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La frontière est un lieu construit artificiellement qui se matérialise lorsque les gens le traversent. Nous sommes habitués à voir dans les médias des images violentes et agressivesde la frontière, utilisées pour manipuler l'opinion publique sur l'immigration illégale et la sécurité nationale. De Lete a été tourné sur la frontière entre Tijuana et San Diego, avec pour toile de fond le petit village de Las Playas au golf du Mexique. De Lete donne une vision alternative de la frontière. Le film est au carrefour de plusieurs genres, formel, documentaire et philosophique. La caméra capte l'activité humaine le long de la barrière en fil de fer de la frontière, anticipant le crime. A notre surprise, la frontière se matérialise seulement quand les gens de tous âges viennent des deux côtés pour s'adonner à une communication intime. Ainsi, la barrière se transforme en point de rencontre, et aucune tentative pour la traverser n'est faite. Tandis que cet acte de tous les jours se répète au ralenti, la frontière disparaît et devient soudain un lieu ambivalent à la croisée de deux cultures; un nouvel espace social aux relations discrètes. C'est un espace reculé, contrôlé par des forces invisibles.

Jenny Marketou est née à Athènes, en Grèce, et vit à Brooklyn, où elle réalise des installations vidéo, internet, des photographies et des dialogues publiques. Son travail est influencé par la musique, l'art et les nouveaux médias. Son inspiration première est liée à de nombreuses lectures, que l'on peut voir comme une culture du paysage. Son oeuvre a été montrée dans des musées et des galleries aux niveaux national et international et a reçu de nombreuses bourses et a fait de nombreuses résidences d'artistes à travers le monde. Elle possède un Master of Fine Arts du Pratt Insitute de Brooklyn et enseigne en tant que professeur adjoint la photographie et l'art interdisciplinaire à la Union School of Art and Science de New York. Elle est l'auteur d'un livre avec photographies et entretiens: "The Great Longing: The Greek Immigrants of Astoria ,Queens".

FLOWS : Working very closely with the indigenous communities with the intention to explore the female voice as a political weapon and the dialectic that are embedded in the moving image and which can generate political action embarking from grass root groups as those of the AfroColombian Diaspora who settled in the mountains of Santa Maria near Cartagena .Their lyrics embodied in their songs are social and communal messages engage with various issues connected with identity, their struggles for preservation, drug wars, death, and in general echoing their personal encounters with their past . The protagonists by choice are all women and the narrative is ruptured by the intervention of a male cello player whose face is never revealed as well as by incorporating pixilated clips appropriated from the archival excess of you tube and video. Both interventions have a symbolic meaning showing the cracks in the representation system.

Jenny Marketou is Greek born and New York based interdisciplinary artist who has participated in a number of leading exhibitions of contemporary art, such as Manifesta, as well as international art biennials such as Prague in Chez Republic; Cartagena des Indias in Colombia, Athens in Greece; Seville in Spain ,Sao Paolo in Brazil , Venice and Istanbul .Her solo exhibitions have been hosted by art institutions, such as, Centre of Contemporary Art (CCA) Glasgow in Scotland; Museum de Arte Reina Sofia, Madrid ; the ARTIUM Museum of Contemporary Art in Vitoria, Bilbao, Spain; Kumu Art Museum, Tallinn Estonia; National Museum of Contemporary Art in Athens; ZKM, Karlsruhe, Germany; the Van Abbemuseum in Eindhoven; Cornerhouse, Manchester, UK; The New Museum in New York City; Queens Art Museum, Queens, New York among others. She earned her MFA at Pratt Institute in Brooklyn New York and she has also taught at Cooper Union School of Art . As of 2015 she will be teaching at the School of Art at CAL ARTS (California Institute of the Arts) in California. Marketou is the author of numerous texts on issues concerning moving image including the photography book The Great Longing , Kedros Publishers, Athens, Greece.

RAFTSIDE is Filip Markiewicz’s electrovisual pop rock project that is always connected to his visual work. The performances are film and musical experiences, that analyze in a poetic and way our digital society of the spectacle. After a european tour with with his latest LP « Ultrasocial Pop » (Grzegorzki Records / Berlin) and presenting a visual performance in 2020 for the Rencontres Internationales Paris / Berlin, Haus am Lützowplatz Berlin, Mudam Luxembourg, Konschthal Esch, the RAFTSIDE performance was presented at this year’s NRW Forum in Düsseldorf for the opening of the AR Biennale and at Filip Markiewicz’s solo exhibition « Liquid Poem » at the Stadtgalerie Kiel (D). Over the last 15 years RAFTSIDE shared also the stage on different pop rock festivals with bands like Daft Punk, Metronomy, Flavien Berger… www.raftside.com www.filipmarkiewicz.com

