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An ecstatic biopic about the world's most successful living painter. In vivid images, this AI hybrid film sheds light on the social role of painting in the field of tension between creativity, capital investment and spirituality. We are currently in the middle of the transition phase from analog to artificial reproducibility. Gerhard's unique painting techniques, especially squeegeeing, have triggered a worldwide hype. His techniques and ideas are being adapted, refined and improved by global “protagonists” and then flooded the markets (+social media). The myth of the “genius” writes itself into the DNA of an increasingly uncontrollable chain of creation as a fabulous and controversial homage.

Ulu Braun (1976) lives in Berlin and Finland. Between 1996 - 2005 he studied painting and film in Vienna, Helsinki, and Berlin. He has been using the medium of video to explore the field between the visual arts and auteur cinema since 1997 and he is one of the key figures who have transferred painting into video art. His works are regularly shown at film festivals and exhibited in art institutions.

The magical-realist camera follows the trials and encounters of Jonathan as he attempts to fulfill his mother’s final wish: that her ashes be laid to rest at Alexanderplatz, Berlin. Carrying her blue urn and searching for a suitable location, he attempts to gain permission, assistance, and sometimes merely empathy from his fellow citizens. From bridges to construction sites, electronics megastores to public fountains, encountering a nun, an artist, and various figures he traces circles around the concrete epicenter of the busy metropolis, revealing a place where commerce, branding, bustle, and tourism overshadow historical landmarks and personal relations. The private pathos of a son mourning his mother encounters the cold and normalized absurdity of hypercapitalism, history, and everyday city life.

Ulu Braun (1976) lives in Berlin and Lieksa. Between 1996 - 2005 he studied painting and film in Vienna, Helsinki, and Berlin. He has been using the medium of video to explore the field between the visual arts and auteur cinema since 1997 and he is one of the key figures who have transferred painting into video art. His works are regularly shown at film festivals and exhibited in art institutions.

Südwest est une construction détaillée et utopique d'un paysage, qui unit des aspects de la tradition et de la globalisation. La vidéo combine des scènes idylliques de la culture européenne avec les promesses cataloguées de l'industrie du tourisme moderne pour créer un panorama qui recréé la mystique poétique de choses pourtant si courantes à nos yeux.

Bio: geboren 1976 in Schongau. Lebt in Berlin und Helsinki. 1996-2000 Studium der Malerei und Grafik an der Universität für angewandte Kunst in Wien. 2001-2006 Filmstudium an der HFF-Potsdam 1999 & 2007 Stipendium am Time & Space Department, University of Fine Arts Helsinki, seit 1997 Zusammenarbeit mit Roland Seidel als BitteBitteJaJa.

Westcoast is a panorama-video consisting of interweaved scenes mounted on a coastline - somewhere between Rotterdam and Sydney. Starting from a bubbling primordial soup the view pans along a waterfront in the style of a late transnational financial eclecticism and passes mystical spots such as a giant hippo eating carrots and hectically spinning rubber boats. After a dark spiritual waterway recalling Hieronymus Bosch atmospheres, the panorama ends in a cave with refuse-Jacuzzi in which a white woman gazes about herself melancholically.

Ulu Braun (1976) is belonging to a new generation of artists that entered the field of digital film with a background in visual arts and street art. In his works he integrates various production methods to form sceneries that play between Hollywood, Prado and periphery. In most of his works he observes the tragic of reality from different angles. Braun exhibits internationally including recent solo shows in Germany, Belgium, USA and group shows in Germany, Spain, France, Finland, Estonia and Greece. His works have been screened at the major experimental Film and Media Art Festivals. Collaborations with Roland Seidel as BitteBitteJaJa and finnish artist group YKON. He is currently living in Berlin. www.ulubraun.com

On connait cet art du détour que Sophie Roger pratique pour nous mener par des chemins inattendus avec l’amitié comme fil, déplié avec Le Point aveugle (FID 2012) ou Les Jardiniers du petit Paris (FID 2010). Ici ce sera, tissée tout en délicatesse à l’écran, l’amitié avec Mohamed, réfugié soudanais au Havre. Faite de partage, d’attention, d’écoute et de rire, et de vagues en vagues, celles du texte éponyme de Virginia Woolf qu’elle lui lit, à celle de Courbet au musée du Havre, qu’il animera de son regard. (FIDMarseille)

