Catalogue > Liste par artiste

Babel est une prise de vue par drone centrée sur la Ziggurat de Borsippa, qui a longtemps été considérée comme les vestiges de la Tour de Babel avant qu'un emplacement plus probable de l'édifice ne soit trouvé. Notre imagination a été nourrie par le récit de la Genèse, qui a popularisé cette construction aussi démesurée que l'orgueil du peuple qui l'a bâtie. Elle marquait l'incapacité de l'humanité à atteindre le ciel, malgré ses efforts pour construire un monument d'une élévation sans précédent. Et la situation contemporaine de Babylone, capitale cosmopolite d'un empire qui couvrait alors tout le Proche-Orient, illustrait bien la diversité des langues qui fut la conséquence de l'échec de la tentative. Dans la bande sonore, une composition de Romain Poirier et des extraits de la Genèse sont traduits et lus par deux programmes d'intelligence artificielle (DeepL et ElevenLabs), redéfinissant le lien permanent entre les tentatives de l'humanité de reconstruire - virtuellement cette fois - la Tour de Babel grâce à l'intelligence artificielle et au transhumanisme, et les erreurs sans cesse renouvelées de l'humanité.

The Middle East, countries that are not internationally recognized, radioactive or forbidden zones considered as “involuntary natural parks” are all territories that Louis-Cyprien Rials has traveled or inhabited. The artist, born in Paris in 1981, uses video and photography to present a silent, sometimes mystical image of these areas marked by past violence or agitated by major conflicts. These moving pictures composed of fixed shots, often long and devoid of human presence, tell of the impossibility of capturing these abandoned and transformed spaces, impregnated with beliefs and strewn with stigmata.

Au Liban, pr�s du village de Mleeta situ� dans les montagne du sud-Liban, Tourist Landmark of the Resistance est un champ de bataille devenu mus�e du Hezbollah Libanais. Ouvert en 2010 au public, c?est un vaste complexe de bunkers et de collines, transform� en une subtile et �tudi�e mise en sc�ne de la d�faite d?Isra�l au Liban, en mus�e et en centre de propagande avec des obus, des carcasses rouill�es de chars et de camions militaires. Des messages dans des mises en sc�ne th��tralisantes.Laur�at du Prix SAM pour l`art contemporain 2017, Louis-Cyprien Rials b�n�ficie d`une exposition au Palais de Tokyo - 20 f�vrier au 12 mai 2019 -, commissariat d?Ad�la�de Blanc. Il pr�sentera le r�sultat de son travail lors de ses voyages en Ouganda, gr�ce � SAM Art Projects : Au bord de la route de Wakaliga.

N� en 1981 � Paris, Louis-Cyprien Rials d�couvre la photographie au Japon, o� il s?installe plusieurs ann�es. Il vit ensuite � Paris, Bruxelles et Berlin, tout en r�alisant de longs d�placements dans des zones de conflits et des lieux interdits au public. � partir du d�but des ann�es 2000, il emploie la photographie et la vid�o pour tenter de saisir et de raconter la violence sous-jacente � ces territoires. Louis-Cyprien Rials a pr�sent� son travail dans plusieurs expositions collectives ainsi que dans le cadre d?expositions personnelles, notamment � Hestia (Belgrade, 2018), � la galerie Dohyang Lee (Paris, 2016) et � IDK Contemporary (Bruxelles, 2014). Au printemps 2019, il r�alisera deux expositions : � Par la fen�tre bris�e � � la galerie Eric Mouchet (Paris) et � Au pied du gouffre � � la galerie Dohyang Lee (Paris). Avec � Au bord de la route de Wakaliga � au Palais de Tokyo, ces expositions pr�sent�es simultan�ment � Paris formeront une trilogie.

Mene, Mene, Tekel, Upharsin est une vidéo tournée en 2015 en Irak, à Kirkouk, à quelques kilomètres de l’Etat Islamique. Dans le champs pétrolier majeur de Baba Gurgur, un feu éternel brûle, celui du Livre de Daniel, duquel Dieu sauve trois enfants juifs jetés dans les flammes par le roi Nabuchodonosor car ils ne vénéraient pas ses idoles. Cette succession de plans fixes montre à la fois les installations pétrolières, menaçants monstres de métal perdus dans le désert, et ce feu sacré inscrit dans un cercle, mythique punition d’une idolâtrie, et devenu lui-même idole et objet de toutes les prédations contemporaines. Des gros plans de flammes, semblent sortir des voix, des choeurs, comme si le gaz et la chaleur déformant l’image voulaient rendre cette dystopie mélodieuse. Discrètement mêlées à la bande son, des choeurs de femmes en araméen, priant, enregistrées pendant plusieurs mois dans des camps de réfugié du Nord de l’Irak apportent la voix nécessaires des victimes les plus immédiates des conflits, donnant la profondeur biblique, archéologique et spirituelle que nécessite à la fois un tel lieu et le sentiment menaçant, quasiment apocalyptique qui se dégage de ces flammes et que révèle le titre : Pesé, Pesé, Compté, divisé.

