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A nonlinear film examining U.S. artist Richard Serra`s enigmatic installation, "EAST-WEST/WEST-EAST", located in the Brouq Nature Reserve in Qatar. The film was shot on film with a Super 8 camera, with all edits executed in camera.

Gabriel Bullen is a Canadian filmmaker from Yellowknife, Northwest Territories, Canada. His filmography consists of short narrative, documentary, and animation. His fields of interest also include experimental film, storyboarding, and animation. He has shot with digital DSLR, Super 8 and Super 16mm, mobile phones and RED Epic Mysterium-X. He creates his own analogue VFX using old techniques with ink, milk, and a fish tank.

Tourné dans une chapelle transformée en studio, le film Fugue géographique propose une interprétation rythmique et visuelle de la pièce musicale "Geographical Fugue" d`Ernst Toch.

Érik Bullot est cinéaste. Il a réalisé de nombreux films à mi-chemin du film d?artiste et du cinéma expérimental. Il a publié récemment "Sortir du cinéma. Histoire virtuelle des relations de l?art et du cinéma" (Genève, Mamco, 2013) et "Renversements 2. Notes sur le cinéma" (Paris, Paris Expérimental, 2013). Il prépare un essai sur le cinéma performatif ainsi qu?un film sur la réforme de l?alphabet en Turquie. Il enseigne le cinéma à l?École nationale supérieure d?art de Bourges et dirige le post-diplôme «Document et art contemporain» à l?École européenne supérieure de l?image (Poitiers-Angoulême).

Ce film-installation, projeté en boucle sur deux écrans, présente une variation sur la vision paroptique (la possibilité de voir avec la peau, sans le concours des yeux), la télépathie, la théorie des couleurs et le thérémine. Les différentes séquences introduisent l’hypothèse d’un cinéma imaginaire. Le film est présenté comme une série de rushes suggérant un film inachevé, en puissance.

Érik Bullot est cinéaste et théoricien. Auteur de nombreux films à mi-chemin du documentaire et du cinéma expérimental, il a publié récemment L’Attrait des ventriloques (Yellow Now, 2022) et Apunts de cinema (Filmoteca de Catalunya, 2023). Il présente en 2025 une exposition personnelle Voyages en kaléidoscope au Centre d’art Les Tanneries, accompagnée d’une publication Cinéma vivant chez Macula. Il enseigne le cinéma à l’École nationale supérieure d’art de Bourges.

Un oiseau est-il un document ? Les réserves d’un musée de civilisation peuvent-elles être perçues comme un miroir aux alouettes ? S’agit-il d’oeuvrer à une libération du document, à l’instar de la libération animale ? Telles sont les questions posées par ce film visionnaire et poétique, tourné dans les réserves du Mucem à Marseille.

Erik Bullot est cinéaste et théoricien. Il réalise des films à mi-chemin du film d`artiste, du documentaire et du cinéma expérimental. Ses films explorent les puissances poétiques et formelles du cinéma. Sa filmographie compte une trentaine de titres. Son travail a été présenté dans de nombreux festivals et musées, en France et à l’étranger. Il a publié récemment “ Le Film et son double ” (Mamco, 2017) et coordonné l’ouvrage “ Du film performatif ” (it: éditions, 2018). Il enseigne actuellement le cinéma à l’école nationale supérieure d`art de Bourges (France).

« Un chasseur sait-il chasser sans son chien de chasse ? » Un tongue twister est une phrase difficile à prononcer. Sous la forme d?un collage poétique, alternant paysages et portraits, ce film propose à différents modèles, américains pour la plupart, filmés dans un studio à Berkeley, de dire des "tongue twisters" dans leur langue maternelle ou seconde : allemand, anglais, arabe, arménien, assyrien, chinois, coréen, croate, espagnol, français, hébreu, japonais, persan, portugais, tagalog, vietnamien.