Filip Markiewicz (born in 1980, Esch / Alzette, Luxembourg) is a visual artist who expresses himself through various media such as drawing, painting, music, video and installation. Filip Markiewicz represented Luxembourg at the 56th Venice Biennale 2015 with the Paradiso Lussemburgo project (Sternberg Press Verlag catalog). His long-term project Celebration Factory on contemporary Europe began in 2016 at the NN Contemporary Art Northampton and at the Theater Basel before it was continued in 2018 at the Casino Luxembourg - Forum d'Art Contemporain and in 2019 at the Center for Contemporary Art Derry-Londonderry and the Kunsthalle Osnabrück (catalog Hatje Cantz Verlag). In 2017 Markiewicz staged his performance Fake Fiction with diary texts by Oskar Schlemmer (publication Hyde Éditions) at Theater Basel for the official Art Basel program. Markiewicz received the Art Prize Bourse Bert-Theis in 2019 for his art music project Ultrasocial Pop. In 2020 his theater film project Fake Fiction was presented for the Rencontres Internationales Paris / Berlin festival at the Musée du Louvre in Paris and at the Haus der Kulturen der Welt in Berlin. In the same year Markiewicz shows his monographic exhibition Ultraplastik Rhapsody at the National Museum of Contemporary Art in Bucharest. For the Lausitz Festival 2020, Markiewicz directed, created the scenography and composed the music for the play ANTIGONE NEUROPA (Sophocles) in collaboration with the Staatstheater Cottbus. In february 2021 Filip Markiewicz presented the performance Ultrasocial Pop  in the frame of the Rencontres Internationales Paris / Berlin. In August 2021 Markiewicz directed, created the scenography and composed the music for the installation and theater performance Euro Hamlet at the Lausitz Festival. From 2021-2023 Filip Markiewicz presented the Ultrasocial Pop solo exhibition through european Art Institutions like Konschthal Esch, Haus am Lützowplatz Berlin, Meno Parkas Kaunas 2022, Mudam Luxembourg. In 2023 he participated at the AR Biennale at NRW Forum Düsseldorf and most recently he presented the soloshow « Liquid Poem » at the Stadtgalerie Kiel. A catalogue presenting the body of work Ultrasocial Pop was released by Hatje Cantz. Filip Markiewicz has been composing music for film, theater and installation under the name RAFTSIDE since 1999, with which he has also appeared in several international festivals. 

Euro Hamlet is the latest project of theatrical creation directed by Filip Markiewicz in August 2021 in the immense Hall of the Telux site in Weisswasser in Germany, in collaboration with playwright Katrin Michaels, Working from the original text of Hamlet, Shakespeare's most popular and disturbing play, Filip Markiewicz creates a sort of concept with Euro Hamlet. He subverts the established rules of classic theatre and combines them with different artistic forms. The result proves to be a veritable performance, both in terms of the artists appropriating the original text and the visual and audio presentation of its content in space. In this contemporary tableau, Filip Markiewicz reflects certain references from the history of art and uses the concept of the «Play Within the Play» to engage with issues in the social and political realities of today's Europe, It raises the question: how to communicate the truths of everydav life in a context that is subject to codes of appearance? The preparation for the staging of Euro Hamlet included a shooting in July 2021 with the actors Leila Lallali, Marie Jung, Luc Feit and Joran Yonis in the region of East Germany and in Zgorzelec in Poland. A "mise en abyme" of Shakespeare's text in an organic setting that bears witness to European history, where the artist adresses the notion of territory beyond the experimental nature of this reading.

Filip Markiewicz (born in 1980, Esch / Alzette, Luxembourg) is a visual artist who expresses himself through various media such as drawing, painting, music, video and installation. Filip Markiewicz represented Luxembourg at the 56th Venice Biennale 2015 with the Paradiso Lussemburgo project. His long-term project Celebration Factory on contemporary Europe began in 2016 at the NN Contemporary Art Northampton and at the Theater Basel before it was continued in 2018 at the Casino Luxembourg - Forum d'Art Contemporain and in 2019 at the Center for Contemporary Art Derry-Londonderry and the Kunsthalle Osnabrück. In 2017 Markiewicz staged his performance Fake Fiction with diary texts by Oskar Schlemmer (publication Hyde Éditions) at Theater Basel for the official Art Basel program. Markiewicz received the Art Prize Bourse Bert-Theis in 2019 for his art music project Ultrasocial Pop. In 2020 Markiewicz shows his monographic exhibition Ultraplastik Rhapsody at the National Museum of Contemporary Art in Bucharest. For the Lausitz Festival 2020, Markiewicz directed, created the scenography and composed the music for the play ANTIGONE NEUROPA (Sophocles) in collaboration with the Staatstheater Cottbus. In february 2021 Filip Markiewicz presented the performance Ultrasocial Pop in the frame of the Rencontres Internationales Paris / Berlin. In August 2021 Markiewicz directed, created the scenography and composed the music for the installation and theater performance Euro Hamlet at the Lausitz Festival. Filip Markiewicz has been composing music for film, theater and installation under the name RAFTSIDE since 1999, with which he has also appeared in several international festivals.

"Ultrasocial Pop" est le dernier projet audiovisuel expérimental de Filip Markiewicz. Il crée un dialogue performatif entre son travail visuel et filmique, et ses compositions musicales sous le nom Raftside. La performance en direct est toujours une expérience unique, qui inclut un commentaire sur des événements sociaux réels. L'idée est d’interroger le lien entre la culture pop et le populisme, et de monter un tableau vidéographique en mouvement. "Ultrasocial Pop", une œuvre encore en développement, aboutira sur la publication d'un livre visuel accompagné d’un disque vinyle LP (Label Grzegorzki Records) dans le cadre de son exposition solo à Haus am Lützowplatz, à Berlin (Allemagne), en mai 2021. "Ultrasocial Pop" est financé par la Bourse Bert-Theis.

Filip Markiewicz est né à Esch-sur-Alzette (Luxembourg) en 1980. Ses expositions personnelles ont été présentées par des institutions telles que le MNAC - Musée national d'art contemporain de Bucarest (Roumanie); le NN Contemporay Art, Northampton (Royaume-Uni); la Kunsthalle Osnabrück (Allemagne); le Centre for Contemporary Art Derry (Royaume-Uni); et le Casino Luxembourg - Forum d'Art Contemporain, Luxembourg (Luxembourg). Il a représenté le Luxembourg à la 56e Biennale de Venise (Italie). Filip Markiewicz suit une voie de performance théâtrale et musicale, qui l'a conduit à créer des représentations au Staatstheater Cottbus, Cottbus (Allemagne), dans le cadre du Lausitz Festival, Görlitz (Allemagne); au Theater Basel, Bâle (Suisse); et à l'Expo Shanghai (Chine); ainsi qu’à développer son travail dans le domaine des arts visuels. Il vit et travaille à Hambourg (Allemagne) et à Luxembourg (Luxembourg).

Fake Fiction is initially a theater play that became a film produced in 2017 by the Theater Basel. Filip Markiewicz wrote the dialogues in reference to the events that happened during the period of time, the terror attacks, the European mirgant crisis and the rise of populist movements and fake news...

Luxembourgeois d’origine polonaise, Filip Markiewicz (né en 1980) est un artiste multidisciplinaire qui s’ex- prime à travers différents médiums, dont le dessin, la vidéo et l’installation. Toujours en quête d’explications à nos vies quotidiennes, il explore l’omnipré- sence des images et met en perspective le message qu’elles véhiculent. Il soumet l’actualité à une approche critique et politique et, partant, souligne la vacuité de notre monde en surproduction visuelle où l’information devient la réalité plutôt que l’inverse. En 2015, Markiewicz a représenté le Grand-Duché de Luxembourg à la 56e Biennale de Venise avec Paradiso Lussemburgo.

Celebration Club (2017) is a film made over the course of one week in Northampton following the Brexit referendum.The film captures musicians of different generations and origins talking about the changing society and making music, including punk scholar Roy Wallace, rapper Phundo Art, avant-garde black metal band Denigrata and the Northampton Male Voice Choir performing Robbie William’s Angels in a local church.

Luxembourger of Polish origin, Filip Markiewicz (born in 1980) is a multidisciplinary artist expressing himself through drawing, video, music, theatre and installations thereby creating a visual body of work using diversified media. His work is not intending to be a kind of political activism, but rather to develop an almost surreal language consolidating different expressions. In 2015 Filip Markiewicz represented the Grand Duchy of Luxembourg at the 56th Venice Biennale with his project "Paradiso Lussemburgo". In 2017 he produced his first theater play "Fake Fiction" at the Theater Basel. In 2018, he will present his monographic exhibition "Celebration Factory" at the Casino Luxembourg - Forum d`Art Contemporain.

After gaining independence in the early 1960s, the young African nations are greeted by an unexpected and enigmatic friend from a far-off continent. Independent Africa receives a seemingly endless stream of Soviet parliamentarians, who arrive on the continent to pay respect to the newly independent states.. These ambassadors of the nation with a ‘bright future’ radiate friendliness and offer assistance in technical, social and cultural development under the banner of a new ideology of equality and fraternity. But is everything as rosy as the Soviet propaganda claims? Are there any strings attached to the Soviet Union’s goodwill? What were the real objectives of the Red Empire?

Alexander Markov is a documentary filmmaker, cinema historian and artist. Born in Leningrad, Russia at January 28, 1973. He directs films in Saint Petersburg and abroad, teaches documentary directing at Saint Petersburg State Institute of Film and Television, and works as an independent curator. His video installations were shown at Sharjah Biennial, Calvert 22, Iwalewahaus, Africa.Cont, CEU etc. Markov's films were participated and awarded prizes at various international film festivals like Berlinale Talents, Visions Du Reel, DocPoint, Sheffield Doc, Film Africa, Message To Man, NYAFF, Artdocfest, Cinefest, Directors Lounge, Stalker, Temps De Images and others.

Like a glass vault that contains traces and gifts from distant countries, the headquarters of Energoprojekt, the former Yugoslavian construction company merges geographically distant places. Walls are pannelled with faded photographs of Energoprojekt’s conscturctions in fellow Non-Aligned countries, from 1960's until late 1980’s. Across Africa, South America, the Middle East and South Asia, the distinctive modernist constructions built by Energoprojekt formed an independent post-colonial architectural identity, beyond the Eastern and Western Bloc polarity. Abundant plants and trees, different species brought from afar 50 years ago, still grow together under the glass roof. The space is gradually revealed in choreographed sequences of the people who take care of the plants, forming an inseparable sense of belonging.

In his films, photography and video works, Ivan Markovi? observes space and the relationship between labour, architecture and ideology. With Linfeng Wu, he co-directed the short film “White Bird”, that had its premiere at Berlinale 2016. His experimental documentary “Centar” had its premiere at Doclisboa in 2018, won the “Best Newcomer” award at Dokufest. “From Tomorrow on, I Will”, a feature he co-directed with Linfeng Wu, had its premiere at Berlinale Forum 2019. The film received the Grand Prize at 2019 Jeonju IFF. It was shown in numerous festivals, including Belfort, Viennale, Zinebi and Mar del Plata. As a cinematographer collaborated on several feature films including “You Have the Night” by Ivan Salatic (Venice Film Festival), “Landscapes of Resistance” by Marta Popivoda (IFF Rotterdam) and “I Was at Home, But...” and “Music” by Angela Schanelec (Berlinale). His work was shown in numerous solo or group exhibitions internationally, in institutions including Institute of Contemporary Arts London, Bethanien in Berlin, Austrian Kulturforum Berlin, Museum of Contemporary arts Belgrade. Since 2020, a member of the European Film Academy.

A vast complex of corridors, atriums and halls: a congress center made to host thousands now stands almost abandoned. The architecture reflects a former idea of the future, while surfaces and materials testify to its end. Through their relentless effort, the maintenance workers shoulder the duty of restoring the space to what it was imagined to be. Their movements are unison, ritual but also their own. Sava Centar is a congress space completed in 1978. in Belgrade, Yugoslavia. It hosted hundreds of international meetings, including World Bank summits and a conference of the Non Aligned Movement. After the breakup of Yugoslavia, its capacities gradually became obsolete. It is now awaiting a privatisation and commercial reconstruction.

Ivan Markovi is a cinematographer and director born in Belgrade, Yugoslavia. He graduated from the Faculty of Drama arts in Belgrade, cinematography studies, in 2012. For his film and photography work, won “Erste Bank foundation” Award for best visual artist in 2014. Recently worked as a cinematographer on several feature films including “All the cities of the north” (director: Dane Komljen, premiered on Locarno Film festival 2016), “You have the night” (director: Ivan Salati, premiered on Venice Critics week 2018) and “Ich war zuhause, aber..” by director Angela Schanelec, which premiered in Berlinale Competition 2019. The short film “White Bird”, which he worked on as a cinematographer and co-director with Linfeng Wu, had its premiere on Berlinale Shorts 2016. In 2018 his experimental documentary film “Centar” had its premiere on Doclisboa Film festival. Lives and works between Belgrade and Berlin.

I was overwhelmed by a sense of the wrongness of what was happening, or if not by the wrongness, then by the sheer pace of events. I felt that you would have been disappointed at how quickly I had accepted the news of your death, and how readily we had set in motion the machinery of memorialization. One minute i was looking forward to meet you in our old flat, headed home from a long time away; the next minute I came in and I was burying you.

Jelena Markovic holds a Bachelor`s Degree from Academy of Arts, University of Belgrade, and a Master`s Degree from Hochschule for bildende Kunste Hamburg, mentored by Angela Schanelec. Born 1987. in Belgrade, Serbia. Lives and works in Berlin, Germany.

Un groupe de personnes dans un environnement de bureau. Des gestes quotidiens de travail sont observés dans tout le bâtiment. Rien ne semble être déplacé. La caméra circule continuellement et change progressivement notre perception de cet espace. On se pose la question : qu’est ce que signifie ce bureau pour ce groupe de personnes ? "We Are Here" est un groupe de réfugiés à Amsterdam qui ne reçoit aucun logement fourni par le gouvernement, mais ne peut pas non plus travailler. Le groupe a décidé de rendre visible la situation inhumaine qu’ils doivent vivre, en ne se cachant plus, mais en montrant la situation des réfugiés qui sont "en dehors de la loi" aux Pays-Bas.

Diplômée de l’Institut National des Beaux-Arts de Tétouan, de l’École Supérieure des Beaux-Arts d’Angers (France) ainsi que du Fresnoy (France). Randa Maroufi est de cette génération advenue avec le règne des images. Elle les collectionne avec autant d’avidité que de méfiance, se pose sans cesse la question de leur véracité. Sa recherche se situe entre le reportage, le cinéma et l’étude sociologique qu’elle poursuit en réalisant des fictions ambiguës qu’elle met au service du réel, et le champ de ses expérimentations s’étend de l’occupation de l’espace public à la question du genre, dont elle relève les mécanismes de construction. Son travail qui se traduit essentiellement à travers la photographie, la vidéo, l’installation, la performance et le son, a été présenté lors d’événements d’art contemporain et de cinéma majeurs tels que La Biennale de Marrakech (2014), Les Rencontres photographiques de Bamako (2015), Le Museum of Modern Art à New York (2016), Le Dubai Photo Exhibition (2016), Le Festival International du court-métrage de Clermont-Ferrand (2016), le VIS Vienna Independent Shorts (2016), le FID Marseille (2016) etc. Son film Le Park a reçu plus d’une vingtaine de prix tels que le prix ADAGP Art numérique – Art vidéo (2015), Videonale Award of the fluentum Collection (2017), le prix du jury au Festival International du film de Rotterdam (2016), le prix du meilleur court métrage au festival IBAFF etc.