Né en 1981 à Paris, Louis-Cyprien Rials à étudié le théâtre en France avant de découvrir la photographie au Japon, oui il a vécu plusieurs années. En 2007, il entreprends un voyage sur les traces du peintre Hiroshige pour livrer une analyse comparative du paysage japonais dans le temps. Depuis son retour du Japon, en 2008, il vit entre Paris, Bruxelles et Berlin, tout en continuant ses voyages souvent dans des pays non-reconnus internationalement ou dans des zones interdites au public qu’il voit comme des « parc naturels involontaires ». Parallèlement à son oeuvre photographique, il travaille sur le minéral et la relation que l’humain entretient avec les « pierres à images », livrant dans de grands tirages photographiques des paysages tirés des pierres, que l’humain se plait à associer à d’autres formes, par le phénomène de paréidolie. Le travail sur le paysage, sa profondeur, et l’interprétation que nous avons de ses représentations est une partie importante du travail de l’artiste, que ce soit dans des installations de projecteurs de dispositives générant des peintures-paysages, ou sa trilogie de vidéo sur le Désert et la violence, terminée en 2015 en Irak.

Polygon est une vidéo de douze minutes, tournée dans le Polygone nucléaire de Semipalatinsk au Kazakhstan en 2016. Il vient comme une suite naturelle du film tourné en Irak par Rials, Mene, Mene, Tekel, Upharsin où l’auteur avait filmé un cercle de flammes éternelles dans un champ pétrolifère de Kirkouk.
C’est un cercle d’eau, de 400 mètres de diamètres, qui a retenu l’attention cette année, de l’artiste. Creusé par une bombe atomique en 1965, ce lac est empli d’une eau, radioactive, presque plus brûlante que le feu lui-même. Inspiré par La Jetée de Chris Marker, et Stalker de Tarkovski, la vidéo est composée de diaporama photographiques, de traveling satellitaires, de plans vidéo au sol ou pris avec un drone. Polygon est aussi une introduction à la première performance filmée de Rials. Les voix en Russe autant que la musique, écrite par Romain Poirier guident le spectateur vers une contemplation référencée, glissant d’une partie documentaire à une oeuvre presque science-fictionnelle, pourtant terriblement humaine et contemporaine. Pour reprendre un propos de Mark Twain, “ La vérité est parfois plus éloignée de nous que la fiction ” et il est donc plus facile, parfois, d’utiliser la fiction pour révéler une pénible vérité.

Né en 1981 à Paris, Louis-Cyprien Rials pratique la photographie et la vidéo. Après des études de théatre au conservatoire, son aspiration à des modes de création indépendants l’ont incliné vers les choix qui ont marqué sa carrière d’artiste. En 2005, il est parti vivre trois ans à Tokyo et y a organisé sa première exposition, Koban . Depuis son retour du Japon, il vit entre Paris et Berlin. Il y poursuit ses recherches. En 2010, il est parti pour un premier voyage à moto qui l’a conduit à Tchernobyl et en Europe de l’Est. L’année suivante, il est reparti pendant plusieurs mois : Il a alors parcouru l’ex-Yougoslavie, la République Turque de Chypre du Nord, l’Irak, la Géorgie, l’Arménie, la République du Haut- Karabagh, la Crimée, en documentant aussi bien des formes et des paysages que des zones entières, fermées, qu’il voit comme des “ parcs naturels involontaires “ En 2012, il a terminé sa première fiction expérimentale, le western déshumanisé Nessuno . Résident au Centre des Arts Photographiques de Bahrain de mars à mai 2014, il y a exposé à la maison Jamsheer, a donné des enseignements et entamé plusieurs projets, notamment, avec l’aide du chercheur Pierre Lombard sur les restes de la civilisation, Dilmun . En décembre de la même année il a été invité a réaliser son projet d’icônes ainsi que le projet documentaire Russia America en résidence à Kronstadt par le NCCA. ( National Center of Contemporary Art ) Il s’investit de plus en plus dans la création de vidéos à mi-chemin entre l’art et le documentaire contemplatif, avec les projets Holy Wars , Dilmun Highway ( Bahreïn, 2014 ), Mene, Mene, Tekel, Upharsin ( Irak, 2015 ), Polygon ( Kazakhstan 2016 ) et Résistances ( Lituanie et Liban 2017 )

A film prohibited for those over 18 years of age. Anonymous figures walk around the city streets at night, looking for some personal encounters. Someone breaks the gates of the public park and starts to explore its paths. The imperative of desire will now dominate the forbidden territory. AMUSEMENT PARK is an essay film, a visual experiment built around the experience of cruising in an urban environment after the lockdown and the limits of a global pandemic. In the public park of a large metropolitan city, the tropical green life of plants and trees, mixed with playground toys, will be the scenery for a quest on human nature, its fantasies, desires, encounters and the transgression of touch. In between the shadows of the dark night, bodies and lust become light and pleasure.

Ricardo Alves Jr. is a film and theater director. He is the founder of the production company Entre Filmes. His work is characterized by the mix of languages in pursuit of constructing particular atmospheres and universes. His films have been shown at several international festival, including Berlinale Shorts, Berlinale Forum Expanded, Critics' Week at Festival de Cannes, Locarno, Rotterdam, among others.

THE FLESH OF LANGUAGE draws connections between zoological research related to the extinct ‘Irish Elk’, parapsychologist Konstantin Raudive’s EVP tape recordings and tactics of media preservation as explained by an archivist. Analogies are drawn between extinct deer and dying media formats which come head to head in a choreographed, exuberant species-resurrection scene.