Érik Bullot est né en 1963. Après des études à l?École nationale supérieure de la photographie (Arles) et à l?IDHEC (Paris), il réalise des films à mi-chemin du film d`artiste, du documentaire et du cinéma expérimental. Sa filmographie compte plus d?une vingtaine de titres, dont "Le Jardin chinois" (1999), "Le Singe de la lumière" (2002), "Glossolalie" (2005), "Trois faces" (2007), "L`Alliance" (2010). Son travail a été présenté dans de nombreux festivals et musées, notamment le Jeu de Paume (Paris), le Centre Georges Pompidou (Paris), la Biennale de l?image en mouvement (Genève), le CCCB (Barcelone), le MICEC 08 (Barcelone), La Enana Marrón (Madrid). Membre du collectif pointligneplan, il a coordonné l?ouvrage "pointligneplan, Cinéma et art contemporain" (Léo Scheer, 2002). Il a publié récemment "Renversements 1. Notes sur le cinéma" (Paris Expérimental, 2009). Il enseigne actuellement le cinéma à l`École nationale supérieure d`art de Bourges et dirige le post-diplôme "Document et art contemporain" à l`École européenne supérieure de l`image (Angoulême-Poitiers).

Bulnygin Dmitry est né en 1965. Il vit à Novossibirsk en Russie, dont il est diplômé du Architectural Institute en 1990. En l`an 2000, il a débuté une carrière de conservateur. Le premier projet auquel il a abouti a été l`organisation d`un festival international de très courts-métrages (ESF) à Novossibirsk.

I began to see the complexity and fluidity of sexuality and gender in my early 20s, as growing up believing in a particular concept of my sexuality and others, I felt stuck to an idea. I wanted to be a boy and aspired that when I’m grown enough to have a job I would begin to save money for a sex change surgery. This film celebrates the transcending and inner self discovery, from there, it simplifies self-acceptance. Reflecting on my upbringing and adolescence memoir, performed by myself presenting with a humour approach.

Bulthaweenan, Praewa ‘Bink’ (Bangkok, August 1995 - present) Attended Manchester School of Arts studied Bachelor in Interactive Arts 2018, previous studies in Media, and Fine Art: Photography at Solihull college. Now based in Manchester, U.K. I work with film, writing, performance, sculptor, and ceramics. I began making short films and moving image since 2013 when I studied Photography. I’m interested in looking at ways of telling stories, ritual movements of bodies and surroundings, and using bodies as an object. My current interests is fantasing about the future that already exists in the present, a world where there are no boundaries of cultural concept.

A video essay on hyperinflation, which happened to the Yugoslav dinar from February 1992 to January 1994. Passing through banknotes design, science and personal memories, we make an irrational journey to one of the worst hyperinflation in human history.

An interdisciplinary artist working on a visual, dialogical, and autoethnographical system addressing movement, exchange, value, inflation, temporality, compatibility, and uncertainty, as nodal categories in the experience of modern society. Participated in over 80 international exhibitions, screenings and residencies, among them are: Cairo Video Festival, 2019; Now&After, Moscow, Russia, 2018; Moving Chronotopes, Remont, Belgrade, 2017; FDTD, National gallery of Macedonia, Skopje, 2016; Videographies, Liege, 2015; KulturKontakt’s artists-in-residence, Vienna, 2012; Atelier Banja Luka, Tranzitdisplay, Prague, 2012; La Biennale du Film Exposé, Paris-Montreuil, 2011; Cynetart, Trans-Media-Akademie Hellerau, Dresden, 2010; Crazycurators Biennale, Bratislava, 2010; Fears, parallel event to Manifesta7, Trento, Italy, 2008.

Lev works at a construction site in a new suburban residential area in Western Germany. But things change, friends will leave and the forest becomes a place of desire

Maximilian Bungarten born in 1993, in North Rhine-Westphalia, studies Documentaryfilm at HFF Munich and Université Paris VIII. Together with Camille Tricaud and Felix Herrmann, he founded the production company Benedetta Films. His award-winning short films have screened at numerous international film festivals including ISFF Clermont-Ferrand and art institutions like Schirn Kunsthalle Frankfurt.

The city of Wolfsburg can be interpreted as a model of various urban planning and architectural blueprints of modernity. The film fluctuates between cinematic movement and photographic stagnation, thereby counteracting the metropolitan directive regarding mobility and acceleration.

Geboren 1971 in Hamburg. Bildender Künstler, Fotograf und Filmemacher. Absolvent der Hochschule für bildende Künste Hamburg. Ab 2010 Aufnahme eines künstl./wissenschaftl. Promotionsstudiums mit dem Thema "Filmische Ortsbegehungen und Raumerkundungen".

A filmic examination of school rooms in the 70s. The era`s school-architecture displays the intention of historical and educational reforms. We are interested in the Utopia written into the architectural designs and the current state of schools. Rebuilding and repurposing point to a tense area between planning and actual usage.

