Catalogue > Faire une recherche

Late 2010, I got commissioned by Leica to follow in the footsteps of James Bruce and document the Nile river from Alexandria to Aswan. I invited my friend Gheith El-Amine to join me on this trip. it was his first time in Egypt. December 10, 2010: we made plans to leave on February 1, 2011. He contacted two Egyptian friends of his, and we were supposed to meet them as soon as arrived there. January 25. The revolution started in Egypt. the only incoming images so far were made by protesters with cellular phones and uploaded on the net. They were much more efficient than the state-owned television station which was still doing the pro-regime propaganda in high definition resolution.

Part of an ongoing series of American psychogeographies, this particular piece investigates the idea of "remoteness," as two people establish a curious rapport in a sleepy Southern Californian suburb.

Rajee Samarasinghe is a Sri Lankan visual artist. His work often examines consciousness and impermanence. Some of his recent work develops questions into contemporary ethnographic practices. Rajee attended the University of California San Diego and is currently an MFA candidate at the California Institute of the Arts.

Le déroulement de la pellicule se confronte à d’autres rouleaux manufacturés face à l’objectif. Le grain des images restitue, en noir et blanc, les habitants, les animaux, les paysages. La fabrication quotidienne voisine la vie domestique dans le découpage rythmé des gestes du travail. L’action semble accueillir quelques à côtés du labeur. Le film s’organise sous nos yeux, animé par de nouvelles itérations. L’absence de piste sonore n’annule que le bruit mécanique des projecteurs anciens. - Gilles Grand

Rajee Samarasinghe is a Sri Lankan visual artist. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. Rajee`s work has been exhibited at venues internationally.

At the center of this film is a Sri Lankan woman accessing other places in digital form, while situated in her own physical reality. Navigating through a multitude of spaces from the natural world to man-made environments as well as virtual planes, traditional relationships between the creator, the tool, and the subject are questioned, shattered and reconstructed. Reflecting on my own practice as a filmmaker working in non-fiction, the film takes a collage-like approach to examining issues around representation, verisimilitude, the ethnographic image, and the limitations of the form itself. Shot on seven different cameras (and a video synthesizer) on both film and video over the course of a decade in Sri Lanka, China, and the United States, I delve into some of my fundamental curiosities as a filmmaker.

Rajee Samarasinghe was born and raised amidst the decades-long civil war in Sri Lanka. He later left for the United States where he is now based. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. His filmmaking practice was born out of a desire to understand the circumstances around his childhood and his work often navigates the terrain of memory, migration, and impermanence within the framework of deconstructing the ethnographic image and the colonial gaze in contemporary media. Rajee is currently working on his debut feature film, "Your Touch Makes Others Invisible," which explores post-civil war Sri Lanka—the project has received support from the Sundance Institute, Berlinale Talents' Doc Station, Field of Vision, and True/False Film Festival’s inaugural PRISM program. Rajee was also named one of Filmmaker Magazine’s 25 New Faces of Independent Film in 2020, and had solo shows at the Museum of Modern Art (MoMA) and the Berwick Film & Media Arts Festival in 2021. His short films have been exhibited at venues internationally including the Tiger Short Competition at the International Film Festival Rotterdam, New Directors/New Films presented by Film Society of Lincoln Center & MoMA, MoMA Doc Fortnight, BFI London Film Festival, FIDMarseille, Festival du nouveau cinéma, Internationale Kurzfilmtage Oberhausen, Slamdance, SFFILM Festival, REDCAT, CROSSROADS at SFMOMA, Vancouver International Film Festival, Guanajuato International Film Festival, Media City Film Festival etc. He’s received the Tíos Award for Best International Film at the Ann Arbor Film Festival, the Film House Award for Visionary Filmmaking at the Athens International Film + Video Festival, and an Honorable Mention Award at the Thomas Edison Film Festival among others.

Retrouvant la trace du regard colonial à la fois dans l'image ethnographique et dans les formes des médias dominants, cette courte réalisation décrit une rencontre impressionniste avec une femme vue de très loin, qui cache son visage au téléobjectif curieux.

Rajee Samarasinghe est cinéaste. Originaire du Sri Lanka, il habite actuellement aux États-Unis. Il est titulaire d'une licence de la UCSD – University of California San Diego (USA) et d'un Master de CalArts – California Institute of the Arts, Los Angeles (USA). Il travaille actuellement sur son premier long métrage, "Your Touch Makes Others Invisible", inspiré par ses expériences d'enfance pendant la guerre civile au Sri Lanka - le projet a reçu une bourse du Sundance Documentary Fund, Salt Lake City (USA), en 2019; a été invité à la Doc Station de Berlinale Talents, Berlin (Allemagne), ainsi qu'au Inogural PRISM Programm du True/False Film Festival, Columbia (USA) en 2020. Il a également été nommé comme l'un des 25 nouveaux visages du cinéma indépendant par le "Filmmaker Magazine" en 2020. Son travail a été présenté à l'international, notamment dans le cadre de la Tiger Short Competition du Festival international du film de Rotterdam (Pays-Bas); du New Directors/New Films présenté par la Film Society of Lincoln Center et le MoMA – Museum of Modern Art, New York (USA); du BFI London Film Festival, Londres (Royaume-Uni); du FIDMarseille (France); du Festival du nouveau cinéma, Montréal (Canada); des Internationale Kurzfilmtage Oberhausen (Allemagne); du Slamdance Film Festival, Park City (USA); du REDCAT – Roy and Edna Disney/Calarts Theater, Los Angeles (USA); du SFFILM Festival – San Francisco International Film Festival (USA); du Media City Film Festival, Windsor (Canada); et du Guanajuato International Film Festival, Guanajato (Mexique). Entre autres prix, il a reçu le "Tíos Award for Best International Film" au Ann Arbor Film Festival, Ann Arbor (USA); le "Film House Award for visionary filmmaking" au Athens International Film + Video Festival, Athènes (Grèce), et un "Audience Award" au festival CROSSROADS au SFMOMA – San Francisco Museum of Modern Art (USA).

This associative stream of visuals, culled from the past, reflect on the roles of art, labor, and journalism in contemporary Sri Lanka, facing a dubious future ahead. Memory and ethnographic deconstruction cascade in an obliterated form, forging a dire and prescient assemblage.

Rajee Samarasinghe was born and raised amidst the decades-long civil war in Sri Lanka. He later left for the United States where he is now based. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. His filmmaking practice was born out of a desire to understand the circumstances around his childhood and his work often navigates the terrain of memory, migration, and impermanence within the framework of deconstructing the ethnographic image and the colonial gaze in contemporary media. Rajee is currently working on his debut feature film, "Your Touch Makes Others Invisible," which explores post-civil war Sri Lanka—the project has received support from the Sundance Institute, Berlinale Talents' Doc Station, Field of Vision, and True/False Film Festival’s inaugural PRISM program. Rajee was also named one of Filmmaker Magazine’s 25 New Faces of Independent Film in 2020, and had solo shows at the Museum of Modern Art (MoMA) and the Berwick Film & Media Arts Festival in 2021. His short films have been exhibited at venues internationally including the Tiger Short Competition at the International Film Festival Rotterdam, New Directors/New Films presented by Film Society of Lincoln Center & MoMA, MoMA Doc Fortnight, BFI London Film Festival, FIDMarseille, Festival du nouveau cinéma, Internationale Kurzfilmtage Oberhausen, Slamdance, SFFILM Festival, REDCAT, CROSSROADS at SFMOMA, Vancouver International Film Festival, Guanajuato International Film Festival, Media City Film Festival etc. He’s received the Tíos Award for Best International Film at the Ann Arbor Film Festival, the Film House Award for Visionary Filmmaking at the Athens International Film + Video Festival, and an Honorable Mention Award at the Thomas Edison Film Festival among others.

A symbiotic collaboration in movie motion. After Muybridge.

Rajee Samarasinghe is a relatively young imagemaker, once upon a time Sri Lankan. He makes fake narratives and destructive formal experiments. He aspires to make videos of a respectable length and standard. Rajee attended the University of California, San Diego and is currently an MFA candidate at the California Institute of the Arts.

Shot improvisationally in 2010, shortly after the end of the Sri Lankan civil war, this film takes a lyrical approach to examining recent history and the process of reconstruction in the post-war era. The visions of an exile are carried through an immoral silence, to an end both dubious and bittersweet.

Rajee Samarasinghe is an award-winning Sri Lankan filmmaker and visual artist. Some of his recent work examines contemporary ethnographic practices through associations of family and heritage. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. Rajee`s work has been exhibited at venues internationally.

A détournement of Walter Benjamin`s "Theses on the Philosophy of History," reconfigured for an era dominated by the digital, the instability of the physical body, and the seeming triumph of technology over art and the virtual over the real. Is technology the handmaiden of art? Is art the handmaiden of technology? Or is the notion of a handmaiden so hopelessly obsolete, then it can no longer provide metaphors which provoke us to think?

Keith Sanborn is a media artist, theorist, translator, and curator based in New York.

This video was produced for an exquisite corpse project by Jason Simon to be screened on Bastille Day, 2012 in Narrowsburgh, NY. I added a title to my segment and kept the first second of picture from the previous video, the starting point for my work. The title was inspired by a remark of Paul Sharits. One of his assistants had just screened a test for him of an elaborate optical printer film. The title was his response. Also, the Stones played several times on the David Frost Show. Also James Brown was Black and Proud. Also I?m going to dye my hair black and you can?t stop me.

Keith Sanborn is a media artist, theorist, curator and translator based in New York.

A passage between two buildings, a nail salon, a stairwell, a badminton hall, an atrium, a hospital culvert. Life takes place. With the small details of existence in focus, rather than the larger narratives and conflicts, fragments are connected to a possible outcome. In mathematics, the word discrete is used to describe objects that are not continuous and separated from each other. Discrete mathematics is applied in a number of different areas such as encryption, databases, game theory, graph theory and algorithms.

Lucia Pagano and Vanja Sandell Billström were educated at the Lodz Film School and at the Royal Institute of Art in Stockholm. Discrete Mathematics is their second film as a duo which further explores methods developed in their previous film Park. Park was nominated to the Best Swedish Short at Göteborg Film Festival 2020, Tempo Short Award, 1KM Film Award, and winner of the Tempo Sound Award the same year. Previously they have shown their work at festivals and art venues around the world.

Scènes de personnes en mouvement. Certains travaillent, d'autres profitent de leur temps libre. Le bruit des avions et des métros nous rappelle la ville située derrière ce bout de nature artificielle. Un court documentaire fait de scènes filmées dans les parcs de Stockholm, pendant une année.

Lucia Pagano est née en 1984. Elle est réalisatrice et artiste, et a été formée à la Lodz Film School, Lodz (Pologne) et au Royal Institute of Art, Stockholm (Suède). Ses films s'intéressent aux détails de la vie quotidienne, souvent en observant, parfois jusqu'à l'absurde, des fragments de réalité en apparence insignifiants. Ils ont été projetés dans des festivals à l’international, notamment à São Paolo (Brésil); à San Francisco (USA), à Kiev (Ukraine) et à Varsovie (Pologne). Ils ont été récompensés ou ont reçu une mention honorifique aux festivals du film de Los Angeles (USA), Oberhausen(Allemagne), Stockholm (Suède), et au Nordisk Panorama, Malmö (Suède). Vanja Sandell Billström est née en 1983. Elle est réalisatrice et artiste. Elle a été formée au Royal Institute of Art, Stockholm (Suède). Elle travaille à la fois la forme documentaire, des situations mises en scène, et des installations vidéo. Ses films portent souvent sur des situations quotidiennes, et présentent des personnages qui semblent réfléchir spontanément aux conditions de leur vie quotidienne ou aux situations du film lui-même. Vanja Sandell Billström a déjà été nommée pour le Prix Guldbagge du meilleur film court suédois, et a exposé au Göteborg Konsthall (Suède); à la Supermarket Art Fair, Stockholm (Suède); à la Box Gallery, Göteborg (Suède); et Färgfabriken, Stockholm (Suède). "Park" est le premier film qu’elles ont réalisé ensemble. Il a été nommé pour le prix du meilleur film court suédois au festival du film de Göteborg (Suède); pour le Tempo Short Award, Stockholm (Suède); pour le 1KM Film; et a remporté le Tempo Sound Award, Stockholm (Suède) [2020].

A narrator takes you on a deep dive into the art world. What mechanisms are driving this ecosystem, or rather: which participants? The animation film "À la carte" takes a humorous look at the food chain in the art field and the challenges we face.

The artist duo consisting of Ellinor Aurora Aasgaard and Bror Sander Berg Størseth constantly serve up fresh perspectives on the world, tongue in cheek, jaws scraping off the ground. In their particular case form does not follow function, but function at least contains the word fun. The objects produced by the duo are caught in between form and function, art and design, discourse and disgust. For instance: portable paintings whose support structure doubles as shipping crates, and a mobile sculpture serving you social lubrication. Or high heeled shoes with built in brushes for an easy clean, and seats reserved for magazine covers. Aurora Sander reacts to the intrinsic structures of the art world, of socialization, distribution, value creation, judgement, and accruement, to turn some tables, but making sure the tables look damned good on the way round. The references in the work of Aurora Sander are plentiful, and the usual appropriation of low culture you traditionally would find in the art is repurposed with a refined knowledge of not just the art world, but also an interest in merchandizing and hanging out, dipping low. Their artistic strategies are closely linked to design, theater, and fashion; fields that art is struggling to keep at bay. Art historian Benjamin Buchloh describes this relationship as one where high art constantly appropriates images, strategies, and mechanisms from low culture, not in order to assimilate the two, but rather to reaffirm art's position in the hierarchy. Aurora Sander seems to confuse the hierarchy, and the identity of the duo, who might be mistaken for a singular artist, a case of mistaken identity, might range from a Disney princess to an emerging artist trying to make it in the cruel marketplace of the art world. Aurora Sander's strategy of confusion, fusion, fiction and friction, seems to be the duo's strength, making objects and creating characters that belong in the art world, but have no idea how they got there.

Mary MacLane, the Wild Woman of Butte, Montana, published her diaries in 1902 and 1917. As an out queer and proto-feminist at the turn of the century, MacLane became notorious upon the publication of her 1902 diary, I Await the Devil’s Coming. She was whisked away from the industrial hellscape of her copper mining Montana hometown to a life in the public eye as an author, journalist, female film pioneer and always a provocateur - sending up social norms throughout her career, with a special focus on staid notions about women and sexuality. Between my flesh and the world’s fingers is an experimental essay and diary film primarily based on her published diaries and her film work. Though the film is not directly a personal film, the production is founded in part in the act of a woman telling her own story through that of another woman, a trailblazing figure from the past.

Talena Sanders makes moving image works that explore the development of individual and collective senses of identity in affinity groups. Her films and videos are informed by an interest in presenting the many ways that social institutions can shape individuals lives on both the broader geopolitical level and the most intimate, personal scales. A common starting point for developing new projects begins with an interest in interrogating narratives from histories and how historical records can influence senses of identity, especially as it relates to ideas of national and regional character. She believes there are endless means to present and interrogate materials from the real on the spectrum from nonfiction to narrative production approaches. Her work often places historical found/archival footage and audio in dialogue with contemporary media captured on location to question constructs of privilege and power in who gets authorized to tell the story of a shared experience. She holds an MFA from Duke University’s Experimental and Documentary Arts program and a BFA from the University of Kentucky. Her work has been screened, exhibited, and collected internationally, including at the New York Film Festival`s Views from the Avant-Garde, FID Marseille, Montreal International Documentary Festival, Fronteira Festival, Viennale, DokuFest Kosovo, BFI London Film Festival, and Southeastern Center for Contemporary Art. Her first feature documentary, Liahona, is distributed by Documentary Educational Resources and Doc Alliance. She has previously taught film and video production and film studies at Duke University and the University of Montana. She is currently an Assistant Professor of Communication and Media Studies at Sonoma State University.

Tchétchénie, Grozny, printemps 2021. Les paysages de la ville sont remplis de portraits de Poutine, de Kadyrov père et de Kadyrov fils. Ils me surveillent de tous les coins, s’infiltrent dans mes pensées. C’est presque impossible à croire et à accepter. Je ressens le totalitarisme que ces portraits dégagent, les observant délibérément à travers un objectif déformé. Je filme les rues de ma ville natale, Grozny, depuis les vitres teintées d’une voiture, consciente que de tels actes m’exposent au risque de persécution. Je documente un moment où le fascisme commence à s’enraciner en Russie—un temps où, après trente ans de lutte du peuple tchétchène pour l’indépendance, l’accent est mis sur l’endoctrinement des enfants. En 2022, plus de 12 000 soldats de l’armée de Kadyrov sont envoyés en guerre en Ukraine.

Vladlena Sandu est née en Crimée, en Ukraine (URSS), en 1982 et a grandi à Grozny, en Tchétchénie, où elle est restée pendant quatre années de guerre. Elle est diplômée du VGIK en 2016 avec un diplôme en réalisation cinématographique. En 2019, elle a obtenu un diplôme de troisième cycle en art au VGIK, spécialisé en esthétique, et a publié plusieurs articles académiques. La même année, elle a également terminé sa formation en mise en scène théâtrale au Studio de Boris Yukhananov. Ses œuvres ont été présentées dans des festivals internationaux tels que le Festival du film de Rotterdam, la Berlinale, DocLisboa, GoEast, Movies That Matter, ZagrebDox, le Festival international du film de Genève, DOK Leipzig, et bien d’autres, remportant des prix internationaux. Au début de la guerre de la Russie contre l’Ukraine, en mars 2022, Sandu a fui la Russie et s’est installée à Amsterdam. Là, elle a réalisé No Nation Without Culture, un film sur le régime en Tchétchénie, qui a remporté le prix du Meilleur court-métrage au GoEast IFF 2023. En 2023, elle a également mis en scène la performance autobiographique The Rainbow Cinema et a reçu le prix du Meilleur spectacle d’Amsterdam Fringe 2023.

La Reprise is an ongoing exercise begun on April 21, 2013. Every week, a subsequent minute is produced consisting of scenes shot that week along with archival material from the past years. Footage and sound are consistently recorded with the same single device. 
The film may distort, but there is always a presumption that something exists, or did exist, which is what was recorded. 
The sequences are neither true nor false, they integrate various degrees of theatricality and authenticity. They become portraits of an agitated immersion in the perpetual process of systematic indexing and gathering, and of close observations. [I am a passenger, a witness to recurrences and patterns.] This continuous collage of archives is the tension. The narrative is disconnected from the sum of its parts, and elaborates on successes and failures. Each screening becomes a unique occasion to view the film as the succession of each 1min weekly film is added every time.

At the beginning of the work, there is writing - perhaps a story, then there are photographs, films, and installations. Fette Sans was born in France. She lived in Los Angeles for about ten years where she ran an artist space, then moved to Berlin in 2010. Her work aims at questioning authenticity and the precious. What is representation without narrative? What is the role of light in memory? Panic. Repeat. Overwhelm. Serendipity plays an important role in her interaction with the characters and materials she gathers. She collects and re-interprets, referencing previous gestures and leaving these traces available for more examinations.

La Reprise (Dérive) is an exercise in continuity and distortion. This experimental film began on June 20, 2020. As of September 3, 2023, it is 168 min / weeks long. Every week, a subsequent minute is produced by combining scenes shot that week with archival material from the past years. Footage and sound are consistently recorded with the same single device (an iPhone). The film may distort, but there is always a presumption that something exists, or did exist, which is what was recorded. The sequences are neither true nor false, they integrate various degrees of theatricality and authenticity. They become portraits of an agitated immersion in the perpetual process of being, of this unpredictable yet systematic gathering and indexing. They are the record of close observations. I am a passenger, a witness to recurrences and patterns. This continuous collage of archives is the tension. The narrative is disconnected from the sum of its parts and elaborates on successes and failures. In this regard, the film is in a constant state of being finished, rather than interminably in progress. While its length progressively evolves, it also always is its final duration. This work is meant to continue until my death.

Fette Sans is based in Zagreb and in Berlin. She has a conceptual and interdisciplinary practice that includes the production of images, writing, performances, online gestures, film-making, discussions, and installations. Games of dissociative identities and the stories we tell ourselves to collect evidence of what has happened are recurring components in her work. She is interested in the ambiguity of what constitutes an image’s residue. Concerned with social systems, representation, and technology, she develops obsessive rituals, collaborations, and speculative narratives to question these issues. Rituals are interesting because there are ways of expressing repetition and the longing for security while accepting the risks associated with the very act of ceremonial reiterations: boredom itself.

Un chimpanzé se métamorphose en Ange de la Mélancolie et abandonne son île pour Saturne, la triste planète.

Gabriel Sanson, né à Paris en 1993, a réalisé plusieurs court-métrages présentés dans les prestigieux festivals de la Biennale de Venise et de Rotterdam.

During February 2010, Jerusalem born artists Oreet Ashery and Larissa Sansour had twenty meals in twenty falafel eateries in London, one on each day. The meals were open for the public to join in eating and debate, and functioned as art events, laboratories, performances, therapy sessions and oral history hubs. All the meals were filmed with a small Flip camera on a rotating cheeseboard and were edited together into one-hour of raw and immediate film. Ashery and Sansour opened each meal with the question: Did Israel steal the falafel from the Palestinians? This seemingly silly and controversial question, was a precursor to an investigation into the intentional and systematic hijacking and eradication of Palestinian cultural history by the state of Israel.

Oreet Ashery is a Jerusalem born, London based visual artist, cultural activist and educationist, engaged in solo and collaborative practices. Ashery works across performance, still and moving image, objects and facilitation to create situations that explore the relationships between politics, culture and representation. Ashery?s work is presented extensively in an international context, and discussed in numerous publications and books, in various languages. Recently Ashery had published three books: The Novel of Nonel and Vovel, with the artist Larissa Sansour, Charta; the monograph Dancing with Men, Live Art Development Agency; and the Artangel commission Staying, dream, bin, soft stud and other stories. Sansour?s work is interdisciplinary and borrows heavily from the language of film and pop culture. References and details ranging from sci-fi and spaghetti westerns to horror films converge with Middle East politics and social issues to create intricate parallel universes in which a new value system can be decoded. Sansour?s work has been exhibited worldwide in international biennials, galleries, museums, film festivals and on the internet and is featured in many art publications. Larissa Sansour was born in Jerusalem and lives and works in London, UK.

Happy Days est une vidéo qui expose la vie de tous les jours des palestiniens sous l'occupation israélienne. Pendant la vidéo, un collage de métrages filmés dans les territoires occupés est accompagné par la bande son de la série des années soixante-dix, "Happy Days". Le passage montre des images différentes de celles des journaux télévisés. La musique crée un contraste avec l'apathie du public confronté aux conflits mondiaux. L'idée est de soumettre les politiques internationales à un format normalement associé au divertissement, et ainsi amener l'attention sur cette frontière floue entre les deux.

Née à Jérusalem en 1973, Sansour étudia les beaux arts à Copenhague, London et New York et reçu son MFA à l'université de New York. Ses travaux sont interdisciplinaires, immergés dans le dialogue politique actuel et se servent de l'art vidéo, photographie digitale, documentaires expérimentaux et internet. Le travail de Sansour a été montré de par le monde dans des galeries, des musées mais aussi dans des festivals de films. Ses expositions les plus notables comprennent, le Tate Modern de Londres, le Musée National de la Reine Sofia, Madrid et un show prochain au Arken Museum of Modern Art au Danemark. Sansur est membre international du comite de la nouvelle école de concept Chaos Pilots avec lequel elle contribue par ses écrits sur l'art, la politique et l'éducation. Elle vie et travaille a Copenhague, au Danemark.

"In Vitro" (Al Mukhtabar) se déroule après une catastrophe écologique. Sous la ville biblique de Bethléem, un réacteur nucléaire abandonné a été transformé en un énorme verger. À l'aide de graines de variétés anciennes, récoltées pendant les derniers jours précédant l'apocalypse, un groupe de scientifiques se prépare à replanter le sol à la surface. Dans l'infirmerie du complexe souterrain, la fondatrice du verger, Dunia, 70 ans, est étendue sur son lit de mort, tandis qu'Alia, 30 ans, lui rend visite. Alia est née sous terre, dans le cadre d'un programme de clonage complet, et n'a jamais vu la ville qu'elle est destinée à reconstruire.

Larissa Sansour est palestinienne. Elle est artiste et réalisatrice, et le tiraillement entre la fiction et la réalité est un élément central de son travail. Dans ses œuvres récentes, elle utilise la science-fiction pour aborder des questions sociales et politiques. Travaillant principalement le film, Larissa Sansour crée également installations, photographies et sculptures. Son travail est présenté dans des festivals de cinéma et des musées du monde entier. En 2019, elle représente le Danemark à la 58e Biennale de Venise (Italie). Elle a montré son travail à la Tate Modern, Londres (Royaume-Uni); au MoMA – Museum of Modern Art, New York (USA); au Centre Pompidou, Paris (France); à la Biennale d'Istanbul (Turquie); à la Berlinale, Berlin (Allemagne); au Festival international du film de Rotterdam (Pays-Bas); et au BFI London Film Festival, Londres (Royaume-Uni). Parmi ses récentes expositions personnelles, citons la galerie Bluecoat, Liverpool (Royaume-Uni); le musée Dar El-Nimer, Beyrouth (Iran); et le Nikolaj Kunsthal à Copenhague (Danemark). Larissa Sansour vit et travaille à Londres (Royaume-Uni). Søren Lind est né en 1970 et est d’origine danoise. Il est auteur, réalisateur et scénariste. Formé en philosophie, il a écrit des livres à propos de l'esprit, du langage et de la compréhension, avant de se tourner vers le cinéma et la fiction. Il a publié des romans, des recueils de nouvelles et plusieurs livres pour enfants. Søren Lind projette et expose ses films dans des musées, des galeries et des festivals de cinéma du monde entier, notamment à la 58e Biennale de Venise (Italie); au MoMA – Museum of Modern Art, New York (USA); au Barbican Centre, Londres (Royaume-Uni); au Nikolaj Kunsthal, Copenhague (Danemark); à la Berlinale, Berlin (Allemagne), au Festival international du film de Rotterdam (Pays-Bas); et au BFI London Film Festival, Londres (Royaume-Uni). Il vit et travaille à Londres (Royaume-Uni).