Amanda Rice is as artist and filmmaker based between London and Belfast. Her films have been presented at the BFI London Film Festival (UK) Eva International Biennial (Ireland), Flux Factory (New York), Eastlink Gallery (Shanghai) CCA Glasgow, Arebyte Gallery (London) M8 Space Aalto University (Helsinki), Irish Film Institute (Dublin), the Wrong Biennale and aemi's 2024 international touring film programme 'Spirit Messages'. Awards include Edward Allington Memorial Prize, awarded by UCL Slade and Next Generation Bursary, awarded by the Arts Council of Ireland. She is an MA graduate of the Slade School of Art. Her film 'The Flesh of Language' is in the permanent collection of the Arts Council of Ireland.

Beach House is a film about a unique example of rural modernism, built on the UK coast of Suffolk by architect John Penn. Penn was an architect, painter, musician and poet whose nine houses in East Suffolk are all built with uncompromising symmetry adhering to the points of the compass in their positioning in the landscape they use a limited language of materials and form that were influenced by his time spent working in California with Richard Neutra. They are Californian modernist pavilions in the Suffolk landscape. - Beach House is John Penn’s most uncompromising design in terms of idea as form. The film combines an archive film made by Penn himself on completion of the house with experimental sound recordings made during the same period and material recently filmed in the house to explore a convergence of filmic and architectural language and allow the viewer to piece together Beach House in its past and present forms.

Emily Richardson is a UK based filmmaker who creates film portraits of particular places. Her work focuses on sites in transition and covers an extraordinarily diverse range of landscapes including empty East London streets, forests, North Sea oil fields, post-war tower blocks, empty cinemas and Cold War military facilities. She is currently doing a practice-led PhD researching modern architectural space in artists’ film and video at the Royal College of Art in London. - Richardson’s films have been shown in galleries, museums and festivals internationally including Tintype, London; Tate Modern and Tate Britain, London, Pompidou Centre, Paris; Barbican Cinema, London; Anthology Film Archives, New York; Tulca 2012, Ireland; Maison Europeenne de la Photographie, Paris; Botkyrka Konsthall Sweden; The Wapping Project, London; Artprojx Cinema at the Armory Show, New York; FACT Liverpool; Danielle Arnaud, London; Wurttembergischer Kunstverein, Stuttgart; Uppsala Museum, Sweden and Venice, Edinburgh, BFI London, Rotterdam and New York Film Festivals. She was awarded the Gilles Dusein Prize, Paris 2009 in recognition of her films. Her films are distributed by Lux, London and Light Cone, Paris.

Nothing Found 2013 ?Nothing Found? takes place in a transition period between Valencia and London, seemingly occupying both places simultaneously in a pensive mood. The spaces in the film interlace and disorientate our perception of time and place and are imbued with a sense of stasis ? an unknown and empty anticipation ? that is quite contradictorily connected throughout by incessant movement. It is a visual study that reveals spectatorship?s impossible empathy, or perhaps spectatorship as a form of innocuous voyeurism. On the other hand, it is a sensitive insight into the impossibility of finding oneself in reflection - as it is in reflection that we find more questions rather than answers.

Charles Richardson is currently studying an MA in Fine Art Media at The Slade School of Art, London. Before studying his MA he lived 8 years in Spain where he did his BA in Malaga and Valencia. He also studied a year in Helsinki at the Aalto school of Innovation. Charles began as a painter and over his BA studies worked in many mediums ranging from performance to photography and sculpture. At the moment he is focusing on video as he finds it the most appropriate for his particular language of thought.

Chaque fois qu?il rend visite à sa grand-mère, l?auteur du film avance lentement dans la pièce et regarde ce qui a changé et ce qui n' a pas changé. A chaque fois, il va dans le jardin, en suivant le petit chemin jusqu'au bout de la montée; là, il se retourne et regarde la maison. Séquences tournées en Mars 2007.

Norman Richter est né en 1979. Il étudie la réalisation à l'HFF "Konrad Wolf" à Potsdam-Babelsberg. Il travaille sur les aspects expérimentaux et documentaires de l'art du film et de la vidéo. Il participe à des festivals de films et à des expositions dans le monde entier.

VALI ASR ? JUILLET 2006 Ce film a été tourné en sept jours durant l?été 2006, à Téhéran, capitale de la République islamique d?Iran. Le tournage se passe dans la rue Vali Asr, la plus longue et ancienne de Téhéran. Elle court sur 24 km, du nord au sud de la ville en passant par le centre et dévoile une image d?idéologies et de classes sociales très différentes. Le nom Vali Asr signifie « loi des temps » et se réfère à l?imam Muhammad al-Mahdi. En accord avec le dogme shiite, l?imam Mahdi est le vingtième et dernier successeur direct du prophète. Il est dit qu?il vécu pendant des siècles dans la clandestinité, sans donner de signes publics. La constitution de la République islamique d?Iran de 1979 désigna à la tête de l?état le vingtième Imam al-Mahdi. Les érudits islamiques, les Ayatollahs, ne sont que les représentants de l?Imam, attendant sa sortie de la clandestinité. Douze visages sont présentés. Un objet personnel est associé à chacune de ces douze personnes, excepté pour la dernière, une jeune fille. Ces personnes avaient ces objets avec eux au moment où ils ont été filmés.