Arne Bunk is a freelance artist and filmmaker. In 2010 he has been studying for his PhD with an academic and an aesthetic (film) component at Hamburg`s University of Fine Arts. He holds a scholarship from the Hans Böckler Foundation (promoting German talent) and since 2006 has taught film in schools in and around Hamburg. His short films have been shown at international short film festivals (including in Busan, Berlin, Madrid, New York and Paris), and rated "recommended" and "highly recommended" by the German Film Evaluation Board.

Ghost Shelter/6: encompasses a variety of significant post-industrial structures all at the edge of metropolitan regions in various states of ruin. They are created from 3D scans and drone footage, rendered and animated in 3D as discrete virtual entities simulating islands of memory (as in Tarkovsky’s Solaris). 1.Chemiewerk Rüdersdorf, an abandoned chemical factory in the former German Democratic Republic 2.The Teufelsberg, a NSA listening station in Berlin built on top of a man-made hill constructed from the rubble of WW2 Berlin. 3.Immerath, a ghost town in western Germany removed in 2017 by the energy giant RWE for the expansion of their open cast coal mine, Garzweiler. 4.The Martha Project, a NZ open cast gold mine whose mining operations ground to a halt due a major landslide collapsing the north wall of the mine. 5.Domes of Case Grande, an incomplete and abandoned futuristic computer facility in Arizona. 6.The Sleeping Beauty Castle, the centrepiece of the California Disneyland Park, modelled on the late 19th century Neuschwanstein Castle in Bavaria, Germany.

Brit Bunkley’s current art practice includes public art, sculpture, installation, and the creation of “impossible” moving and still images and architecture designed using computer 3D modelling, video and image editing programs, with content emphasizing majestic landscapes, human revelry and an oblique sense of apocalyptic anxiety tempered with whimsy and irony. Brit is represented in numerous international collections and has completed a dozen permanent and temporary public art projects. In addition, he has received several grants and fellowships including a Wallace Trust grant in NZ; a New York State Fellowship (CAPS) grant, a New York State Council on the Arts project grant, a USA National Endowment for the Arts Fellowship and the American Academy Rome Prize Fellowship. Recent international group exhibitions and screenings include Sanctioned Array-Other2 Specify at the White Box gallery in NYC, Rencontres Internationales Paris/Berlin/Madrid at the Centre Pompidou and at the Reina Sofia National Museum, Madrid, Spain; The Haus der Kulturen der Welt, Berlin; FILE 2012 at the SESI' Cultural Centre Sao Paulo, Brazi;, the Berlin International Director?s Lounge 2014 and the Moscow Museum of Modern Art where he won an award. Bunkley?s most recent solo exhibition, Social Realism opened at the Sanderson Contemporary Art, Auckland, NZ November 2014- with forthcoming solo exhibition November 2015. Recent video exhibitions and festivals include FILE 2015; Fiesp Cultural Center, Sao Paulo, Brazil; the International Video Art Festival “ Now&After ” MINI VIDEO'15, Schusev Museum of Architecture, Moscow, Russia, and International short- and longfilm videodays 2015 and 2016, G.A.S-station, Berlin, Germany

Oil, ghost towns and dust devils are aligned as tropes of climate change. Tornado-like dust devils, as canaries in the coal mine, are increasingly common in hot, barren deserts and in drought stricken areas of the world. I imagined spilling flower petals into the path of dust devil so that it would create a colorful vortex of swirling petals. I recently found a few dust devils during each of my 3 trips to the California desert, but they are fast, dissipate quickly and mostly too far off the road to catch…always just ahead of my car. When I was ready to give up looking after my third desert trip and was focusing my camera on abandoned school, a well-formed small dust devil appeared about 10 meters to my right. I turned my camera on a tripod towards it, snatched a bag of flower petals that I had bought at LA`s flower district and ran into the small vortex dumping the contents. It grabbed the petals and dumped them over a nearby road.