Bab Sebta est une suite de reconstitutions de situations observées à Ceuta, enclave espagnole sur le sol marocain. Ce lieu est le théâtre d’un trafic de biens manufacturés et vendus au rabais. Des milliers de personnes y travaillent chaque jour.

Ne?e en 1987 a? Casablanca. Diplo?me?e de l’Institut National des Beaux-Arts de Te?touan, de l’E?cole Supe?rieure des Beaux- Arts d’Angers (France) ainsi que du Fresnoy (France). Randa Maroufi s’inte?resse a? la mise en sce?ne des corps dans l’espace public ou intime. Une de?marche souvent politique, qui revendique l’ambigui?te? pour questionner le statut des images et les limites de la repre?sentation. Son travail qui se traduit essentiellement a? travers la photographie, la vide?o, l’installation, la performance et le son, a e?te? pre?sente? lors d’e?ve?nements d’art contemporain et de cine?ma majeurs tels que La Biennale de Marrakech en 2014, Les Rencontres de Bamako en 2015, le Festival international du film de Rotterdam en 2016, La Videonale Bonn en 2017, la Biennale de Sharjah au Liban en 2017, la Biennale de Dakar en 2018, la Biennale do Mercosul? au Bre?sil en 2018, etc. Son film Le Park a rec?u une vingtaine de prix et fait partie de la Collection National du CNAP (Centre National des Arts Plastiques). En 2017 – 2018, Randa Maroufi a e?te? membre artiste a? la Casa de Vela?zquez – l’Acade?mie de France a? Madrid.

Le film s’inspire librement d’un personnage connu sous le nom de La Grande Safae. Travesti, il a passé une période de sa vie en tant qu’employé de maison dans ma famille, qui ignorait son identité sexuelle "réelle".

Née en 1987 à Casablanca (Maroc). Diplômée de l’Institut National des Beaux-Arts de Tétouan (Maroc), de l’École Supérieure des Beaux- Arts d’Angers (France) ainsi que du Fresnoy (France). Randa Maroufi s’intéresse à la mise en scène des corps dans l’espace public ou intime. Une démarche souvent politique, qui revendique l’ambigüité pour questionner le statut des images. Son travail qui se traduit essentiellement à travers la photographie, la vidéo, l’installation, la performance et le son, a été présenté lors d’événements d’art contemporain et de cinéma majeurs tels que le Salon de Montrouge en 2015, la Biennale de Marrakech en 2014, les Rencontres photographiques de Bamako en 2015, Les Rencontres Internationales de Photographie de Fés en 2015, le Festival International du film de Rotterdam en 2016, le Museum of Modern Art à New York en 2016, le Dubai Photo Exhibition en 2016, le Brandts Museum à Odense en 2016... Elle vit et travaille entre le Maroc et la France.?

go slow, you’ll see better is a journey of contemplation and transitioning between opposing states (of being). Revealing a landscape interspersed with vibrant colours of magenta and pink, this represents a bridge between excitement and calmness, chaos, and order. The shift in saturation mirrors the ever-changing nature of emotions, experiences, and personal narratives. Driving by and shooting out the window, the landscape becomes blurred and unblurred, evoking the sense of in-betweenness, which can prompt the feelings of familiarity and unfamiliarity, clarity, and vagueness. go slow, you’ll see better is everywhere and nowhere, collapsing both the temporal and the spatial.

Siyanda Marrengane is a Eswatini-born visual artist based in Johannesburg, South Africa. Kuba semkhatsini is a SiSwati phrase that can be translated as being caught in the middle of conflicting states of being, situations, conditions and more. Siyanda is interested in the notion of the in-between (kuba semkhatsini), a central component in her practice that encompasses personal and collective narratives and experiences. These are subsequently explored as ways of questioning, challenging and falsifying existing hegemonies. Unpacking and translating these through video, sound and installation, to create ambiguous spaces that are both imagined and real.

Plänterwald is filmed on the site of a former GDR amusement park built in 1969 and abandoned after unification. Its rollercoaster and ferris wheel sit motionless at the edge of the city of Berlin. After being closed to the public for almost a decade the rides and fairground structures ? once providing a distraction from everyday realities ? are left to a gradual process of decay and overgrowth. Paradoxically this derelict site is patrolled and protected by security guards who on the one hand attempt to maintain its separation from the public sphere and contemporary life yet at the same time position it in the present social and economic conditions. The video stages a journey in, over and through this bordered off park evoking the exceptional conditions of its persistent existence. Positioning the security guards as the guardians of a ?dead? space, the work plays on the absurdity of the use of force and notion of property in relation to the decay and obsolescence of the site. Plänterwald pursues an exploration of a world held together by an internal logic, and quietly, yet relentlessly - like the defunct rollercoaster - echoes the rumbles of deep social and political fault lines and their explosive potential.

Lynne Marsh is a Canadian artist who divides her time between Montréal, Berlin and London where she teaches at the University of Hertfordshire. Working predominately with video, installation and sound her practice explores the cultural and social concerns that operate at the convergence of performance, choreography, speculative fiction and staged events. Her most recent works, shot respectively in a sports stadium, a TV studio and an abandoned amusement park investigate the inscription of individual bodies in architectural environments built for mass consumption. Her works present conceptual and visual experimentations that create a space for us to speculate on the present concept of the individual and its contemporary exertion of pressure as a political subject. Marsh?s video installations have been exhibited in solo exhibitions including Kunstlerhaus Bethanien, Berlin, Steve Turner Contemporary, Los Angeles, the Musée d`art contemporain de Montréal and Danielle Arnaud contemporary art, London and group exhibitions including Catastrophe, the Québec City Biennial and There is no audience, at Montehermoso, Vitoria-Gasteiz, Spain. A monograph on her works entitled Lynne Marsh, was produced by the Musée d`art contemporain de Montreal and the Musée régional de Rimouski.

“ Tragedy ” brings forth an altered experience of the infamous opera La traviata. Producing a new mise-en-scene composed of the routine labour around the stage, the film is an enquiry into the nature of performance, re-framing the culture of the work place and the “ grand narratives ” of the opera. Mimicking the framing device of a play within a play, the film exposes a production of production while tracking the processes at work behind the scenes during live performances at The Grand Theatre and Opera House, in Leeds, UK. The film captures the movement, work and conversations of stage managers, backstage crew and offstage performers, bringing an operatic tradition into context with present-day realities and pronouncing the mechanics that create an experience. These individuals develop as characters in a new alternative performative event over the three acts of the live performance. Direct parallels are drawn between the urgency and tension of the live performance onstage and the choreography played out offstage, where discrete conversations between characters behind the scenes marry up with the dialogue taking place in the libretto. Keeping true to the “ real-time ” of the live performance and in reference to the live screen-based broadcasts of theatrical productions in cinemas, “ Tragedy ” provides a counterpoint, directing our attention to the theatre that exists aside the stage.

Lynne Marsh is a Canadian artist, currently living and working in Los Angeles. Her practice is concerned with questioning the status of the image through mediation, technology and production. Ideas central to Lynne Marsh’s practice include offstage space; production-in-production; affective and cultural labour; music as a framing device; and the Brechtian revealing of the mechanics of cultural and theatrical production. Her works capture the behind-the-scenes workings and turn the camera onto subjects whose labour and gestures support and mediate events. In doing so, her works address the political dimension of its scenography. Marsh’s formal and conceptual strategies emphasize the camera’s performance as a means to reconfigure social space, presenting the mechanics that create an experience as a type of theatre or performance in its own right. Solo exhibitions of her work have been presented at Berlinische Galerie (2017); Opera North, Leeds (2016); fig2@Institute for Contemporary Art, London (2015); Scrap Metal, Toronto International Film Festival (2014); and Musée d’art contemporain de Montréal (2008). Her work has been featured in biennials and at institutions including La Biennale de Montréal (2014); The National Gallery of Canada, Ottawa (2012); 53 Art Museum, Guangzhou (2011); The Québec City Biennial (2010) and the 10th International Istanbul Biennial (2007).

Opening title sequence from "The hangover" and "The Hangover part II" movies with titles censored and no sound.

Nicolás Martella (1978, La Plata, Argentina). Lives and works in Buenos Aires. He study photography with Ataulfo Perez Aznar. He participated in workshops of photography and video with Juan Travnik, Gabriel Valansi, Martín Rejtman, Andrés Di Tella and Mariano Llinás. Solo exhibitions (selection): Slideshow (2013); Contemporáneas (Contemporary) (2007). Group exhibitions (selection): 2014: XIX Bienal de Santa Cruz de la Sierra, Bolivia (XIX Santa Cruz de la Sierra`s Biennial, Bolivia); 2013: Premio Fundación Andreani (Fundación Andreani Prize), 102º Salón Nacional de Artes Visuales (102º National Visual Arts Prize); 2010: II Premio AMEC de Fotografía Argentina, Museo Emilio Caraffa (2º Argentinian Contemporary Photography Award). Awards: 2014 XIX Bienal de Santa Cruz de la Sierra, Bolivia (XIX Santa Cruz de la Sierra`s Biennial, Bolivia); 2013 102º Salón Nacional de Artes Visuales (102º National Visual Arts Prize); 2006 Argentinean Visual Arts Award – O.S.D.E. Foundation. Residencies: 2014 Arteles Creative Center, Haukijärvi, Finland.

A B C A M (or A & B Cam) explores a scene from a TV movie where the angles have been superimposed to reveal filmic conventions. It reveals the narrative, angles as well as the adjustments in performance to observe the process in its rawness and mesmerizing predictability. In conventional cinema we are only allowed to see what is presented and manipulated through the process of editing. This is a process as old as the medium itself. It is the essence of cinema. In the case of A B C A M, that process has been subverted and exposed to allow the audience to experience the conventions simultaneously and in real time. The manufactured certainty of the experience is undermined as we are encouraged to review both sides of the narrative, follow the narrative or perhaps, find a new narrative.

Richard Martin (MFA 2013 University of British Columbia) is a media artist living in Vancouver Canada. His short film work has appeared as official selections in prestigious venues such as Berlin International Film Festival, Oberhausen, Rencontres (Paris), Toronto International, EXiS (Korea), Ann Arbor, Athens (Ohio), and many more. He has also worked as a mainstream film and TV director and in that his work straddles conventional and experimental cinema, blending and upending convention with abstract intention, playfulness and occasionally, personal trauma.

Une mer pixelisée d'images télévisées mélange la rhétorique évangélique chrétienne avec le gospel de George W. Bush.

Richard Martin est un réalisateur de films et télévision professionnel qui vit à Vancouver, Canada. "Mixed Signals" marque son retour au cinéma expériemental... et il revient de plus belle.

Maintenus à l?écart d?une éducation de sorcellerie qui légitime la liberté sexuelle, les yétis solitaires déplorent leur abominable liberté. En leur absence, une ère rococo, plus abominable et funeste encore, menace jusqu?aux fondations du système païen. Cette liberté facile ira-t-elle détruire les beautés de la chair, et les occasions du développement spirituel qu?apporte sa célébration ? Ou bien est-ce un ?uf né du chaînon manquant qui fera le lien vers une ère nouvelle où les espèces coopéreront ensemble ?

La collaboration entre Burns et Martin commence dès les cours de vidéo et sculpture à la section Art et Design de l?Alfred University (New York). Burns est né en 1968, il obtient son B.F.A. à l?Alfred University en 1990 et un M.F.A. de vidéo et représentation au San Francisco Art Institute en 1993. Martin est né en 1969, il obtient son B.F.A. à l?Alfred University en 1992 et son M.F.A. à l?Université de Californie de San Diego en 2000. Ensemble, Burns et Martin ont réuni leurs travaux respectifs (vidéos et installations en cours) autour d?une recherche commune, qui passe par diverses fictions conceptuelles et réinventions de pratiques pédagogiques. Ils ont travaillé conjointement pour l?Atelier Eyebeam (New York). En 2003, Electronic Arts Intermix les a mandatés d?un projet artistique sur internet. Leurs vidéos sont distribuées par VTAPE/Canada . Ces vidéos ont été exposées plusieurs fois, notamment au Musée d?Art et Design de New York, au New York Video Festival, au Pacific Film Archive (Californie), au Musée d?Art Contemporain de Madrid (Espagne), au Palm Beach Institute of Contemporary Art (Floride), à Cinematexas, à Worm (Pays-Bas), au Festival du court-métrage et de la vidéo d?Oberhausen (Allemagne) ; et leur vidéo « Volcanica » sera projetée cette année au Platforma6 d?Athènes (Grèce).

"Maicling pelicula nañg ysañg indio nacional" se passe dans les années 1890, alors qu'aux Philippines se prépare une révolution contre l'Espagne. C'est une collection de films d'actualité muets tournant autour d'un indio, l'homme ordinaire de l'époque coloniale.

Raya Martin est né en 1984 à Manille, aux Philippines. Diplômé de l'université de cinéma des Philippines en 2005, il a travaillé comme scénariste et chercheur pour la télévision locale, la presse, la radio et des magazines sur internet. Son court-métrage "The visit" a remporté le Ishmael Bernal Award pour le jeune Cinema au Cinemanila International Film Festival en 2004 , et son documentaire ?The Island at the End of the World" a été élu meilleur documentaire au International Digital Film Festival en 2005. Son premier film, ?Short Film about the Indio Nacional (Or The Prolonged Sorrow of the Filipinos)? a gagné le Lino Miccichè Award au Pesaro International Film Festival,en Italie, en 2006. C'est le premier réalisateur philippin à avoir été admis à la Cinéfondation Résidence du festival de Cannes. En 2007, le Buenos Aires Festival Internacional de Cine Independiente a présenté une rétrospective de son oeuvre. Actuellement, il est en pré-production pour son film "Independenciaé, qui a reçu le Prince Claus Film Grant au Cinemart 2007 du festival international du film de Rotterdam.

L?organisme Champ Libre (fondé en 1992) qui ?uvre maintenant dans les domaines de l?image en mouvement, des arts électroniques, de l?architecture et de l?urbanisme a emprunté son nom à l?histoire récente du Québec. En effet au moment de la fondation de l?organisme en 1992, François Cormier l?un des co-fondateurs, cherchait un nom à donner à ce nouvel espace de réflexion et de diffusion artistique qui émergeait à partir de l?effervescence de rencontres avec d?autres co-fondateurs issus du milieu de l?architecture, des arts visuels, de la philosophie, de la littérature et de l?urbanisme. À cette époque ce collectif définissait son action entre autres par le besoin de regrouper les forces de ses co-fondateurs et proposer de nouvelles façons de voir, d?entendre et de comprendre. C?est au hasard d?une visite dans une librairie de livres usagés du plateau Mont-Royal à Montréal en 1991 que fut découverte une édition ancienne et originale de la revue de cinéma québécoise CHAMP LIBRE ayant existé dans les années soixante-dix le temps de quelques numéros. L?édition no 1 de cette revue clamait en 1971 que : ?il consiste à donner aux colonisés que sont les Québécois les images d?eux-mêmes qui leur manquent, à reconquérir un reflet volé et à proposer des schémas d?analyse et de lutte. Inutile de dire que CHAMP LIBRE participe à ce combat. C?est la force éditoriale de ces propos et le désir, la volonté de faire revivre le nom inspirant de cette revue de cinéma d?auteur qui a fait naître dans sa continuité le nom de l?organisme CHAMP LIBRE que l?on connaît aujourd?hui.

CHAMP LIBRE (fondé en 1992) est un diffuseur et un laboratoire artistique nomade qui présente des événements in situ, s`insérant dans la communauté et mettant en relation les pratiques contemporaines de l`art, de l?architecture, de l?urbanisme et des nouvelles technologies.

Monograph in Stereo utilise des techniques documentaires et expérimentales pour exprimer le combat contre la perte auditive congénitale et opérationnelle et les acouphènes, un son persistant dans l?oreille ; une perception auditoire fantôme.

Les vidéos et performances de Darrin Martin ont été exposées internationalement lors de festivals et dans des musées dont le Museum of Modern Art et le DIA Center pour les arts de New York, le Los Angeles Museum of Contemporary Arts, et l?European Media Art Festival en Allemagne. Ses installations ont été montrées lors expositions comme la Kitchen à New York, WRO Media Arts Biennale en Pologne, et la Pacific Switchboard de Portland, dans l?Oregon. Il collabore souvent avec Torsten Senas Burns. Leurs ?uvres communes furent montrées lors d?expositions dont celle du New York Video Festival, The Oberhausen Short Film Festival, Cinematexas, The Madrid Museum of Contemporary Art, The Paris/Berlin International et Eyebeam de New York. Ils ont aussi lancé une projet net art DSL dont le titre est : Lesson Stalls : learning nets à http://www.eai.org/lessons commissionné par Electronics Arts Intermix.

Depuis un mirador, Lucas observe, effleure un monde qui se bâtit autour de lui. Libéré du foyer dans lequel il réside, le temps d’une journée, Lucas va se confronter à son réel, aux autres, qui vont lui renvoyer de lui même une image aussi mystérieuse qu’elle s’avère fragile.

Née en 1994, Lucia Martinez est une jeune réalisatrice suisse dont les films explorent le passage de l’enfance au monde adulte. N’utilisant pas d’interprètes professionnels, les fictions engendrées le sont à partir de son réel immédiat. Un frère, une voisine, des amis, peuvent devenir des interprètes le temps d’une fiction. Pour Lucia la fiction se glisse souvent dans les replis du réel, faisant émerger des fictions aussi minimales qu’elles sont essentielles.

HAMACA is a distributor of video art and electronic art. It was established by the initiative of AAVC and is directed by YP. The name HAMACA refers to the operative system under which we aim to work: as a horizontal net joined together at various points. Our main objective is to make works in video format available to the greatest number of individuals and institutions, and in this way promote their circulation and screenings. The distributor is a non-for-profit organisation at the service of both authors and users, whose aim is to promote the circulation of the works and to generate an economic flow for the artists' productions. We hereby continue in the line of the kind of activities led by AAVC throughout the past few years. HAMACA works as an intermediary that promotes and guarantees the presence of contemporary and historical video productions in audiovisual screenings and programs at a national and an international level. In addition, it opens up the market for new communication and information media. The works contained in the catalogue have been previously selected by a selection committee comprising professionals and experts in the field, such as Susana Blas, Eugeni Bonet, Juan Guardiola, Esther Regueira, Fito Rodríguez, Jorge Luis Marzo, Lola Dopico, and Virginia Vilaplana. The catalogue contains a varied selection of works and encompasses all genres, from historical productions and pieces in documentary format, to works of fiction, animation pieces, etc... always including the most current and risk taking pieces being created in video. Their starting point is a selection of artists that have produced most of their work within the Spanish state. It is the group's aim to expand the catalogue on a regular basis in response to different demands and criteria. Once the HAMACA catalogue has been designed and compiled, it is digitalized in order to make it accessible on line, and thus encourage research of its contents, as well as its promotion and circulation. All the works in distribution can be checked at Hamaca's web platform. The distributor is physically located in Barcelona; those interested can visit the premises by appointment and consult the catalogue in person.