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Inspiré par l'héritage d'événements historiques réels et de mythes fabriqués, "American Fables" réimagine, par le biais de vignettes vidéo, certains des moments les plus célébrés de l'histoire américaine. J'ai longtemps été influencé par les récits historiques, comiquement unidimensionnels et inexacts, que l'on retrouve dans la plupart des manuels scolaires américains, dans lesquels les perspectives ethnocentriques créent des récits de propagande sur le sentiment d'exception américain. Je suis sans cesse fasciné par la subjectivité de l'histoire, sa vulnérabilité face aux idéaux partisans et au nationalisme, ce qui rapproche plutôt les récits historiques des contes que des faits. C'est ce qui m'a poussé à créer ma propre bibliothèque d'histoire américaine, contrefaite et réimaginée, dans le but de soumettre ma propre voix à cette campagne de désinformation en constante expansion, ancrée dans la rhétorique occidentale.

Federico Solmi est né en Italie, en 1973. Il vit et travaille actuellement à New York (USA). Son œuvre utilise des couleurs vives et une esthétique satirique, afin de dépeindre une vision dystopique de la société actuelle. Ses expositions présentent souvent des installations articulées, composées d'une variété de médias, notamment la vidéo, la peinture, le dessin et la sculpture. Federico Solmi utilise son art comme un moyen de stimuler un dialogue direct avec son public, en soulignant les contradictions et la faillibilité qui caractérisent notre époque. À travers son œuvre, il examine les pulsions et les désirs inconscients de l'être humain, afin de critiquer l'obsession de la société occidentale pour la réussite individuelle, et de montrer les relations contemporaines entre nationalisme, colonialisme, religion et consumérisme. En reconfigurant les récits historiques à travers les époques, il crée des œuvres de commentaire social et politique qui perturbent les mythes définissant la société américaine. En scannant ses peintures à l’aide d’un moteur de jeu, ses vidéos confrontent le public à sa propre réécriture absurde du passé et du présent, mêlant humour noir, sens du grotesque et nouvelles technologies. Il crée une réalité virtuelle carnavalesque où nos dirigeants deviennent des marionnettes, animées par un scénario informatique et des performances de capture de mouvement plutôt que par des ficelles. Il crée une réalité virtuelle carnavalesque, dans laquelle nos dirigeants deviennent des marionnettes, animées non pas par des fils, mais par des scripts et captures de mouvement par ordinateur.

THE BALLROOM With his typical sardonic and irreverent approach, Federico Solmi has orchestrated a masquerade between history’s most feared and beloved leaders in his latest work, ‘The Ballroom’. In the installation, videos display surreal vignettes of a lavish ballroom party that converge multiple narratives of gluttony, gossip, and over the top exuberance. The follies of each overly ambitious leader result in a chaotic festival of drinking, smoking, dancing, and feasting. A vain display of ridiculous costumes, shining with medals and jewelry, promote a visual disorder that coalesces with the indulgent antics of these powerful figures. Rather than reimagining history, the leaders enter into our conceited present-day celebrity culture. They call to fault our own complacency and perpetuation of skewed historical myths and perspectives.

Solmi’s elaborate installations combine 3D animation and video game technology with paintings, drawings, and kinetic sculptures. Bright colors and a satirical aesthetic portray a dystopian vision of our present day society. Through an intricate process in which technology and hand-painting merge into an organic whole, his unique approach renders the most loathed aspects of modern life. With garish imagery and mesmerizing movement, Solmi expresses a harsh criticism toward the system that approves and trusts without questioning the fragile foundation on which our culture and post-modernist society is based. Federico Solmi, (lives and works in New York). In the year 2009, Federico Solmi was awarded with the John Simon Guggenheim Memorial Fellowship in the category of Video & Audio by the Guggenheim Foundation of New York. He is currently a visiting Professor at Yale University School of Art, New Haven (CT). Solmi has been featured in solo museum exhibitions at the Haifa Museum of Art, Israel (2016) Museo de Arte Contemporaneo del Zulia, Maracaibo Venezuela (forthcoming), and the Centro Cultural Matucana 100, Santiago, Chile (2015). His work has been included in several international Biennials, including the Frankfurt B3 Biennial of Moving image (2015), the First Shenzhen Animation Biennial in China (2013), the 54th Venice Biennial (2011), and the Site Santa Fe Biennial in New Mexico (2010).

In Chinese Democracy and the Last Day on Earth Federico Solmi aims to lampoon the contemporary society and the self–destructive nature of mankind. In contrast with their playful faux-naïve aesthetics, the videos indict a male dominated, hierarchal world controlled by corrupt, arrogant dictators, politicians, businessmen as forces behind the disintegration of ethical and moral values.

BIOGRAPHY Federico Solmi (Italy, 1973) currently lives and works in New York. His exhibitions, which often combine articulate installations composed of different media such as video, drawings, mechanical sculptures and paintings, use bright colors and a satirical aesthetic to portray a dystopian vision of our present day society. Irreverent, surrealistic, the videos and the works by Federico Solmi are as he is: extravagant, rowdy and ironic. They are satires about the evilness and the vices that affect contemporary society and mankind. The artist uses images culled from the video game industry, pop culture, and the Internet and collages them with a historical influence to produce original artworks about the seemingly disparate subject at hand. The universe that Solmi likes to represent is the exaltation of a present that is crumbling apart. His work is a criticism of a system that approves and trusts without questioning the fragile foundation on which our culture and post-modernist society is based. In the year 2009, Federico Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category Video & Audio. Solmi`s works has been exhibited in several international Biennials, such as First Shenzhen Animation Biennial in China (2013), the 54th Venice Biennial (2011), and Site Santa Fe Biennial in New Mexico (2010). His works have been exhibited and screened in the following museums and institutions for contemporary art: Centre De Pompidou, Palais De Tokyo, Paris; Drawing Center, New York; Reina Sofia National Museum, CA2M Centro De Arte Dos De Mayo (upcoming), Italian Cultural Institute, Madrid; Haus der Kulturen der Welt, Berlin; Herzliya Museum of Contemporary Arts, Israel; OCT Contemporary Art Terminal, Shanghai; Australian Center of Moving Images, Melbourne; Victoria Memorial Museum, Calcutta, India; Palazzo Delle Esposizioni, Rome, Palazzo Delle Belle Arti, Naples, Italy Solmi`s video have been screened in several film and video festivals around the world including the Kassel Documentary film and video festival; Tina B, Prague; Les Rencontres Internationales, Paris, Madrid, Berlin; The London International animation festival; Loop Barcelona and others. Federico Solmi has given lectures on his work in several universities and art schools in the United States and Europe, including Yale University in New Haven, School Of Visual Arts in New York, and Accademia di Belle Arti Brera and Universita` Cattolica in Milan.

"A Song of Tyranny", is the first video episode of the Trilogy entitled Chinese Democracy and The Last Day On Earth, a project by Federico Solmi, which was commissioned by the Guggenheim Foundation of New York after the artist was awarded the John Simon Guggenheim Fellowship for video. In this swarming animation, the artist investigates the self destructive nature of mankind through the examples of political dictatorship and authoritarian behaviors. Beyond the apparent Manichean character of such a vision, the video is articulated as a fictitious portrayal or the hagiography of an imaginary leader of the mid-21st century, idolized by his crowd of subjects. Solmi`s playful aesthetics integrate a series of visual metaphors to present viewers with a comedic-grotesque parabola on power and its excess. This sarcastic and irreverent tone allows Solmi to target the epitome of human folly, greed, and thirst for power, preventing a simple reproduction of the dichotomic good versus evil. A Song of Tyranny, centers on the protagonist in the phase of becoming a dictator while he is permeated with values and models that will influence his successive actions and decisions in the process of rising to power. Solmi?s complex technique combines traditional hand drawn animation with digital models, utilizing computer gaming engines. The result is an absolutely unique hand-made texture within a real-time 3D framework, created in collaboration with Australian based 3D artist, Russell Lowe.

Federico Solmi (Italy in 1973), currently lives and works in New York. His exhibitions, which often combine articulate installations composed of different media such as video, drawings, mechanical sculptures and paintings, use bright colors and a satirical aesthetic to portray a dystopian vision of our present day society. Irreverent, surrealistic, and sexually explicit, the videos and the works by Federico Solmi are as he is: extravagant, rowdy and ironic. They are satires about the evilness and the vices that affect contemporary society and mankind. The artist uses images culled from the video game industry, pop culture, and the Internet and collages them with a historical influence to produce original artworks about the seemingly disparate subject at hand. The universe that Solmi likes to represent is the exaltation of a present that is crumbling apart. His work is a criticism of a system that approves and trusts without questioning the fragile foundation on which our culture and post-modernist society is based. In the year 2009, Federico Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category Video & Audio. Solmi?s videos were featured in the 54th Venice Biennial, in the exhibition entitled ?Italians do it better?. His work was included in the year 2010 at the Site Santa Fe Biennial, an exhibition curated by Sarah Lewis and Daniel Belasco. His work has been exhibited in the following museums and Institutions for Contemporary art; Centre Pompidou, Paris, Reina Sofia National Museum, Madrid, Drawing Center, New York; Haus der Kulturen der Welt, Berlin, CA2M Centro de Arte Dos de Mayo, Madrid, National Center for Contemporary Art, Moscow, Australian Center of Moving Images, Melbourne, Victoria Memorial Museum, Calcutta, India, Contemporary Art Center of Rouboix, Palazzo Delle Arti, Naples, Palazzo Delle Esposizioni, Rome, Italy. In addition, his video animations have been screened in several film and video festivals, such the Kassel Documentary film and video festival, Tina B, Prague, The London International animation festival, Loop Barcelona, IndieLisboa, Lisbon, Impakt Film and Video festival, Utrecht.

Douche Bag City is a video installation of 24 drawing animated film. It was conceived by the artist to be a satire about the current world economic crisis. The main character ?Dick Richman? is a greedy, dishonest, and selfish Wall Street employee who has been banished to live in Douche Bag City. Douche Bag City is a hopeless place, where the greedy villains of society are imprisoned for their atrocities committed against the community. The video is made of several chapters. In the final version of the installation, 24 videos/episodes will be playing simultaneously; each episode represents a mission for the main character. The ultimate goal of the protagonist ? Dick Richman? is to survive different challenges, but the drawing animated /video games are set by the artist in a way that the main character ?Dick Richman? cannot win. For each video I used a combination hand-made drawings, video game technologies, 3D and 2D animation. The installation was made in collaboration with Russell Lowe, an Australia-based 3D artist and professor at the New South Wales University in Sidney.

Federico Solmi was born in Bologna, Italy in April 1973 and currently lives and works in New York. His exhibitions, which often combine articulate installations composed of different media such as video, drawings, mechanical sculptures and paintings, use bright colors and a satirical aesthetic to portray a dystopian vision of our present day society. Irreverent, surrealistic, and sexually explicit, the videos and the works by Federico Solmi are as he is: extravagant, rowdy and ironic. They are satires about the evilness and the vices that affect contemporary society and mankind. In the year 2009, Federico Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category Video & Audio. Federico?s work has been featured in the following museums and Institutions for Contemporary art; Santa Fe Biennal (upcoming June 2010), Centre Pompidou, Paris, Drawing Center, New York; Haus der Kulturen der Welt, Berlin, National Center for Contemporary Art, Moscow, CA2M Centro de Arte Dos de Mayo, Madrid, Australian Center of Moving Images, Melbourne, Victoria Memorial Museum, Calcutta, India, Contemporary Art Center of Rouboix, Palazzo Delle Arti, Naples, Palazzo Delle Esposizioni, Rome, Italy.

« King Kong and the End of the World » (2005-2006) est un film d?animation dessiné à la main, sensationnel et sarcastique, basé sur le film King Kong original, paru en 1933. Dans cette version, King Kong (interprété par l?alter ego de l?artiste) détruit New York en utilisant comme arme le Guggenheim Museum, avant de grimper en haut de l?Empire State Building où il urine, puis il mange des courtiers de Wall Street au déjeuner, et se bat avec la Statue de la Liberté dans l?arène de Time Square. L?artiste utilise King Kong comme allégorie du monde de l?art et de la frénésie d?argent de la culture urbaine. Dans ce monde, l?art lutte contre son rôle d?objet à vendre. Les idées sur la nature de l?argent, la technologie, le naturel envisagé comme « fait par l?homme », viennent se mêler au minutieux dessin à la main réalisé image après image.

Federico Solmi est né à Bologne (Italie) en 1973, vit et travaille actuellement à New York (USA). Ses expositions, qui combinent souvent des installations articulées, composées de différents médias comme la vidéo, la sculpture mécanique et la peinture, utilisent des couleurs brillantes et une esthétique satiriste pour offrir une image de la société actuelle sous forme d?une dystopie. Dans ses univers, le pouvoir est souvent la némésis, et se manifeste sous l?aspect elliptiques du Guggenheim Museum (« King Kong and the End of the World », vidéo, 2006) ou des chaussures Prada luisantes du Pape (« The Evil Empire », vidéo, 2007). L?artiste utilise des images issues de l?industrie du jeu vidéo, de la culture pop et d?Internet et en fait des collages avec une influence historique afin de produire des ?uvres d?art originales sur le sujet, apparemment disparate, en question. Ce qui résulte de la combinaison de tous ces éléments est un art humoristique, absurde, qui fait une critique cinglante de notre société contemporaine.

The documentary filmmaker is filming an old Securitate officer with a hidden camera. He suspects that, 60 years ago, the officer had followed and photographed a famous monk turned civilian - a real character, now about to be sanctified. The former spy is now being spied upon, but things turn out badly.

In the early 1990s, Solomon emerged as a young director of photography and he started making documentaries aside from filming feature films. Solomon was among the first Romanian film-makers who committed themselves to a then compromised genre; today, he is one of the leading political film-makers from Romania and active on the international documentary scene. His recent work triggered public debates about the function of documentary film within the public sphere and contributed to re-establishing documentary film as an arena for reframing Romania’s recent history. Solomon’s previous work, “The Great Communist Bank Robbery” (2004), broadcast on Arte and as part of BBC4’s prestigious Storyville series, was awarded Best Film at the History Film Festival in Pessac, France and the Prize for Social Values at Documenta Madrid. His ‘Cold Waves’ (2007) is a chilling slice of political history that played for 12 weeks in Romanian theatres. It deals with the love and hate story between Radio Free Europe, the Romanian audiences and the communist regime. “Kapitalism - our secret recipe” (2010), speaks of the rise of a new ruling class in the East (produced for Arte and RTBF with Media support). “Tarzan’s Testicles” (2017), premiered in Karlovy Vary, is a film about utopias & a metaphoric drama that threads the similar destinies of monkeys & men.

The work Ecumenopolis departs from a specific aspect of the Cold War: the efforts on both sides, East and West, to extend their spheres of influence by means of art and culture. As a counterpart to Socialist Realism, the United States advanced modernist art as a vehicle for spreading Western values. This Cultural Cold War also took place on the front of architecture and urbanism. Against this geopolitical background, Ecumenopolis zooms in on Greek architect-urbanist Constantinos Doxiadis and his role as a cultural agent of change. In the 1950s and 60s, Doxiadis developed many key projects across the Middle East, Asia and Africa, and was responsible for the modernist master plans of Riyadh, Baghdad and Islamabad, the capital of Pakistan. Parallel to these influential commissions, he worked on his own mission: a visionary urbanist theory which he named ekistics, the science of human settlements. Its ultimate aim was a blueprint for a future city that would encompass the entire world: Ecumenopolis. In the work Ecumenopolis a voice-over narrates about Doxiadis’ mission and his interdisciplinary network of inspirational fellows, the Delians, which he gathered annually on a boat in the Aegean Sea to contribute to his mission. The camera hovers around the island of Delos and its ancient city where Doxiadis would take them. In order to envision the urban future, they were to travel back in time. As the story unfolds, two different perspectives are interweaved on Doxiadis and his Delians, drawing both on official archives celebrating his architecture as a practice beyond politics, and on alternative sources that trace a more complex context - the context of the Cultural Cold War.

Elian Somers (NL, 1975) is a visual artist based in Rotterdam, the Netherlands. Her works have been shown at various art venues, a.o. Stedelijk Museum Bureau Amsterdam (SMBA), Amsterdam; Pennings Foundation, Eindhoven; Foam, Amsterdam; TENT, Rotterdam; Kunsthalle Wilhelmshaven, Wilhelmshaven (DE) and MK Galerie, Berlin (DE). The works have also been regularly published as artist books, and in art, photography and architecture magazines. The book One and Another State of Yellow (Fw: Books) was published in 2017, and the book Border Theories (Fw: Books) in 2013. The work Ecumenopolis (A Stone from the Moon, 2015-2022) was selected for the International Film Festival Rotterdam, IFFR 2024. Elian Somers’ projects have been financially supported by the Mondriaan Fund, Amsterdam, Culture Fund, Amsterdam, and CBK Rotterdam.

"Diamante" est construit comme un jeu de réflexions sur la base d'un fait divers: un vol de bijoux commis en Russie en 2018, vraisemblablement par une organisation criminelle appelée Pink Panther.

Francisca Somigliana (née à Buenos Aires en 1992) a étudié le design d’image et de son. Elle a participé au Film Program (2017) et au Artist Program(2020/21) de la Universidad Torcuato Di Tella, Buenos Aires (Argentine). Elle a été sélectionnée en 2019 pour participer à la Biennial of Young Art, Buenos Aires (Argentine). Elle a participé à plusieurs expositions et projections, notamment à "Space between", au Centro Cultural Recoleta, Buenos Aires (Argentine); à "Today I have permission to lie", à la UTDT – Universidad Torcutato Di Tella, Buenos Aires (Argentine); à Program 2016, au Dahaus Studio; à Satellite XIII (CHELA); et à "Cinematographic images and their path to freedom", à la UTDT – Universidad Torcutato Di Tella, Buenos Aires (Argentine).

In “Sagn om jord” (Legends of Earth) the point of view is from a distant future. The sci-fi inspired narrative is set in the region of Hardanger in Norway, where the landscape has vanished. An excavation uncovers films revealing images from today’s Hardanger: a research station where they research mainly fruit production, a salmon farming facility and a slate quarry. These are the first images of the lost landscape to appear. ?A woman attempts to make the visual fragments of an estranged world comprehensible and locate them in an imaginary landscape. The film explores how the management of natural resources shapes our surroundings and the connections between landscape, language, history and image production. The region where the story is set is visually an iconic part of Norway, representing ideas and histories of nationalism and identity. By playing with the sci-fi genre as a way to create estrangement and make the familiar surreal, possibilities and ideas of what shapes a landscape opens up. The soundtrack is from the Norwegian Broadcasting Corporation’s tv-serie “Blindpassasjer” from 1978, which was the first sci-fi series produced in Norway.

Helene Sommer (b. 1978) is a Norwegian visual artist. She graduated from the National Art Academy in Oslo in 2003 and has since exhibited her work in galleries, museums and in festivals in numerous places. In her practice she is interested in the multiple levels of translation, interpretation and rhetorical devices that are involved in all storytelling. Through video, collage, text and installation she wishes to question the way we understand and relate to our surroundings and its history. A common denominator has been an interest in overlooked perspectives within history and science. Her works are often based upon a precise montage of an extensive selection of archival material in combination with her own production. See www.helenesommer.net for more information about her work.

The video Great Piece of Turf explores place through the narratives of plants. A piece of uncultivated, urban land in Los Angeles was mapped out by collecting the histories of its plants with the help of local biologists and botanists. The place is by a former freight switching facility and the Los Angeles River. Whether a weed from China brought during the Gold rush, a palm tree introduced in an attempt to create a vision of paradise or a native hallucinogenic - narratives are revealed reflecting the interwoven and fragmented layers of history and space. Sampled material from a range of sources such as educational films, commercials, television, documentaries and movies is included. The title is borrowed from Albrecht Dürers watercolor (Das große Rasenstück) from 1503 which is a study of a seemingly random group of wild plants.

Helene Sommer (b. Oslo, 1978) graduate from the Academy of Fine Arts in Oslo in 2003. In her works - which often takes the form of collages and compilations involving installation, video, text and photo - a common denominator is an interest in recontextualization, documentation and classification in relation to image production within subjects such as history and science. She has recently exhibited places such as Kunstnernes Hus (Oslo), Space for Art and Industry (NY), Kunstnerforbundet (Oslo), Motorenhalle Dresden, Grazer Kunstverein (Graz), De Appel (Amsterdam), University of Oslo, Neuer Berliner Kunstverein (Berlin), Chert Gallery (Berlin), Fotogalleriet (Oslo)

'Persistence'* of vision est basé sur les archives vidéos amateur d'un homme de 90 ans de 1950 à nos jours. Le film est centré sur ses voyages, de NYC à l'Amérique du sud dans les années 50, au japon dans les années 60, l'Egypte dans les années 70 et au villages de retraite espagnoles dans les années 90. En déconstruisant et en rassemblant les film, un nouveau "travelogue" est créer dans lequel le temps et le lieu se mélangent. ?Persistence of vision?* étudie comment la mémoire et la perception fonctionnent par rapport à l'histoire et l'acte de documenter; l'usage de la camera comme manière de voir.

Helene Sommer est né en 1978 à Oslo, Norvège. Elle a étudié les arts appliqués a Oslo. En tant qu'artiste elle travaille principalement dans la vidéo, la photo, le texte et l'installation. Elle a expose dans plusieurs endroits en Europe ces dernières années. Elle avait récemment une résidence d'artiste à la Platform Garanti à Istanbul et est maintenant enseignante à l'Akademie Schloss Solitude de Stuttgart pour les disciplines Film/Vidéo/New Media.

Le but initial du voyage était d?observer la construction d?un parc d?attraction tropical en intérieur mais les intentions et les intérêts ont changé à mesure que le paysage déjà existant devenait inévitable. ?Das Gelände? suit la construction d?un parc d?attraction tropical dans un ancien hangar à avion qui se trouve dans une ancienne base militaire soviétique de la RDA. Dans la vidéo, on découvre l?histoire des lieux en même temps que l?on observe la construction d?un paysage artificiel en intérieur. A mesure que les locaux changent de fonction, les différentes couches de l?histoire se révèlent au grand jour. Le recyclage visible du paysage soulève la question de savoir si le parc d?attraction banalise, camoufle ou clarifie l?histoire des lieux. La vidéo est composée d?images tournées par des Webcams téléchargées sur une période de neuf mois, ainsi que de photographies et de vidéos rassemblées pendant la construction. L?histoire est racontée grâce à des sous-titres, laissant ainsi le son des paysages comme seul fond sonore.

Helene Sommer est née en 1978 à Oslo en Norvège. Elle a obtenu son diplôme à l?Académie des beaux-arts d?Oslo en 2003 et vit et travaille actuellement à Berlin ainsi qu?à Oslo. Elle travaille sur différent media comme la vidéo, la photographie, les textes et les installations.

Golf, a man who works as a debt claimer in Khonkaen. He wakes up early to work as usual. He meets many people including a desperate man in debt who falls critically ill. Golf is forced by the situation to weigh up between his professional duty and sense of moral.

Wichanon Somumjarn was born in Khon Kaen in 1982. While he was in the final year of studying engineering, he made a short film titled Phee Hong Nam (W.C.) The short won Honorable Mention at the Siam Cement Group Young Thai Artist Award 2005 in the film category. He then decided to leave his formal studies to pursue his dreams in the field of cinema. Wichanon was a participant in Asian Film Academy (AFA), Pusan International Film Festival 2009. In February 2010, Wichanon had also attended the Berlinale Talent Campus # 8 at the 60th Berlin International Film Festival, Germany. In November 2010, Wichanon had also attended the Next Master Tokyo Filmex 2010, Japan. His short film, Four Boys, White Whiskey and Grilled Mouse has been a major success on the international film festival circuit. It won Best Fiction award at the prestigious Tampere Film Festival in Finland in 2010. In April the Following Year, There was a Fire, is Wichanon’s first feature. In January 2012, it was selected for Tiger Awards Competition at International Film Festival Rotterdam 2012. Now Wichanon is developing his second feature called “Beer Girl”.

The filmmaker begins to view CHARACTERS, her first feature film made in 2011, not from the outside as a product to be consumed, but from the inside, as an engaged performance of consciousness in and through which the story is both lost and regained in the actual process of filmmaking itself. Exploring the paradoxical boundary between two worlds, she focuses on the basic conditions of existence, identity and survival of an individual in a fictional world.

Since 2003 when she received the M.F.A. in Film/Video/New Media from the School of the Art Institute of Chicago, Kwang-Ju Son(b.1970) has presented her varied short projects of both film and video, at diverse venues & international film festivals.

Un après-midi en semaine à Everland, l'un des plus grands parcs d'attraction de Corée.

K. Son est née en Corée en 1970 et il a remporté deux prix au Pusan International Film Festival en tant que réalisatrice. Elle a présenté ses courts-métrages lors de festivals majeurs, comme par exemple à Pusan, à Rotterdam et à Oberhausen. Elle travaille actuellement en tant qu'artiste résident à la Rijksakademie d'Amsterdam, aux Pays-Bas.

The Video work STUXNET in Denmark tells a hallucinatory realist fable about an unnamed intelligence officer who has participated in the cyber warfare attack against the Iranian Nuclear plant in Natanz from a hotel room in Copenhagen. What unfolds through the story is a dialogue about the fictive side of documents, participation and complicity in remote warfare, the trap of paranoia and the unattainable desire to be completely immune to mass surveillance. This video is based upon the real events of what has been termed the STUXNET virus, a cyber warfare weapon that was developed by a consortium of different government bodies as a way to disrupt the enrichment of uranium at the Iranian Nuclear plant in Natanz from 2010-2012. Cyber security experts have tracked the virus and discovered that one of the main control servers was located outside the city of Copenhagen, Denmark. It has been suggested by security analysts that because the control servers were located in Denmark then there would have been a forward operating command and control center set up in the country that was active during the time of the attack. An intelligence officer following standard operating procedure would have established this in a hotel and worked cloaked in what is referred to as a “security tent” that is specifically designed to create an electromagnetic shield around its exterior so as to disrupt any listening or watching devices.

Guston Sondin-Kung is a visual artist born in the USA and currently living in Copenhagen, Denmark. He works in a project-based manner primarily in the mediums of film/video, installation and writing. His artwork explores how historical narratives, memory, and ideology are constructed and influence our perception and thinking. Informed by marxist theory, psychoanalysis, postcolonial theory and feminism he is invested in deconstructing the complex intersections of race, class, and gender from a transnational perspective in order to pose alternative narratives and forms of representation. In addition to art institutions, he regularly presents his artworks and artistic research in academic, activist, educational and film festival contexts.

"A New Normal" est un film-essai stéréoscopique, qui examine la question de savoir comment continuer, quand tout a changé. Un jeune homme quitte son appartement dans une vieille tour, et erre dans des paysages déserts. Quelque chose l'attend là-bas, mais ce qui le pousse à avancer, c'est son désir de tout laisser derrière lui, même lui-même. Un narrateur raconte des fragments et des expériences de la vie quotidienne après une catastrophe. Ils ne ressemblent en rien au parcours du jeune homme, mais ne peuvent pas non plus en être dissociés. Les histoires commencent comme des épisodes banals à propos des courses au supermarché ou des trajets entre le domicile et le travail, mais révèlent diverses stratégies pour faire face à une profonde crise d'identité. Les images en 3D sont à la fois un choix artistique et un choix narratif: elles servent de fenêtre sur les pensées et les tentatives du protagoniste pour développer un nouveau sentiment de normalité.

Luzie Loose est née en 1989 et Paul Sonntag en 1991. Ils ont grandi dans le Berlin d’après la chute du Mur. Luzie a étudié à la Universität der Künste Berlin (Allemagne), tandis que Paul a obtenu une licence à la Columbia University, New York (USA). Leurs chemins se sont croisés à la Filmakademie Baden Württemberg, Ludwigsbourg (Allemagne), où Luzie a obtenu son diplôme en 2018, avec son premier long métrage, "Swimming", qui a remporté plusieurs prix. Paul y étudie la cinématographie depuis 2016. Ses films ont été présentés dans divers festivals à travers le monde. "A New Normal" est leur première collaboration, et a été présenté en première mondiale au Filmfest München, Munich (Allemagne).

A NEW NORMAL is a stereoscopic essay film that examines the question how to go on when everything has changed. A young man leaves his apartment in an old high-rise and wanders through deserted landscapes. Something is waiting for him out there, but what drives him forward is his desire to leave everything behind, even himself. A narrator recounts fragments and experiences of an everyday life following catastrophe. They bear no resemblance with the journey of the young man, but cannot be cleanly separated from them either. Stories start out as banal episodes about grocery shopping or commuting to work but reveal various strategies to engage with a profound crisis of identity. The 3D images are both an artistic and a narrative choice: they serve as a window into his thoughts and attempts to develop a new sense of normalcy.

Luzie Loose (born 1989) and Paul Nungeßer (born 1991) both grew up in post-wall Berlin of the 1990s. Luzie studied communications at Universität der Künste in Berlin while Paul majored in Photography and Architecture at Columbia University in New York. Their paths crossed for the first time in 2017 at Filmakademie Baden-Württemberg, where Luzie graduated in 2018, directing her first feature-length fiction film Swimming. The film premiered at Busan International Film Festival and won the Hof gold award for best directing debut. Paul is studying cinematography since 2016 at Filmakademie. His films have been shown at various festivals, including Dok.Fest & Filmfest Munich, Achtung Berlin and Max-Ophüls-Prize. A NEW NORMAL is the first collaboration between the two filmmakers and celebrated its world premiere at Filmfest Munich. Paul and Luzie live and work in Berlin.

NEVADA: Of Landscape and Longing is a reminiscence of a journey to the desert state of Nevada in the summer of 2009. It is a portrait of contemporary Nevada, which documents the region as a place of extremes. On the one hand, it is a land of notorious desolation and silence, while on the other it is a capital of excess, artifice, and paragon of the American economic collapse. Through the voyeuristic camera of outsiders, the film explores the death of the American frontier through Nevada, a place where contemporary notions of progress are wrestling with the West?s wild landscape and mythology.

Ian Soroka is a filmmaker and multimedia artist who was born in Brooklyn, New York and raised in the mountains of western Colorado, USA. He studied cinema and philosophy at the University of Colorado in Boulder (2009) and at the Film and Television School at the Academy of Performing Arts in Prague, Czech Republic (FAMU Int. 2008). His work has previously exhibited at Rencontres Internationales (2008-9), the Albuquerque Film Festival (2009), Insideout Gallery (2009). In 2009, Soroka was awarded the prestigious Princess Grace Foundation fellowship. He lives and works in Brooklyn, New York.

La nostalgie est une émotion faite d?un patchwork de souvenirs cousus ensemble, qui crée un passé idéalisé. Par le biais de réflexions sur la banalité de la vie quotidienne, « Nostalgia » s?interroge sur la création d?émotions et d?atmosphères cinématographiques. Cette ?uvre veut construire un environnement cinématographique, afin de faire allusion non seulement à quelque chose de foncièrement humain, mais aussi à une histoire émotionnelle collective.

Ian Soroka est né à New York et a grandi au Colorado (USA). Il est diplômé de la Film and TV School de l?Academy of Performing Arts de Prague (République tchèque) et étudie actuellement l?Université du Colorado, à Boulder (USA).

`How Beautiful Istanbul is Today` (a.k.a Poster People) A la veille des élections locales, Istanbul s´habille d´une combinaison d´affiches, de bannières et de drapeaux spécifiques. La ville en est recouverte, comme d´un uniforme. Les différentes caractéristiques architecturales et socio-culturelles disparaissent. Des bus de ralliement sillonnent la ville avec la musique de leur campagne. C´est une sorte de frénésie temporaire, un paradoxe: ceux qui promettent d´embellir la ville sont ceux qui la défigurent. Les acteurs sont indissociables de cette mise en scène. Ils s´affichent tout sourire- plastique et slogans, certains exigeant, certains émotionnels. C´est comme si on votait plus pour des portraits sur des affiches que pour des candidats réels. Les slogans ne recouvrent pas seulement les rues principales mais aussi les petites rues, les vitrines, les arbres, les sites de construction, les immeubles, les lampadaires, les poubelles et même les panneaux de signalisation.

`BUGUN ISTANBUL NE KADAR GUZEL`- `HOW BEAUTIFUL ISTANBUL IS TODAY` - les réalisateurs BELMYN SÖYLEMEZ Née à Istanbul. Elle a travaillé comme écrivain publicitaire, éditrice, réalisatrice et productrice. Ses courts métrages et ses documentaires ont été récompensés lors de nombreux festivals nationaux et internationaux, et ont été diffusés à la télévision (sur ARTE, SVT (Suède), YLE (Finlande), SBS (Australie)). Ses films ont également été projetés lors d´exposition : "Call me Istanbul" au ZKM de Karlsruhe, Allemagne (2004), et "Free Kick" - la 9ème biennale d´Istanbul, 2005. Elle est aussi membre du Collectif Filmiste. Actuellement elle travaille sur le script de son premier long métrage et sur un projet photo intitulé "Foam" (Écume). HASMET TOPALOGLU Né en 1968, Haþmet Topaloglu a étudié l´administration d´entreprise mais il a passé plus de temps dans les cinémathèques et à la réalisation de courts métrages qu´en salle de classe. En 1993 il commence à travailler en temps que journaliste TV sur ATV, chaîne turque. Il travaille pour trois chaînes TV turques différentes sur une période de dix ans comme: reporter, producteur et présentateur. Il se concentre essentiellement sur les histoires humaines, des films et des documentaires TV. Il rédige également des critiques pour des quotidiens au début des années 90 ainsi qu' en 2002-2003. Depuis 2002 il travaille comme réalisateur/producteur freelance. Actuellement il réalise un documentaire vidéo sur le groupe punk turc "Rashit".

Brothers escape to the virgin forests of Impivaara to create a new world. An experimental imagining of Finnish national author Aleksis Kivi’s novel Seven Brothers (1870) for the 21st Century, focusing on the energetic basis of a Northern welfare state and a possible future emerging from the climate crisis.

Writer and Director Patrik Söderlund is the founding member of artist duo IC-98. With backgrounds in visual arts and cultural studies, Söderlund’s and Visa Suonpää’s 25-year collaboration as IC-98 has produced artist publications, site and context specific projects and interventions, animated moving image installations and various public commissions. IC-98 received the Finnish State Art Prize in 2009 and represented Finland at the Venice Biennale in 2015 with Abendland (Hours, Years, Aeons), which was picked by Sundance Film Festival in 2016. Their work has been shown extensively at museums, biennials and festivals in Europe, Asia and the Americas. Though their practice is essentially conceptual, IC-98 is best known for animations, which combine classical drawing and digital effects, depicting landscapes shaped by long time durations, natural and human histories and climate. The landscapes are always devoid of humans but completely shaped by their actions. Mythical, material, factual and ctional elements are weaved together into visual narratives, which – though deeply political and meticulously researched, scripted and executed – are presented as open-ended poetic reveries, which leave room for the viewer to make her own conclusions. IC-98's work since 2010s addresses the environmental crisis and artistic-political methods of finding solutions to it. The projects seek to replace anthropocentric worldview with modes better suited to take into consideration the interrelationships, dependencies and myriad temporal rhythms of all animate and inanimate nature.

A cast of clones are trapped inside a seminar room and subjected to a kind of presentation or slideshow. The slideshow features over a hundred images of board games, and seems to trigger, via a small mysterious ball of light, the audience of clones to sift through their notes and act out small, possibly internal or dreamlike, dramas. As the film progresses the identies start to get tangled and conflict arises, characters want to jump out of the system or structure, while some, seemingly in power, try to control the situation and preserve the order of things. The film unfolds and is driven trough the association and manipulation of symbols: One board game leads to the next and one identity refers to another in a sequential series of mind games that eats its own tail. The sub-stories of the film deal playfully and somewhat loosely with evolution, science, existentialism, and society, as well as mysticism and hierarchies. It is part of a larger artwork and film cycle begun in 2003 and scheduled for completion in 2007.

Gustav Sparr was born in 1977, grew up in the region of Stockholm, and currently lives and works in Umeå, Sweden. After having gradually shifted from sculpture, painting, and digital illustration, his work currently focuses on animation. References from popular culture, esotericism and scientific writings have been filtered through a rather direct visual language that hides many underlying and unorthodox connections of ideas. The most obvious framework or manifestation of these thought-experiments is through the both limiting and enriching world of board games and childlike acts, which are deciphered, re-interpreted and re-coded. The animations and images are concerned with questions about identity, self-image, structures, symbols, loops, surfaces, topology, vessels of information, lifeforms, and how thoughts and ideas are born and relate and mutate. Basically it's about the brain...

Die Hörposaune (The Hearing Trombone) film / installation by Isabell Spengler, Antonia Baehr, Jule Flierl, Germany 2022 filmed in a visual installation by Nadia Lauro short synopsis Through a floating camera motion, the film invites us to enter a world with its own logic, passing through sensitive membranes, liquefied borders and openings between inner and outer spaces. Here we attend a reading circle or vocal performance in memory of the counter tenor and queer icon Klaus Nomi, one of the first public figures to die within the AIDS pandemic. Daydream-like, as if to save them from oblivion, the film delves into the guts of fantastical, queer body imaginations - with spit, panting, oral sounds, singing, and vulva-like paper flower arrangements, whereby anatomical representations are reinterpreted.

Isabell Spengler (director) is a film/video artist from Berlin. In her films, installations and performances she analyzes and mediates diverging constructions of realities, imaginary worlds and their representation. Since 2005 she has created a series of conceptual Expanded Cinema works in dialogues with other artists. /www.isabellspengler.net Antonia Baehr (director) is a choreographer living in Berlin. Her pieces explore, among other things, the fiction of the everyday and the theater. She has worked with scores for many years - as a way to connect and collaborate. Baehr is producer of horse whisperer and dancer Werner Hirsch (performer in Die Hörposaune). /www.make-up-productions.net Jule Flierl (director) is a dance and voice artist from Berlin. She develops practices that conceive of the voice as a dancer. She revives the legacy of Valeska Gert, avant-garde dancer from 1920's Berlin, who first conceptualized the term ToneDance: to dance with one's voice. Her practice unsettles the relationship between seeing and hearing. /juleflierl.weebly.com Nadia Lauro (visual installation) is a visual artist and designer based in Paris, who works across contexts including scenic spaces, landscape architectures, museums. She conceived set designs, environments and visual installations with strong dramaturgical power, thus generating new ways of seeing and being together. /https://nadialauro.com

Translating a musical stage performance by the group "Larry Peacock" into the language of film, SYNCPOINT combines film images created directly on film leader with those created through normal exposure of 24 frames per second with a 16mm film camera. Central to this experimental music video is the image of the synchronization-point as a hole, derived from the film-technical synchronization method of punching a hole into the first exposed and keycode-numbered frame of a roll of film prior to its transfer to video. The image of the hole does not only mark a point in time, but is in connection with the photographically captured (percussion-) actions of the performers perceived either as a round mask of censorship or as a filled, dot-shaped image. Purposefully designed and random synchronicities between the visual and accustic events allow for a variety of interpretive connections. Larry Peacock is a feminist project with and about the performativity of electronic/pop music, reflecting gender politics and the role of the audience. The project not only destabilizes the normativity of binary gender categories, but also art categories such as ?high` and `low`, ?dance?, ?concert-performance?, and ?choreographic work?.

Isabell Spengler, born in Berlin, studied experimental film at the Universität der Künste in Berlin and at the California Institute of the Arts in Valencia. She was a recipent of a DAAD grant and a Eastman Kodak stipend. She currently teaches film at the Universität der Künste in Berlin. Her filmography includes "Psychic Tequila Tarot" (1998), ?Transformation in the Land of Enchantment? (2003), ?The Natural Life of Mermaids? (2004) and ?Permanent Residents? (2005). Her work including films, video installations and photography has recently been exhibited at Los Angeles Film Forum; Cirrus gallery, Los Angeles; Cerealart, Philadelphia; Taxter & Spengemann, New York; KunstWerke - Berlin e.V. - Institute for Comtemporary Art; Internationale Filmfestspiele Berlin (Berlinale 2007) and at the Museum Ludwig, Cologne, Germany. distribution & further information: http://www.fdk-berlin.de/en/arsenal-experimental/kuenstler/isabell-spengler.html

Le film "Permanent Residents" associe un design vestimentaire extrême à une mise en scène de la réalité des activités quotidiennes dans le paysage urbain de Los Angeles. Les costumes renvoient à un monde imaginaire collectif contenant les concepts flous des icônes-pop, des mythes et des fictions sociales. Les protagonistes du film communiquent dans un language non-verbal qui se joue des distances spatiales. Leurs mouvements simultanés à des endroits différents se fondent dans une chorégraphie attirant notre attention sur les aspects visuels musicaux et abstraits du design de notre environnement. Portrait de l'influence d'une ville sur ses habitants.

Isabell Spengler, est née à Berlin (Allemagne). Elle a étudié le cinéma expérimental à l'Université des Arts de Berlin(Meisterschülerin 1999) et au California Institute of the Arts Valencial (Master of Fine Arts 2001). Elle obtint une bourse du DAAD ainsi qu'une bourse Estman Kodak. Elle enseigne actuellement le cinéma à l'Université des Arts de Berlin. Appartiennent à sa filmographie : "Psychic Tequila Tarot" (1998), ?Transformation in the Land of Enchantment? (2003) et ?The Natural Life of Mermaids? (2004). Ses films ont reçu des prix, notamment au Festival NoBudget à Hambourg, au Festival international du court-métrage à Gera et au Göttingen Low Budget Film Festival. Son travail a récemment été présenté lors du Los Angeles Film Forum, Cirrus Gallery à Los Angeles, Australian Center for Photografy à Sydney, the Museum Ludwig à Cologne et au KunstWerke Institute for Contemporary Art à Berlin.

Translating a musical stage performance by the group "Larry Peacock" into the language of film, SYNCPOINT combines film images created directly on film leader with those created through normal exposure of 24 frames per second with a 16mm film camera. Central to this experimental music video is the image of the synchronization-point as a hole, derived from the film-technical synchronization method of punching a hole into the first exposed and keycode-numbered frame of a roll of film prior to its transfer to video. The image of the hole does not only mark a point in time, but is in connection with the photographically captured (percussion-) actions of the performers perceived either as a round mask of censorship or as a filled, dot-shaped image. Purposefully designed and random synchronicities between the visual and accustic events allow for a variety of interpretive connections. Larry Peacock is a feminist project with and about the performativity of electronic/pop music, reflecting gender politics and the role of the audience. The project not only destabilizes the normativity of binary gender categories, but also art categories such as ?high` and `low`, ?dance?, ?concert-performance?, and ?choreographic work?.

Isabell Spengler, born in Berlin, studied experimental film at the Universität der Künste in Berlin and at the California Institute of the Arts in Valencia. She was a recipent of a DAAD grant and a Eastman Kodak stipend. She currently teaches film at the Universität der Künste in Berlin. Her filmography includes "Psychic Tequila Tarot" (1998), ?Transformation in the Land of Enchantment? (2003), ?The Natural Life of Mermaids? (2004) and ?Permanent Residents? (2005). Her work including films, video installations and photography has recently been exhibited at Los Angeles Film Forum; Cirrus gallery, Los Angeles; Cerealart, Philadelphia; Taxter & Spengemann, New York; KunstWerke - Berlin e.V. - Institute for Comtemporary Art; Internationale Filmfestspiele Berlin (Berlinale 2007) and at the Museum Ludwig, Cologne, Germany. distribution & further information: http://www.fdk-berlin.de/en/arsenal-experimental/kuenstler/isabell-spengler.html

Le film "Permanent Residents" associe un design vestimentaire extrême à une mise en scène de la réalité des activités quotidiennes dans le paysage urbain de Los Angeles. Les costumes renvoient à un monde imaginaire collectif contenant les concepts flous des icônes-pop, des mythes et des fictions sociales. Les protagonistes du film communiquent dans un language non-verbal qui se joue des distances spatiales. Leurs mouvements simultanés à des endroits différents se fondent dans une chorégraphie attirant notre attention sur les aspects visuels musicaux et abstraits du design de notre environnement. Portrait de l'influence d'une ville sur ses habitants.

Isabell Spengler, est née à Berlin (Allemagne). Elle a étudié le cinéma expérimental à l'Université des Arts de Berlin(Meisterschülerin 1999) et au California Institute of the Arts Valencial (Master of Fine Arts 2001). Elle obtint une bourse du DAAD ainsi qu'une bourse Estman Kodak. Elle enseigne actuellement le cinéma à l'Université des Arts de Berlin. Appartiennent à sa filmographie : "Psychic Tequila Tarot" (1998), ?Transformation in the Land of Enchantment? (2003) et ?The Natural Life of Mermaids? (2004). Ses films ont reçu des prix, notamment au Festival NoBudget à Hambourg, au Festival international du court-métrage à Gera et au Göttingen Low Budget Film Festival. Son travail a récemment été présenté lors du Los Angeles Film Forum, Cirrus Gallery à Los Angeles, Australian Center for Photografy à Sydney, the Museum Ludwig à Cologne et au KunstWerke Institute for Contemporary Art à Berlin.

Dans Spilliaert, la cinéaste Lisa Spilliaert explore son lien de parenté avec le célèbre artiste belge Le?on Spilliaert (1881-1946). Ce lien de parenté fictif – ou non – la prédestine-t-elle à une existence d’artiste ? Au rythme de son rap, elle lance la généalogiste fanatique en elle sur la trace de ses talents artistiques.

Lisa Spilliaert (°1990 à Tokyo) réside et travaille à Gand (BE). Elle est née à Tokyo d’une mère japonaise et d’un père belge. Après avoir vécu sa jeunesse à Tokyo, à 17 ans, elle a déménagé à Bruges. Sa fascination pour la généalogie et les interactions incessantes entre sa culture orientale et sa culture occidentale sont des motifs récurrents dans son œuvre, laquelle est principalement de nature autobiographique. Ses vidéos fusionnent vie et travail et confèrent à son histoire personnelle un fondement universel.

A silent film composed of digital scans and blow-ups of Guido Horn D’Arturo’s photographic plates depicting Bologna’s skies.

Giuseppe Spina is an Italian filmmaker based in Bologna. His films have been screened at numerous international festivals, including International Film Festival Rotterdam, EMAF and Annecy’s IAFF. He is the co-founder of Nomadica, an international network of artists and intellectuals focused on experimental cinema.

La guerre civile du Mozambique a vu des centaines de réfugiés fuir le carnage acharné de la post-indépendance, sautant les clôtures et traversant le Parc National Kruger vers l?Afrique du Sud. Presque deux décennies plus tard, les clôtures sont toujours une barrière physique et psychologique divisant les familles. Par l?utilisation de messages vidéos filmés et transportés entre les deux pays, Voice Across The Fence leur permet de voir un aperçu de la vie de ceux qui les ont quittés ou de ceux qui sont restés derrière. Il est extrêmement difficile d?organiser la communication par-delà la clôture entre les membres d?une famille en Afrique de Sud et au Mozambique et le bouche à oreille est le moyen de communication le plus utilisé. L?autre solution la plus répandue pour communiquer est de risquer sa vie pendant deux ou trois jours de marche au travers du Parc National Kruger. Ce voyage expose les personnes à de dangereux animaux sauvages, à la déshydratation et aux arrestations par la police. Avec ce programme, une autre possibilité de communication leur a été donnée. En août 2000 et novembre 2001, des messages vidéos ont été enregistrés parmi les réfugiés du Mozambique vivant dans la région du Bushbuskridge en Afrique du Sud. Les messages ont fait le voyage au delà de la frontière et ont été amenés jusque dans le district reculé de Massinger, au Mozambique. Ils ont été projetés sur écran et des réponses vidéos ont été rapportés en Afrique du Sud. Ce documentaire présente cet échange de messages entre les familles qui furent séparées autrefois par la guerre et maintenant divisées par les temps changeants.

The essay film "In this silence I believe" gives us an ambient impression of the nightlife in a city disco. The guests provide the focus for documentary observations and the resulting investigation of a subculture. With an alienated sound design, the familiar elements at the club are viewed in an experimental cinematic way.

Born 1988 in Vienna, Austria. After visiting Vienna Filmakademie, he started visiting Artuniversity/ Timebased Media in Linz. Besides his own films, he is also working for other directors in differen departments.