Brit Bunkley is a New Zealand based artist whose current art practice includes public art, sculpture, installation, and video. He designs his work using digital 3D modelling, video and image editing programs… emphasising majestic landscapes, human revelry and an oblique sense of apocalyptic anxiety tempered with whimsy and irony. Brit is represented in numerous international collections and has completed a dozen permanent and temporary public art projects. He is a recipient of a New York State Fellowship grant, a New York State Council on the Arts project grant, a USA National Endowment for the Arts Fellowship and the American Academy Rome Prize Fellowship. He has completed more than a dozen temporary and permanent public art projects including the commission Hear My Train in Wanganui, New Zealand completed in 2012 and a public screening at the Oslo Central Station, Oslo Screen Festival in collaboration with Kunsthall Oslo, Oslo, Norway autumn 2013. Recent international group exhibitions and screenings include 2015 at the SESI` Cultural Centre Sao Paulo, Brazil, the Berlin International Director’s Lounge 2014 and the Moscow Museum of Modern Art. Bunkley’s most recent solo exhibition, The Happy Place opened at the Sanderson Contemporary Art, Auckland, NZ November 2014.

This video is a scrapbook of dreams of (or by) animals inhabiting a world without humans. Natural Intelligence is “intelligence created by nature, natural evolutionary mechanisms,” - as opposed to artificial intelligence. With it, “there is a dynamic movement of natural intelligence that evolves from vague, fuzzy, and unconscious states to more concrete and conscious states, and thus realizing the essence of perception” (Perlovsky and Kozma, 2007, p. 1). It is beautiful and deeply flawed, but it levels out in the end.

Brit Bunkley is a New Zealand-based artist and videographer whose practice includes the construction of large-scale outdoor sculptures and installations as well as the creation of ‘impossible’ moving and still images and architecture designed using 3D modelling, video editing, and image editing programs. Bunkley, a NZ/USA dual citizen, received a National Endowment for the Arts fellowship, two NY state grants, and the Rome Prize Fellowship in the USA. He has exhibited at the Museum of New Zealand Te Papa, had international screenings, including the White Box Gallery in NYC, the Athens Digital Arts Festival, at the Rencontres Internationales Paris/Berlin several times between 2003-2024, and exhibited video multiple times at File SaoPaolo. In 2012, he was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival. He participated in the Athens Digital Arts Festival in 2017 and File Sao Paolo (2017, 2018, 2019). Bunkley screened his video, Ghost Shelter/6, at The Federation Square Big Screen, Channels Festival 2017, Melbourne, and at the Oberhausen Short Film Festival, Oberhausen, Germany, in 2018. He participated in the Visions in the Nunnery at the Nunnery/Bows art gallery in London in 2022 and in 2024 at Rencontres Berlin, Haus der Kulturen der Welt, Berlin, and he exhibited in Artweek Gyumri, Armenia. he was the award winner for Best Art | Experimental video/film at the New York City Independent Film Festival 2024 in NYC.

Up River Blues is a dreamlike series of vignettes featuring the region surrounding the Whanganui River Valley. The Whanganui River is New Zealand?s longest navigable river with rich historical significance. The abandoned Shangri-la commune of Ahu Ahu Ohu, on the Ahu ahu tributary of the Whanganui is the central feature of this video. In 1974 the NZ government found an ?Ohu Scheme? on public land to establish communes - ?intentional communities?. Most failed. This was one of the longest lasting "Ohus". A sense of apocalyptic foreboding was created through special effects including 3D animations of a stranded Russian submarine rusting on a steep inland hill and black helicopters flying over Ahu Ahu Ohu. (In fact, helicopters are a reality in this region in the government?s search for marijuana crops; the hills are indeed former sea beds.) In combining apocalyptic paranoia with irreverent whimsy the video ends with a tree disappearing into its shadow and a crop duster reversing into a cloud of dust.

Brit Bunkley, emigrated with his family in 1995 from New York City to take up a teaching position to New Zealand. Bunkley`s art practice during his 16 years in New York included building numerous commissions while also receiving several grants and fellowships including a National Endowment of the Arts Fellowship grant, New York State artist Fellowship, and the Rome Prize Fellowship. (see: www.britbunkley.com) Bunkley?s work has appeared in many solo and group shows internationally and is in many public and private collections in New Zealand and the USA. Exhibitions included St@rt up: New Interactive Media and Animation at the Museum of New Zealand Te Papa and SIGGRAPH 2003 , 2004 and 2006. In addition he showed artwork at Ciberart-Bilbao 2004 Festival and art show, Bilbao, Spain, Prog:ME the1st Festival of Electronic Media of Rio de Janeiro in Brazil; