memory) and the relation between cinema and science. Her work has been shown internationally both in art venues and film festivals such as International Film Festival Rotterdam IFFR, Rencontres Internationales, BFI London Film Festival, Haus der Kulturen der Welt, International Film Festival Oberhausen, Louvre Museum, EYE Film Museum, ISEA Korea, Indie Lisboa International Film Festival, Washington National Gallery, London Science Museum, MACBA, National Museum of Modern and Contemporary Art (MMCA) Seoul, CCCB, Sevilla European Film Festival (SEFF), LOOP Videoart Festival, VIS Vienna Shorts, Hong-Gah Museum (Taipei), MATADERO (Madrid), Vilnius National Gallery, Taiwan Video Art Biennale, NABI Art Center, or Museum of Contemporary Art of Vojvodina amongst others. María holds a BA in Fine Arts from the University of Sevilla and graduated Cum Laude from the Master of Film at the Netherland Film Academy, where she is a current lecturer. Molina Peiro’s work has been supported and awarded in the last years with grants like Amsterdam Funds for the Kunst (3 Package Deal), AHK (Amsterdam University of the Arts) Award for Best Master´s project, Aesthetica Art prize (UK), Bloom Awards (Germany) among others. María Molina Peiro´s has participated recently in residency programs at Museum Quartier Vienna and Santa Fe Art Institute.

During one year María Molina Peiró carried a wearable camera taking a photo every 30 seconds. The enormous collection of photos collected by the camera are shown in an online archive that instead of "remembering" creates a creative forgetting of the vast photo archive. One Year Life Strata proposes a visual metaphor of forgetting by transforming the digital images into what is likely the ultimate memory trace that will remain from us: The geological record. The project, in a sort of digital geology, mines the data from the strata and invite viewers to investigate one year of Maria Molina's life through an AI vision system, not concerned about personal memories but the collection of patterns and numbers they contain. In a society obsessed with recollection, data and monitoring One Year Life Strata addresses the disturbing territory of forgetting. Today that we have the tools to remember and archive almost everything, forgetting has become a term very close to death raising very similar fears. One Year Life Strata wants to overcome this fear and embrace forgetting in a game of time scales, where the speed of Digital Time is buried into a time difficult for us to grasp, the slow Deep Time.

María Molina is an audio-visual artist and filmmaker with a background in fine arts. She works in an open format mixing film, digital media and experimental animation. María Molina´s films and art works have been showcased in international museums like Haus der Kulturen der Welt (Berlin), EYE Film Museum (Amsterdam), MACBA (Museum of Modern Art Barcelona), Hong-Gah Museum (Taipei), Centre de Cultura Contemporània Barcelona (CCCB), MATADERO (Madrid) or Museum of Contemporary Art of Vojvodina (Serbia) among others. Her works has been featured in festivals like Rotterdam Film Festival, Art Futura (Barcelona), Taiwan Video Art Biennial, MADATAC (Madrid), VISS (Vienna International Film Festival) or Forecast Forum (Berlin). In her work she explores the increasingly blurred boundaries between material and digital realities. She is particularly interested in the convergences between different memory systems (from Geology to Digital Memory) and how the ubiquity and pervasive nature of Digital Technology is reframing our spatial and temporal perspective. Her films and installations often use metafiction, postproduction and geo-tools to unfold layered realities that connect humans, technology and nature. Her current research focuses on humanity's constant struggle with its temporal and spatial limitations, and how this struggle has driven civilisation and technology to change our relation with nature, time and our understanding of life itself.

I am in a supermarket. Instead of buying the products I need, I buy that ones that the others want. Does a product taste better when is desired by the others? A supermarket is a very common place in our daily life which represents well today`s capitalist system. Through my action I attempt to confront the idea of consumer choice and desire. Transcending the comic or quirky, the video promotes the possibility of a critical engagement with consumer values and cultural behaviour. It has without being propangandist a political agenda.

Mercedes Mollá (b. 1980, Valencia) received a Postgraduate Diploma in Fine Arts at Chelsea College of Art and Designed, University of the Arts in London. Studied her BA at Facultad de Bellas Artes de San Carlos in Valencia .With the Erasmus scholarship she studied six months at Winchester School of Art,UK. Recent solo exhibitions include Matuvu gallery, Brussels, Art Below, London; Imprevisual gallery, Valencia. Group exhibitions include Canvas Collectie , gallery on line ,Belgium; Really London?s gallery; Galeria de arte Kessler-Battaglia, Valencia. Mercedes is currently based in Brussels.

TIONG BAHRU follows the lives of three characters of very different ages over the course of a day as they reveal to their families and friends their hopes and desires. Lyrical and musical in its style, the film is a sensitive portrait of 3 people caught at a crossroads in their lives and the extraordinary place in which they live. TIONG BAHRU is the latest and most ambitious film in CIVIC LIFE, the acclaimed series of short films by Christine Molloy and Joe Lawlor, through which over the last 8 years the artists have explored the themes of belonging, place, change and relationships. The films are developed through an extensive process of dialogues with communities and are made with casts of volunteers drawn from the areas in which they are filmed. Featuring 150 volunteers, many of whom had never acted before, TIONG BAHRU was shot on 35mm in the market and hawker centre of the art deco heritage estate of Tiong Bahru in Singapore in June 2010. ?TIONG BAHRU is the touchstone of (Molloy and Lawlor?s) work?restrained and lavish, formally audacious and sentimental? (Sight & Sound)

Born in Dublin, Ireland Christine Molloy (b 1965) and Joe Lawlor (b 1963) studied theatre in the UK in the late 80s. From 1992 to 1999 they devised, directed and performed in six internationally acclaimed touring theatre shows before shifting their attention towards moving image based work. Between 2000 and 2003 they directed a number of episodic, interactive works for the internet, and large-scale community video projects for galleries. Since 2003 Molloy and Lawlor have produced, written and directed 10 acclaimed short films, under the title CIVIC LIFE. All shot on 35mm, the CIVIC LIFE films have screened extensively around the world including screenings at the Telluride Film Festival, the International Film Festival Rotterdam, the Thessaloniki International Film Festival, the Sydney Film Festival and IndieLisboa. HELEN, their acclaimed debut feature film, premiered at the Edinburgh International Film Festival in June 2008 before screening at over 50 film festivals worldwide. TIONG BAHRU is the latest film in the CIVIC LIFE series.

Moore Street est un unique travelling filmé à Moore Street en Ireland. Le film est en swahili et en anglais. Pendant cinq minutes, nous suivons les pensées d'une jeune africaine en Irlande, songeant à son passé, son avenir et le sentiment d'identité qui se révèle à elle tandis qu'elle longe la rue dans la nuit. D'une part, Moore Street revient sur rue emblématique de Dublin à un moment charnière de son renouveau officiel de développement, où déjà les espoirs et les rêves des nouvelles communautés refondent la ville à l'image de leur chez-eux. D'autre part, il s'agit d'une lettre d'amour chuchotée à un amant absent au c?ur de la nuit.

Christine Molloy et Joe Lawlor sont tous deux originaires de Dublin (Irlande). Ils sont actuellement basés à Londres où ils réalisent des ?uvres filmiques et vidéo pour le cinéma, Internet, sites et galeries. Moore Street est issu d'une série de sept cours métrages en 35mm tournés par Molloy et Lawlor sous le titre Civic Life qui ont contribué à l'entrée de l'Irlande dans la Biennale de Sao Paulo en 2004.

TIONG BAHRU follows the lives of three characters of very different ages over the course of a day as they reveal to their families and friends their hopes and desires. Lyrical and musical in its style, the film is a sensitive portrait of 3 people caught at a crossroads in their lives and the extraordinary place in which they live. TIONG BAHRU is the latest and most ambitious film in CIVIC LIFE, the acclaimed series of short films by Christine Molloy and Joe Lawlor, through which over the last 8 years the artists have explored the themes of belonging, place, change and relationships. The films are developed through an extensive process of dialogues with communities and are made with casts of volunteers drawn from the areas in which they are filmed. Featuring 150 volunteers, many of whom had never acted before, TIONG BAHRU was shot on 35mm in the market and hawker centre of the art deco heritage estate of Tiong Bahru in Singapore in June 2010. ?TIONG BAHRU is the touchstone of (Molloy and Lawlor?s) work?restrained and lavish, formally audacious and sentimental? (Sight & Sound)

Born in Dublin, Ireland Christine Molloy (b 1965) and Joe Lawlor (b 1963) studied theatre in the UK in the late 80s. From 1992 to 1999 they devised, directed and performed in six internationally acclaimed touring theatre shows before shifting their attention towards moving image based work. Between 2000 and 2003 they directed a number of episodic, interactive works for the internet, and large-scale community video projects for galleries. Since 2003 Molloy and Lawlor have produced, written and directed 10 acclaimed short films, under the title CIVIC LIFE. All shot on 35mm, the CIVIC LIFE films have screened extensively around the world including screenings at the Telluride Film Festival, the International Film Festival Rotterdam, the Thessaloniki International Film Festival, the Sydney Film Festival and IndieLisboa. HELEN, their acclaimed debut feature film, premiered at the Edinburgh International Film Festival in June 2008 before screening at over 50 film festivals worldwide. TIONG BAHRU is the latest film in the CIVIC LIFE series.

Moore Street est un unique travelling filmé à Moore Street en Ireland. Le film est en swahili et en anglais. Pendant cinq minutes, nous suivons les pensées d'une jeune africaine en Irlande, songeant à son passé, son avenir et le sentiment d'identité qui se révèle à elle tandis qu'elle longe la rue dans la nuit. D'une part, Moore Street revient sur rue emblématique de Dublin à un moment charnière de son renouveau officiel de développement, où déjà les espoirs et les rêves des nouvelles communautés refondent la ville à l'image de leur chez-eux. D'autre part, il s'agit d'une lettre d'amour chuchotée à un amant absent au c?ur de la nuit.

Christine Molloy et Joe Lawlor sont tous deux originaires de Dublin (Irlande). Ils sont actuellement basés à Londres où ils réalisent des ?uvres filmiques et vidéo pour le cinéma, Internet, sites et galeries. Moore Street est issu d'une série de sept cours métrages en 35mm tournés par Molloy et Lawlor sous le titre Civic Life qui ont contribué à l'entrée de l'Irlande dans la Biennale de Sao Paulo en 2004.