Norman Richter was born in Heide in 1979. He has been studying directing at the "Konrad Wolf" Hochschule für Film und Fernsehen in Potsdam-Babelsberg. He works above all in the area of documentary and experimental film and video art. His film, "Sun in an Empty Room" was shown at the European Media Art Festival in Osnabrück along with "lobenden Erwähnung", from the German Filmkritik collective in the experimental film category. The film "Vali Asr - July 2006" filmed in Tehran was shown during the International Short Film Days in Oberhausen. Norman Richter's works have been exhibited in various international film and media art festivals, including: International Short Film Days, Oberhausen, 2007; European Media Art Festival, Osnabrück, 2005/2007; 25fps - International experimental Film and Video Festival, Zagreb, 2006; and the Ausstellung zum Marler Video-Kunst-Preis, 2006.

“And all, all, all was nice and good” is the last sentence sung by a chorus of middle aged men that opens “You are the Center of the World”. A horse walks around, the hooves clatter in the courtyard of a pretty detached house.
 The three young men look around, wander through the deserted streets. Finally, they find themselves in a living room and remain in there.
 All they can do is wait and listen to the silence. Where are all the other people? Out there, something is wrong, for sure. The small town becomes a stage for the three local teenagers, who are looked at by the camera and „act acting“. Explicitly cinematic visual references are created, where the characters move and perform in.

Julia Charlotte Richter (*1982 in Gießen, Germany) is a video artist. She studied Fine Art in Kassel (Germany), Portsmouth (UK) and Braunschweig (Germany). Julia Charlotte Richter’s works have been shown internationally in numerous screenings and exhibitions, including Museum Folkwang Essen, Manege Moscow, Georgian National Museum Tbilisi, Goethe Institute Chicago, Toronto, Ankara etc., Filmfestival “Max-Ophüls- Preis” Saarbrücken and the “B3 Biennial of the Moving Image” Frankfurt. She received different scholarships such as the residency “Young Art in Essen” (Kunstring Folkwang/Kunsthaus Essen) in 2012 or a working grant by the Stiftung Kunstfonds in 2014. Her film “You are the Center of the World” (2015) was funded by the Bösenberg-Foundation. In 2017 she received a project grant by the Kunststiftung NRW as well as a travel grant by the Hessische Kulturstiftung.

The main heroes of the film are the young people from Kharkiv, a city located in the Eastern part of Ukraine. Reaching their early twenties coincided with the breakout of the war in the neighbouring region of Donbass. An LGBT activist and poet, a fashion model, a group of street artists, a creator of a computer game – all of them are artists or working in the creative industries, typical for a peaceful life of a big city. However, the proximity to the war affects each of the characters and their activities. Heroes react and reflect political events through their specific relationships with the urban space and the reality of the social media.

Mykola Ridnyi was born 1985 in Kharkiv, Ukraine. Lives and works in Kyiv, Ukraine. He graduated in 2008 from the National Academy of design and arts in Kharkiv. In 2005 - 2012 he has working within the art collective SOSka group. Ridnyi works across media ranging from experimental films to site-specific installations. In recent films he experiments with nonlinear montage, collage of documentary and fiction. His way of reflection social and political reality draws on the contrast between fragility and resilience of individual stories and collective histories. He participated in a numerous international exhibitions and film festivals. Among them is 56-th Vienice biennale “All The World Future’s”, curated by Okwui Enwezor. His films and mixed media works are in the permanent public collections of Pinakothek der Moderne in Munich, Neuer Berliner Kunstverein, Ludwig Museum in Budapest, Museum of Modern Art in Warsaw, Arsenal City Gallery in Bialystok, V-A-C foundation in Moscow and others.

The Battle Over Mazepa conceptualises the historical significance and contemporary perception of Ivan Mazepa, a political and military leader of the Zaporizhian Sich and Left-bank Ukraine in the late-17th and early-18th century. Addressing codes of hip-hop culture, Ridnyi borrows the popular form of a rap battle to collide two great works of world literature associated with this historical figure: Mazeppa by Lord Byron in 1819 and Poltava by Alexander Pushkin in 1828–29. While Byron envisions Mazepa as a romantic hero, seized by love, Pushkin portrays him as a traitor in accordance with the colonial attitude of the Russian Empire. Highlighting the confrontation of these two texts, Ridnyi invited four rappers from different national and cultural backgrounds to write and perform their response to the poets’ lyrics.

Mykola Ridnyi (born in Kharkiv, Ukraine) is an artist, filmmaker and educator. He lives and works in Berlin where he holds a guest professorship in the Lensbased class at the Berlin University of the Arts (UdK). His works reflect social and political realities by drawing on the contrast between fragility and resilience of individual stories and collective histories. The body of his work created within the last decade address the question of how to talk about violence and war but not multiply its brutality in the visual language. Ridnyi's works has been shown internationally including the Schinkel pavilion, Transmediale and DAAD gallery in Berlin, Albertinum in Dresden, Museum of Modern Art in Warsaw, Bonniers Konsthall in Stockholm, the 56-th Venice Biennale, The Kyiv Biennale and other venues and events.

Photographic Essay based on the eponymous novel by Imre Kertész ? Steinig did survive his own death. Stranded at an unfamiliar nameless airport of a big though strangely familiar city, he is looking for a way to ensure his survival in a system which condemns everyone who has not yet lost faith in individuality and freedom.

Janet Riedel (1978) ist Fotografin und Grafikerin. Seit 2003 als freie Fotografin, Redakteurin und Herstellerin für Magazine (Du, corso), Werbeagenturen (JVM, Grabarz & Partner), Verlage (Carlsen, Rowohlt) und Theater (Kampnagel) tätig. Realisierung von Buch- und Ausstellungskonzepten. 2005 Gründung des Netzwerks für Neue Subjektive Fotografie ABSAGE AN DIE WIRKLICHKEIT; dreijährige Ausstellungstour durch Deutschland, nach Sydney, Hanoi. 2004?2007 Aufbaustudium für Visuelle Kommunikation/Medien an der HfBK Hamburg. 2008?2010 entstand der Fotoessayfilm FIASKO nach dem Roman von Imre Kertész in Zusammenarbeit mit Katja Pratschke/Gusztáv Hámos. Gusztáv Hámos (1955) und Katja Pratschke (1967)sind Medienkünstler. Ihre künstlerische Praxis umfasst Arbeiten mit Fotografie, Film, Video, Installation, interaktiven Skulpturen, wie auch die Kuration von Ausstellungen, Symposien, Filmreihen, und die Herausgabe von Publikationen. Aktuelle Ausstellungen und Projektionen: Tate Modern, Arsenal Berlin, Muzéum Ludwig Budapest, ZKM. Seit 2000 experimentieren sie mit dem Stillbild im kinematografischen Kontext - im Kino wie im Ausstellungsraum - untersuchen das Verhältnis von Stillstand und Bewegung. Seit 2006 kuratieren sie die Filmreihe VIVA FOTOFILM, die u.a. im Arsenal Berlin,in der Cinémathèque Quebeocoise Montreal, dem Múzeum Ludwig Budapest und der Tate Modern London zu sehen war. Parallel dazu initiierten und organisierten sie vier Symposien, dessen Ergebnisse in der Publikation »VIVA FOTOFILM bewegt/unbewegt«, 2010 veröffentlicht wurden.

C'est une pomme sur un arbre, joyeusement accrochée en compagnie d'autres pommes, qui profite du soleil et de la caresse du vent. Cependant une pensée ne lui laisse aucun répit: elle aimerait savoir ce que c'est d'être un humain.

Astrid Rieger est née en 1979 à Kronstadt, Roumanie. Elle vit depuis 1990 en Allemagne. En 1999 elle commence ses études à la Hochschule für Gestaltung (école supérieure de design), option "communication visuelle" à Offenbach . Elle obtient son diplôme en 2006. Zeljko Vidovic est né en 1975 à Livno ? Croatie . Depuis 1998 il étudie à la Hochschule für Gestaltung (école supérieure de design) à Offenbach.

UUne petite fille dérive sur un plateau d’échecs, dans le monde de l’espace et de la matière déployée. Ses pieds suivent des lignes invisibles, ses mains s’attachent à battre un rythme silencieux en touchant des objets selon un tempo par ailleurs imperceptible. Gestes compulsifs et vibrations se répondent dans un mouvement onirique où le réel vacille. Inspirée tout autant par l’univers des films de David Lynch que par la forme clip où le « sonore » est à la fois source du mouvement des images et trajectoire, cette vidéo-collage Explore des TOC et des fragments d’enfance en partie oubliés à la faveur d’une musique et d’une conversation familiale. Avec Zuzanna FAFIOTTE-RIEGER, Fernando COLIN-ROQUES.

Après une formation initiale de musicienne, Maria Rieger obtient une maîtrise d’Histoire sur les relations culturelles entre la Pologne et l’Ukraine à Paris 1 Sorbonne ainsi qu’un master de relations internationales et d’études européennes. Parallèlement à un parcours professionnel hybride entre le monde du conseil aux entreprises, le cinéma et la collaboration avec un écrivain, elle développe une pratique autodidacte autour de l’écriture, de la vidéo et du dessin. Après une année préparatoire à l’École d’art à Montreuil, elle intègre les Beaux-Arts de Paris, où elle poursuit actuellement ses études dans les ateliers de Clément Cogitore et d’Emmanuel Van der Meulen. Elle articule aujourd’hui sa pratique autour de la vidéo, de l’installation et de la peinture.

‘The Other, can I lift the border?’ is a hybrid documentary in which the filmmaker, Lydia Rigaux, and performer Luanda Casella explore how the perceived border between the self and the other can be lifted. During a fictional trip to Le Havre they reflect on the subject. In additional calls and talks we hear personal stories how the interviewees experience their relation towards others.

Lydia Rigaux (1980) is a filmmaker born and living in Ghent, Belgium. Her work navigates between fiction and documentary. An idea can develop from a story or reality. Yet during the process of making the film the line between those two becomes thinner. Fictional or real elements introduce themselves equipollent. The films she makes have tense subjects like trauma, marginalized communities, destruction, lethargy. But Lydia translates these topics in a poetic way, making them a visual experience that connects with the viewer.

“ How camels become lions ” depicts the urge for freedom. Through 4 episodes we see 4 family members in a moment when they are tired of being a camel, as a beast of burden. They realise their tasks are meaningless and find themself in a spiritual desert. The camel wants to become a lion. A spirit that fights against the false values in order to find his own freedom. The title is based on “ Thus spoke Zarathustra ” by Friedrich Nietzsche. The character of Zarathustra confronts his audience with speeches. In his first speech he explains how you can become a free spirit through three transformations. The first stage is the one of the camel, willing to be controlled by others. During a second transformation, the camel becomes a lion, a rebel, who doesn’t allow anyone to tell him “ you shall ”. But, although the lion can react, he can’t create. For this, he needs to transform into a child. A child that thinks and acts independently of any structure. The characters of `How camels become lions` are in a transitional phase. Their state of discontent can be the beginning of a transformation to a lion, and who knows, afterwards, to a child.

Lydia Rigaux is a filmmaker born and living in Belgium. Her work navigates between fiction and documentary. An idea can start both from a fictional story or reality, yet during the process of making the film the line between those two becomes thinner due to the attempt to eliminate all false elements. Also the search of finding the “ right ” image to capture a situation or environment sweeps away that border. It appears to her that a certain moment or setting can only be captured in this one image, the “ right ” image. The dominance of this search controls the content and gives the film its own subject. In this way, the film creates its own reality.

The film explores a common land in the south of England, and the natural history society who occupy it. After two years of filming, the rushes were shown to the society - their memories and responses were recorded and used as the film’s narration. The film does not give access to complete knowledge of the history of humans within the area. Instead, it explores more generally, human’s relationship with and within landscape and nature.

Argentine-British artist filmmaker, Jessica Sarah Rinland has exhibited work in galleries, cinemas, film festivals and universities internationally including New York Film Festival, BFI London Film Festival, Rotterdam, Oberhausen, Edinburgh International Film Festival and Bloomberg New Contemporaries. She has received grants from Arts Council England, Wellcome Trust, Elephant Trust and elsewhere. Residencies include MacDowell Colony, Kingston University, Locarno Academy and Berlinale Talents. Her most recent multi-screen, randomized installation We Account The Whale Immortal was exhibited at Somerset House, London in 2016.

Interrogating memory, horticultural, and philosophical elements through her endeavors, 11-year-old botanical prodigy Adeline’s mission is to propagate the mythical blue-flowering Echinopsis Subdenudata.

Argentinian/British filmmaker, Jessica Sarah Rinland has exhibited in galleries, cinemas, and film festivals internationally. Her short film NULEPSY screened at Bloomberg New Contemporaries, NYFF, LFF, IFFR, AAFF and was broadcast by Canal+. She won ICA’s Best Experimental Film for ELECTRIC OIL at LSFF 2013. She had a solo exhibition DISSECTING THE EXPLODING WHALE at LIMBO Arts in 2013. She was Filmmaker in Residence at Kingston University, UK and resident at the MacDowell Colony, US in 2014. Her short film ADELINE FOR LEAVES won the Arts + Science award at Ann Arbor Film Festival, also playing at Oberhausen, Edinburgh, New Horizons and Encounters. With funding from the Wellcome Trust, she co-curated a symposium on the subject of cetaceans at the National Maritime Museum, UK in September 2014.

Un pétrolier navigue le long du golfe de Finlande. Après avoir vogué en haute mer, le navire change de cap pour une raffinerie de pétrole sur la côte. Lors de ce passage, l?homme, la technologie et la nature se confrontent les uns aux autres.

Elli Rintala est née en 1978. Elle étudie à l?Université des Arts et du Design d?Helsinki (Finlande) depuis 2004. Parmi ses récentes réalisations, citons notamment le documentaire « Eilisen eväät » (2005).

Some fifty years ago, while looking for new ways to gather intelligence, the CIA launched a secret program on clairvoyance and extrasensory perception. Is it any coincidence that this took place at the same time and in the same place as the birth of the Internet? Before our astonished eyes, well-trained individuals open up to invisible signals, and describe the contents of sealed envelopes (their “targets”) with astonishing acuity. Reproducing the protocol set up by a CIA agency during the Cold War, Simon Ripoll-Hurier and his co-writer Myriam Lefkowitz choose neighboring locations as the objects of these clairvoyance sessions, moving in concentric circles towards the seats of power in Silicon Valley. Two relationships to information collide: the archaic, corporeal and fallible method of remote viewers vs. the more or less legal collection of data and its storage in a cloud destined soon to replace the brain, itself scrutinized in a nearby lab. The mediums trained here are on the verge of obsolescence: with eyes closed, they let their hands drift across a sheet of paper, offering a poetic interpretation of their targets. The information they capture doesn't have the clarity of bits, and summons reality from an angle. When will our technologies be able to replace Loretta Mears, a chiropractor and healer who uses her intuition to visualize her patients' ailments and heal them better? Spurred on by a narrator who presents herself as an embodied “I”, The Signal Line sketches out the prospect of an information society that will leave no room for the mists of life. Yet wherever data comes from, it can be manipulated, and the film itself, through its editing, produces a reality that belongs to it alone. Tense between subjectivity and objectivity, it reminds us that the answer to any question depends on how it is formulated. (Text: Olivia Cooper-Hadjian)

Simon Ripoll-Hurier (b. Mont Saint-Aignan, 1985) is a graduate of the École des Beaux-Arts in Paris and Rouen, and holds a Master's degree in Arts and Politics from Sciences Po Paris. At the crossroads of music and the visual arts, his work revolves around the practices of listening and transmission through the voice. He is co-founder of *DUUU, an online radio station dedicated to contemporary creation. His work was presented at the Musée des Beaux-Arts in Rouen in 2009, at the Centre Pompidou-Metz in 2010, and at the Fabrique des arts in Carcassonne and the FID Marseille in 2017. His films will also be screened at Cinéma du réel 2020 and Rencontres internationales Paris/Berlin in 2021. Between 2014 and 2017, in Diana, he brought together various amateur practices linked by the question of listening (radio amateurs, birders, ghost hunters...). In 2020, he will portray a Macedonian symphony orchestra (Age of Heroes).

À l'est de Skopje se trouve une petite place tranquille, où l'on peut parfois entendre l’écho d'une musique orchestrale. Si vous suivez le son, il vous mène à un grand studio. Le "Film & Music Ensemble" (FAME’s project) de Skopje se spécialise dans la musique de film. Une centaine de musiciens, ingénieurs du son, et autres participants viennent tous les jours enregistrer des musiques du monde entier. Les compositeurs assistent généralement aux séances par visioconférence. En une seule journée, on peut passer d'une série télévisée française à une production de Bollywood. Suivant un mécanisme sans faille, l'orchestre produit en permanence de la musique pour accompagner les images et leur donner une tonalité émotionnelle. Sur la petite place qui jouxte ce grand studio, la vie suit son cours dans une indifférence tranquille.

Simon Ripoll-Hurier (né en 1985) travaille dans le champ des arts visuels et développe une pratique à la frontière entre la musique, la radio et le cinéma, traque les situations d'écoute. De 2014 à 2017, il a développé "Diana", un projet de recherche qui inclut film, vidéo, performance et radio. Il travaille actuellement sur un film reliant la Silicon Valley d'aujourd'hui aux expériences parapsychologiques menées autrefois par la CIA. Son travail a été présenté dans divers festivals, biennales, musées, galeries, et diffusé à la radio. Il joue également avec Les Agamemnonz, un groupe de surf music instrumentale, et a cofondé *DUUU, une webradio gérée par des artistes.

It is hard to picture the scale of the iron industry of the Weald today. A large amount of the violence inflicted upon the landscape has healed, only expressing its scars when you know what to look for. However, beginning in the early 16th century, vast quantities of iron were extracted from the area shaping the landscape, the human history and the nonhuman ecosystem to this day. Coppice (2022) is a film rooted in a feeling of psychic dislocation with land. This feeling lead Sam Risley to begin a practise of monthly visits to a small woodland called Cutaway Wood located within the Weald. What began as an attempt at re-enchantment, culminated in a film focused on the industrial history inscribed in the topography of the woodland. Coppice weaves together footage of a year spent watching Cutaway change with the seasons, with sounds captured both above and below the canopy, all the way down into the earth itself. The result is a film poem that conjures the ghosts of the landscape.

Sam Risley works across moving-image, installation, sculpture and written text. His work centres around narratives of renewal, with a focus on ecological restoration within landscapes shaped by violent capitalist practises. Friends, family and mythic or historical figures frequently populate his works. He has exhibited at The Baltic, The Horse Hospital, APT Gallery, Sluice Biennial, IMT Gallery and GAO Gallery among others and has had texts published by Ca-Foscari Press, Da Thirst and Morning Baby.

The change of the political system that occurred in Poland in the early 1990s brought not only hopes related to the social and economic transformation, but also anxieties and fears. At the time, such fears were treated as evidence of incompatibility with the new capitalist order and thus consistently relegated to the margins of public debate. The film is an attempt to recall the traumatic experiences of this period. In this context, the concept of trauma is directly related to the process of repression, the essence of which coincides with the naturalizing, hegemonic discourse which justifies the social costs of transformation as necessary on the way to modernization. "The Earth Will Swallow it All" is a story about Upper Silesia. It was based on the accounts of mining families, the archives of the Polish Film Chronicle, 3D animations and seismographic charts. The collected materials connect into a description of the social catastrophe, which is shown from the perspective of people who in the past were united by the working-class community.

Dominik Ritszel (b. 1988) active in the area of visual arts. Working with film and video instalations. B.A. Graphics M.A. (2013), doctoral degree (2020) graduated at the Academy of Fine Arts in Katowice. Winner of the scholarship Young Poland, listed on the Forbes lists 30 Under 30 Europe, Prize winner of the Trieste Contemporanea Award 2015. Lives and works in Katowice, Poland.

Figure Study is a video collage consisting of found footage and the artist's original recordings. It consists of a video installation, archival material and training videos filmed by the US government during the Cold War, as well as recordings of the Spartakiada, a mass sports competition organised in the Eastern Bloc during the period of Soviet domination. In his work, Dominik Ritszel manipulates the content of these materials by juxtaposing them with his own images, focusing on individual narrative elements as well as formal techniques. The issues raised in the work, ie. public safety, physical hygiene and a healthy lifestyle outline the political meanings attributed to the body, especially the male body. The figurative representations of unified military force and society as a mass aim to reveal the hidden content contained in the archival recordings and reconstruct a vision of patriarchal society.

(b. 1988) active in the area of visual arts. Working with film and video instalations. B.A. Graphics M.A. (2013) graduated at Academy of Fine Arts in Katowice, (2020) Doctoral degree in fine arts at Academy of Fine Arts in Katowice. Winner of the scholarship YOUNG POLAND (2014) and the Polish Ministry of Culture and National Heritage (2017). Prize winner of the Trieste Contemporanea Award 2015, Listed in Forbes magazine in category of Arts (2016). Lives and works in Katowice, Poland. Co-op with Szara Gallery in Warsaw.

Ritszel in his movie Reverb cleans view of audial perception. He introduce the viewer to his laboratory, spread through whole city. Process of the civilization has been reverse and for a moment, receiver gain privilege of sharpen hearing,. Sounds act on the same rules as they act in horror movies. They grow from what is known. They grow stronger and stronger, minute after minute. They become powerful and than they spread. Dynamic of the horror movie shows, that what scarry the most are not perfectly design monsters but minor, accumulative sounds. Creak of slowly opening wordrobe doors,expending floor planks under footsteps, TV which swich on itself, scraping, grating, crashing, and the most, sudden, ominous, dead silent.

Dominik Ritszel was born in 1988 in Rybnik. He studied at the Faculty of Graphics in the Institute of Arts at the University of Silesia in Cieszyn and at the Academy of Fine Arts in Katowice, where he did graphic arts. His works were exhibited, among others, at international video art festivals Les Rencontres Internationales (Gaîté Lyrique, Palais de Tokyo, Paris), Proyector, International Video Art Festival (Spain, Italy, Portugal) and Video Art Review THE 02. He participated in group exhibitions - in the Show Off Section at the Krakow Photomonth Festival (2013), The increased Difficulty od Concretation in Prague (2015), What’s Hidden in National Gallery of Art (2015), Curators Network in the Museum of Contemporary Art (MOCAK) in Krakow (2012), Mum, I just really need to focus on my art right now in the Arsenał Gallery in Poznan (2012), among others, and in a joint exhibition presenting works of young Silesian artists Milk Teeth in the BWA Contemporary Art Gallery in Katowice (2013). He had individual exhibitions in the Centre for Contemporary Arts Kronika in Bytom, in Grey Gallery in Cieszyn, Grey House Gallery in Krakow and in the Silesian Museum in Katowice. He was chosen among the three finalists of the Talenty Trójki 2013 contest in the Visual Arts category, he was short-listed for the Grey House Foundation Prize. In 2014 he was granted the Young Poland Programme scholarship. In spring 2014 as an artist in residence he stayed in the A-I-R Laboratory in the Centre for Contemporary Art Ujazdowski Castle where he produced Versus, showed in Bank Pekao Project Room in Warsaw. In 2015 he participated in group exhibition Waiting for better times Curatorated by Magda Kardasz (Zachęta Project Room, Warsaw). During of the 8th edition of Biennale of Young Artists RYBIE OKO his video Reverb received special award. He has been crowned the 2015 winner of the Young European Artist Trieste Contemporanea Award. His next individual exhibition will take place in Studio Tomaseo (Italy) 26th of March.

The video was recorded in primary school, which I graduated in 2003. This work is inspired by architectural elements in space of the school. I am mainly interested about functionality of certain spaces of the school, for example halls, passages, gyms, dressing room and also how institutional rules and statutes can take a form of game.

Dominik Ritszel was born in 1988 in Rybnik. He studied at the Faculty of Graphics in the Institute of Arts at the University of Silesia in Cieszyn and at the Academy of Fine Arts in Katowice, where he did graphic arts. His works were exhibited, among others, at international video art festivals Les Rencontres Internationales (Gaîté Lyrique, Palais de Tokyo, Paris) and Video Art Review THE 02 Spaces as a tool for shaping social attitudes. He participated in group exhibitions - in the Show Off Section at the Krakow Photomonth Festival (2013), Curators Network in the Museum of Contemporary Art (MOCAK) in Krakow (2012), Mum, I just really need to focus on my art right now in the Arsenał Gallery in Poznan (2012), among others, and in a joint exhibition presenting works of young Silesian artists Mleczne Zęby (Milk Teeth) in the BWA Contemporary Art Gallery in Katowice (2013). He had individual exhibitions in the Centre for Contemporary Arts Kronika in Bytom and in the Silesian Museum in Katowice. He was chosen among the three finalists of the Talenty Trójki 2013 contest in the Visual Arts category, he was short-listed for the Grey House Foundation Prize. In 2014 he was granted the Young Poland Programme scholarship. In spring 2014 as an artist in residence he stayed in the A-I-R Laboratory in the Centre for Contemporary Art Ujazdowski Castle where he produced Versus, showed in Ujazdowski Castle in Bank PEKO Project Room (Warsaw).

Video explore the relations between son and father (student/master), which is bring to inconspicuous, childish game. Situation plays in family house, where actors are my father, brother and myself. ?Preludium? is a memoir of my request to my father, who refused to teach me play piano, saying, that is too late.

In 2008 I began study on Academy of Fine Arts in Katowice. My first individual exhibition ?See you all? took place in CSW Kronika in Bytom. In 2012 I took part in group exhibition; ?Whoever seen, whoever knows?, (CSW Kronika, Bytom). I was invited to take part in project ?Public space as tool for shaping social attitudes? in Chisinau (Moldova) where I made film ?Campers?. My second individual exhibition was in Częstochowa (Centrum Promocji Młodych); entitled ?No fun?. In collaboration with French curator Lore Gablier, I was co-create film ?D?eux?, based on two weeks traveling through France and England. I was chosen, as one of 20 polish artist, in polish edition of project Curators Network, which intend to promote selected artists by international group of curators in Poland and abroad. In 2013 I was participant in group exhibition young Silesian artists ?Milk Teeth? in BWA (Katowice) where I showed my film ?Preludium?. I was chosen, as one of 10 artist, in project Showoff?13. On behalf on project Showoff (cooperating with Photo Month in Krakow) I was showing my works in gallery Grey house Exhibition was entitled ?Eine kleine Werke?.