What is the future of life in a world ever more dominated by Artificial Intelligence Can we develop a sense of connection and empathy towards highly elaborated machines? In a time when the lines between humanity and technology blur, "The Shape of Things to Come" takes audiences on a journey of human-AI interaction that challenges our perceptions of identity, love, and ethics. The film follows the activities of a team of pioneering researchers pushing the boundaries of AI technology, seeking to develop an AI with the capacity to feel and understand emotions. As they delve deeper into the mysteries of human emotions, they confront ethical dilemmas, technical challenges, and unforeseen consequences. Tensions rise as the project advances. Some believe that bestowing AI with emotions could revolutionize healthcare, therapy, and human-AI partnerships, while others fear the potential risks and moral implications. " The Shape of Things to Come " explores profound questions about the nature of consciousness, the essence of humanity, and the ethical responsibilities that come with playing the role of creator. As the project's success seems within reach, the researchers must confront their own humanity and the consequences of their ambition.

Pamela Breda is an artist, filmmaker and researcher living between Turin and Vienna. She holds a MA in Visual Arts from IUAV University (IT) and a PhD in Visual Arts from Kingston University (UK). She was appointed artist and fellow in residence at several international art institutions, including Max Planck Institute For Empirical Aesthetics (Frankfurt, DE), Pratt Institute (New York, USA), Cité Internationale Des Arts (Paris, F), PROGR (Bern, CH) Botin Foundation (Santander, E). She was recipient of several art awards and fellowships, including IMèRA Fellowship (Marseille, F), Cantica 21 (MibaC, IT), Italian Council Award (MibaC, IT), Kingston University Phd Scholarship (Kingston, UK), Moving’Up (Turin, IT), JRC, Joint Research Center, European Commission (Ispra, IT), ‘Love Me Tender’, Stonefly Production Prize (Fabbrica del Vapore, Milano, IT), Italian Institute of Culture (Moscow, RU), Photography Award, IED, European Institute of Design (Venice, IT). Her film research explores the intersections of visual imaginaries, narratives, and stories that often remain on the fringes of mainstream consciousness. With a deep passion for shedding light on the voices and experiences of marginalized communities, her work dives into the complex web of human existence, particularly focusing on the clash between old and new technologies that shape worldviews.

"April" est un film court expérimental inspiré par la vie d'April Ashley, l'une des premières Britanniques à avoir subi une chirurgie de réattribution sexuelle, réalisée à Casablanca (au Maroc) le 12 mai 1960 par le docteur Georges Burou. Après son retour en Grande-Bretagne, elle a commencé à utiliser le nom d'April Ashley, et a eu du succès comme mannequin, apparaissant dans des publications telles que Vogue (photographié par David Bailey), et a décroché un petit rôle dans le film "The Road to Hong Kong" de Norman Panama. Après qu'un ami ait vendu son histoire aux médias, en 1961, sous le titre "'Her' secret is out", le Sunday People a révélé qu'Ashley était une femme transgenre. Elle est au centre de l’attention et de la controverse, et son nom est instantanément supprimé du générique. Le scandale la contraint à vivre à l'étranger pendant plusieurs années. Ce n’est qu’en 2006 qu’elle a été reconnue légalement comme femme.

Pamela Breda est artiste et cinéaste. Elle vit entre Londres (Royaume-Uni) et New York (USA). Elle a reçu plusieurs prix et bourses d'art, dont la bourse Sirovich Family Fellowship, au Pratt Institute, New York (USA), le Simultan Art Prize (Pologne); le Cantica21 (Italie); le prix du Conseil italien (Italie); le prix Moving'Up (Italie); et le prix Italian Institute of Culture (Russie). Ses films ont été projetés à l’international, et présentés dans divers festivals et lieux d’art notamment au ECRÃ Film Festival, Rio de Janeiro (Brésil); au Revolutions Per Minute Festival, Boston (USA); à la Digital Film Library; au Festival international du court métrage de Clermont-Ferrand (France); à la Cité Internationale Des Arts, Paris (France); à Vision Du Réel, Nyon (Suisse), au Hazel Eye Film Festival, Nashville (USA); au The Bomb Art Factory Film Festival, Londres (Royaume-Uni); au Sohonya Art Center, Bangalore (Inde); à la Francesco Fabbri Foundation for Contemporary Art, Pieve di Soligo (Italie); et à la Fondation Bevilacqua La Masa, Venise (Italie).

Dust is a story about two women living in an old district earmarked for demolition. Since their building is due to be demolished soon, all the neighbours have already left. Yet, the women decide to stay in their flat. The protagonists spend time in the abandoned multi-storey building and observe through the window bulldozers working around. Four out of five films were made in collaboration with Ms. Zou and Ms. Huang from Daguan in Taipei. When the project was in production, their houses in Daguan were bound for demolition while Ms. Zou, Ms. Huang together with their neighbours kept fighting against the evictions in the district. The first two films are a fictive story staged with Ms. Zou and Ms. Huang in an empty building awaiting demolition in central Taipei. I entered the building, cleaned up and furnished one chosen flat to turn it into a friendly liveable space and used it as a film location. Another two films are a conversation between Ms. Zou and Ms. Huang, Ms. Huang singing a sad song which reminds her of home and an image of a Daguan streets. The last film is a documentation of the demolition of the house where the first two films were made. One month after the films were done, Ms. Zou and Ms. Huang were forced to move away and Daguan was demolished.

Karolina Bregu?a (b. 1979) is a visual artist, a graduate of the National Film School in ?ód?. She creates films, photographs, installations and performance. Her work explores the problems of the status of the artwork and the materiality of art objects. She critically scrutinises contemporary art and its reception. She creates stories about art and architecture, which are a field of her anthropological and sociological observations. She is interested in the connection between art and reality – the favourable and detrimental effect of artists’ work, the remedial and destructive force of artistic activity, rituals connected to art and art’s social role. Many of her works are co-created with their protagonists and participants, blurring the border lines between professional and amateur artistic activity. Her works have been exhibited at institutions such as National Museum in Warsaw, Jewish Museum in New York and MOCA Taipei and at international events such as Venice Art Biennale and Singapore Biennale. She is the winner of the second prize in the Views 2013 Deutsche Bank Foundation Award, the third Samsung Art Master 2007 award and the 2016 Golden Claw at the Gdynia Film Festival. Her works are included in collections such as Tokyo Photographic Art Museum, Zach?ta National Gallery of Art, Wroclaw Contemporary Museum and ING Polish Art Foundation. She is an associate professor at Academy of Art in Szczecin, she collaborates with lokal_30 Gallery. She lives in Warsaw.

`The Tower` is an opera musical about a group of people who live in the same concrete block of flats and who plan building a sugar tower together. Full of absurd and anxiety, the story of the utopian project is addressing the history of post war housing architecture analysing it from the position of its user, the inhabitant of a modernist city. The dreams and desires are juxtapositioned with difficult reality of life in the blocks and contradictions inscribed in the modernists` plans.

Karolina Bregula(born 1979) is a visual artist and filmmaker. She has performed and exhibited in places such as “the VeniceArt Biennale” the Jewish Museum in New York and the National Museum in Warsaw.She has received numerous awards including The Golden Claw at Gdynia Film Festival, the Views 2013 and Videobrasil 2015. She has been awarded multiple scholarships including the Polish Ministry of Culture Scholarship, the Visegrad Scholarship and the UNESCO scholarship. She lives and works in Warsaw.

First, a view of nature: an overcast sky, the chirping of birds. This plays the part of a colorful overture, still open to the world. Steps and the sound of a pushbutton telephone lead acoustically into one of Dietmar Brehm’s "intrusion films": Hallo Mabuse. Here, arriving at the other end of the line, intruding into the image means reversing polarity to negative and concentrating on the schematic through a type of circular aperture. A man’s profile and facial features lose their contours in the heavy light-dark contrasts, yet also emerge expressively. A dialogue of cryptic gestures unfolds. The source: several scenic miniatures from The Testament of Dr. Mabuse, Fritz Lang’s famous crime film about hypnosis and terror created in the interwar period. Brehm already included this material once before, in a shorter version, in tape 14 of the Praxis series; now he presents it as an autonomous member of the series; decelerated, with a new editing sequence, and also additional pictorial motifs. Hallo Mabuse captivates through its reduction, in which a conspiratorial narrative takes place, but even more so, the images themselves appear ambiguous, obscure, untrustworthy. A nod of the head, which seems treacherous in its mechanical repetition, meets the profile of a bearded man who does not appear to react at all in a suggested counter shot. The slight flickering of the image further intensifies the impression of an illicit agreement, of witnessing a crooked handshake. The ringing of the unseen telephone and the constant ticking of a clock lend the events a limited temporality. Something is running out, and in doing so, is also already reaching its end, a ghostly final act, which is anticipated by an explosion and breaks off with the sound of a falling guillotine. (Dominik Kamalzadeh)

Dietmar Brehm is born in 1947 in Linz 1967-72 studied painting at the University of Fine Arts/Linz. Professor at the University of Fine Arts/Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad.

Dietmar Brehm's Hylo-Vision-Plus. Version 1 is a minimalistic study of ecstatic moments and it is named after eye-drop medicine.

born in 1947 in Linz 1967-72 studied painting at the University of Fine Arts/Linz. Professor at the University of Fine Arts/Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad. 1974-1989: 74 Super8 films since 1990: 16mm films since 2000: video

It hisses, it blinks. A virtual, two-dimensional anaglyph flickers in red and green, unfolding a visual space true to the Brehmian aesthetic. Concentratedly condensed collisions occur between everyday life and the world, being and performing, symbols and icons. A human skull, human bodies, Castle Grafenegg as an architectonic stand-in for the uncanny … Sex and crime, art and pop culture flicker at pixilated speed – the stuff of dreams – most penetrating however brief. The mundane alternates with the fetish, glimpsed in the blink of an eye, intersected by a long drag on a Chesterfield cigarette while the full-bodied, tube-amped slow-motion reverb sound of a guitar swings in the background.

Dietmar BREHM Born in 1947 in Linz. 1967-72 studied painting at the Academy of Fine Arts/Linz professor at the Academy in Linz. Since 1973 teaches at the Academy in Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad, various awards for his work.

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The block across the street, or mirror block, has been for the past 17 years my immediate landscape, a modular display of my closest reality, one I often avoided, as familiar images get skipped, distancing into the background. It happens because repetition eventually subsides the identification process. I chose to recognize the occurrences nearby and regard my quotidian landscapes as a view, put together by architecture and space boundaries, which also cause an involuntary voyeurism to appear.

Michele Bressan (b.1980) in the last few years his works were exhibited in several solo and group exhibitions, including Museum fur Photographie Braunschweig (2013), Centre Wallon d`Art Contemporain (2012), ViennaFair The New Contemporary (2012), Les Rencontres d`Arles photo festival (2011), Musée d`Art Moderne Saint Etienne (2011), Gate11 international departures, Fondazione Fotografia Modena (2011), Biennale di Venezia, Padiglione Italia nel Mondo (2011), Mois de la Photo (2010), National Museum of Contemporary Art Bucharest (2009/2010), Performance Art Institute San Francisco (2010), ESSL Museum Wien (2009), Neuen Museum/ Bauhaus Universitat Weimar (2009). In 2010 he won the Constantin Brabcusi fellowship at the Cité Internationale des Arts Paris. In 2009 he recived the ESSL award for photography, in the same year was nominee for the Henkel award.

Les premières tentatives de cartographier le delta du Mississippi remontent au début du XVIIIe siècle. Milieu incontrôlable, fragile et mouvant en soi, il est depuis constamment transformé pour l'exploitation de ses ressources. Navigant entre les temps et les espaces, "Sweat" nous immerge progressivement entre les lignes des cartes, dans la part insubordonnée et fluctuante de ce territoire, en compagnie d'êtres vivants qui le peuplent.

Elsa Brès est diplômée du Fresnoy - Studio national des arts contemporains, Tourcoing (France), et de l'École Nationale Supérieure d'Architecture de Paris-Belleville (France), où elle a enseigné la théorie de l'architecture et du paysage. Ses films et installations s'attachent à des forces de résistance dans les paysages contemporains, et ont été montrés dans des festivals et expositions, en France et à l'étranger, notamment au FID Marseille (France); à 25FPS, Zagreb (Croatie); au CRAC – Centre régional d’art contemporain Occitanie, Sète (France); au Palais de Tokyo, Paris (France); à la Transmediale, Berlin (Allemagne). Elle vit à Bréau, dans les Cévennes (France).

A trace of regularly ordered mounds of earth. In the twilight a dump truck is being loaded. A thick veil of mist hangs over the tops of the trees. Dark earth is excavated, loaded and transported off the scenery. In Dark Matter (2020), via the situative arrangement of different picture elements a visual friction surface is created, which is shaped by the figurations of a post-apocalyptic landscape. The images are determined by the processes of extracting raw materials. Without the mineral resources from the numerous diamond and gold mines in the so-called Russian Federation subject Yakutia, the Soviet Union would never have been able to exist until the 1990s. Technology and ideology go hand in hand and leave their mark. Military and economic efforts to secure power are inscribed in this landscape. The extraction of raw materials and the exploitation of nature show their planned economic and geopolitical consequences, which make up the character of the “subjects of the Federation”. Their designation as “subjects” was introduced in the USSR in order to equip and administer different categories of territorial units with different degrees of autonomy. Technological progress and ideological utopias constitute a processual and changeful network of relationships between subject definition and state apparatus.

Viktor Brim was born in 1987 in Tashkent, Uzbekistan. From 2009 to 2011 he studied media art at the HGB in Leipzig, began directing studies at the Filmuniversity Babelsberg KONRAD WOLF and completed a postgraduate course at the Academy of Media Arts in Cologne, where he worked not only with fictional forms but also increasingly with documentary approaches.

In Becoming Unreal the camera floats through urban mega-projects of Istanbul like modern mosques, the new airport and various hotel buildings. These spaces are marked by an emptiness, as they embody more of a trophy, a sculpture or an object and have no longer anything to do with the human body. A ghostly absence characterizes the buildings. They are like an immaculate representative facade, one of concealment and hiding. A facade made up of complicated shell companies and offshore providers.

Viktor Brim (born 1987 in Tashkent, Uzbekistan) is an artist and filmmaker. In his work he deals with the relationship between cinematic spaces, urban phenomena and the concept of power. His focus is on the physical manifestation of power structures and their territorial extension. Most recently, his works have been presented at Casino Luxembourg - Forum d'art contemporain, Eye Filmmuseum and Max Ernst Museum Brühl.

Ondrej Brody et Kristofer Paetau forment un couple artistique néo-dadaïste qui recherche les aspects grotesques que l?on peut trouver dans le monde artistique institutionnalisé et dans la production artistique elle-même. Leur stratégie est claire et presque embarrassante de simplicité mais c?est apparemment leur point fort. Les problèmes qu?ils soulèvent et les cibles qu?ils choisissent sont également fondamentaux : la morale quotidienne, pour ne pas dire les codes de conduite sous forme de livrets, sont leur source de vocabulaire sous forme de sujet contenu. Ils mènent avant tout leur enquête en prenant en compte la psychologie du comportement lorsqu?il est influencé ou provoqué par les aspects extérieurs de la vie et de la politique. Leur travail oscille entre l?utilisation et l?abus, la manipulation poussée à l?extrême et l?enregistrement froid et intouchable de la réalité absurde, il est véritablement critique et tente sincèrement de mettre à jour les pathologies et les aspects normaux des relations humaines. Leurs actions sont toujours bien structurées et la mise en scène est pratiquement parfaite, précise et calculée, froide et émotionnellement troublante, audacieuse et vicieuse, elle nous pénètre de part en part. Il manque peut-être seulement un équilibre plus soigné : le scandale désiré utilisé de la bonne manière pour mettre l?accent sur le déclin de certaines valeurs et leur corruption soudaine.

Ondrej Brody est né à Prague, en République Tchèque en 1980, il vit entre Anvers, Berlin et Prague. Lorsqu'il était enfant il a vécu à Guayaquil en Equateur où il est resté jusqu'en 1999. En 2000 il a commencé ses études d'art à l'Instituto Superior de Arte in Havana à Cuba. En 2001, il a demandé son transfert à l'Academy of Fine Arts de Prague où il a obtenu son diplôme en 2005. C'est un artiste visuel qui travaille principalement avec la vidéo et fait des interventions/actions. parmi les expositions qu'il a récemment effectué figurent entre autres la Jiri Svestka Gallery à Prague (2006); le Kunsthallen Brandts à Odense, (2006); le Sammlung Essl à Klosterneuburg/Vienne, (2005); et Jack the Pelican à New York City, (2006). il a notamment reçu es prix suivants : the Essl Award, Sammlung Essl à Vienne, en Autriche (2205), et the International Prize for Performance, Galeria Civica à Trente, en Italie (2006). Kristofer Paetau est né en 1972 à Borga en Finlande. Il a étudié différentes disciplines sur plusieurs années. En 2005-2006, il était à l'Institute for Fine Arts (HISK) à Anvers, en Belgique; en 2000-2001, il a fait une année à l'Internaional ERBAN de Nantes en France; en 1999-2000 il a obtenu un Meisterschüler Diploma en suivant les cours de John M. Armleder à la Hochschule für Bildende Künste (HBK) à Braunschweig, en Allemagne; en 1999, il a obtenu un master en études artistiques à l'Ecole Nationale Supérieure d'Arts de Cergy, en France; en 1993-1994, il a étudié l'histoire de l'art à l'Ecole du Louvre de Paris, en France; et enfin en 1991-1992, il a étudié l'esthétique et le français à l'université d'Helsinki en Finlande. son expérience artistique comprend différents types de projets et de travaux. En 2004, il a organisé le projet "St. Stephanus Church" avec Torsten Prothman à Berlin et Re-Institutionalize #03. Il a également organisé une exposition personnelle appelée "Antigrafittihiphop" qui était une installation accompagnée d'une performance chorégraphique à la Ekaitz 5050 Gallery à Berlin. En 2005, il a participé à une exposition collective appelée "Boundless", il a apporté sa participation au travail de Jan Christensen au Stenersenmuseet à Oslo, en Norvège (catalogue). Il a également effectué une performance intitulée "Belgian Air Guitar Champion", In/Out Space, Open studio, Higher Institute of Fine Arts à Anvers, en Belgique. En 2006, il s'est occupé du projet "Super-Flux" e-mail service avec Ondrej Brody. Il s'occupe avec l'écrivain Rüdiger Heinze d'un projet e-mail appelé "Picturepeople", ainsi que d'un concurrent de courte durée pour e-Flux.

Broersen and Lukacs construct a replica of Bialowieza primeval forest. In this virtual forest is the avatar of Iranian operasinger Shahram Yazdani, who performs his version of Nat King Cole's 1948 hitsong Nature Boy, whose melody originated in Bialowieza. In Forest on Location, nature is viewed as a mirror, reflecting our own perception.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited for instance at the Biennale of Sydney (Australia), Rencontres internationales de la photographie d'Arles (France), Wuzhen Biennial Now Is The Time (China), Stedelijk Museum Amsterdam (Netherlands), FOAM Amsterdam (Netherlands), Antwerp contemporary art museum MUHKA (Belgium), Centre Pompidou (France), Shanghai World Expo (China), Kröller Müller (Netherlands)) and Casa Enscendida (Spain). Their films have been shown at various festivals including Oberhausen International Film Festival (Germany), LAForum (US), Kassel Dokumentar und Filmfestival (Germany), Rencontres Internationales Paris/Berlin (France/Germany), the New York International Film Festival (US), and Rotterdam International Film Festival and Amsterdam International Documentary Film Festival. Their film "Establishing Eden" was included in the 2016 Tiger Awards Competition for Short Films in Rotterdam Festival. In 2015, Stedelijk Museum Amsterdam acquired the site-specific work "Ruins in Reverse" (2015), specially made for the museum. Broersen & Lukács are represented by Galerie AKINCI, Amsterdam.

Tous les jours, les journaux télévisés et autres images télé se succèdent dans un flot sans fin qui engourdi le spectateur. Ce dernier, comme hypnotisé, ne fait rien d?autre que regarder et regarder encore : zappant constamment d?une image à une autre, d?une chaîne à une autre dans un flot régulier ; il n?y a plus de d?immobilité. L?attention est fragmentaire, l?identification et la réflexion sont impossibles, le monde est en perpétuel mouvement et des images, aussi bien anciennes que récentes, se présentent sans arrêt dans des endroits différents : une ville brûle derrière une montagne ; un soldat pointe son arme ; un fille hurle ; une plage (détruite) se trouve juste à côté de l?immeuble dans lequel a lieu une conférence des Nations Unies.

Margit Lukács est née en 1973 à Amsterdam, aux Pays Bas et Persijn Broersen est également né aux Pays Bas, à Delft en 1974. Ils vivent et travaillent actuellement à Amsterdam. Ils ont tous les deux étudié le Graphic Design à l?Académie Gerrit Rietveld à Amsterdam de 1994 à 1998 et ont effectué un Master en design et beaux-arts à l?Institut Sandberg d?Amsterdam de 1998 à 2001. Leur travail a été exposé à travers les Pays Bas et dans plusieurs autres pays comme la Chine, l?Inde et le Japon et ils ont participé à l?International Artists Studio Program de Stockholm en Suède en 2005. Broersen et Lukács créent des vidéos dans lesquelles ils utilisent les images de différentes manières en combinant des scènes qu?ils ont filmé eux-mêmes, des images de reportages d?information de la télévision qu?ils se sont appropriées et des segments d?animations numériques, pour créer des montages fluides. Certaines de leurs ?uvres sont narratives et semblent presque autobiographiques alors que d?autres refusent précisément de présenter un récit cohérent dans le but de critiquer la manière qu?ont les media de rendre impossible la réflexion du spectateur sur les images qu?ils présentent. Les paysages imaginaires utopiques et dystopiques agissent de différentes manières chez Broersen and Lukács et montrent comment les différents récits présentés par les principaux media et la culture générale finissent par constituer des mondes à part entière pour les personne qui les absorbent.

The copy-paste mentality of the media and its audience is reflected in the film Beyond Sunset & Sunrise; a mosaic-film in which Broersen & Lukács connect scripts and characters from classic Hollywood movies such as ?Sunset Boulevard?, ?Badlands?, ?Wild at Heart?, ?The Last Picture Show? and ?All About Eve?, a range of films in which the protagonists struggle with their aspirations. Aspirations that eventually turn destructive. Shot entirely in Hollywood, this fictional network of a dream chasing community merges with the reality facing the ambitious actors; a no-man?s land between Los Angeles and Hollywood. A place where dreams define reality, and the dream is defined by reality.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental features of today`s society. The work of Broersen & Lukács is characterized by a quest for the sources of contemporary visual culture. With intricate layers of depersonalization, re-mediation and re-interpretation they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary society. Broersen & Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Centre Pompidou Paris (FR), MUHKA Gent (BE), Coca in Torun (PL), Kunsthalle Tallinn (EST) and the Stedelijk Museum Amsterdam. Their films have been shown at film festivals worldwide including LAForum in Los Angeles (USA), Experimenta Media Arts Biennale (AUS), Kassel Dokumentar Film Festival (DE), Paris Rencontres (FR, ESP, DE), International Film Festival Rotterdam and the IDFA in Amsterdam (NL). Broersen & Lukács have been invited to participate in the 19th Sydney Biennale, 2014.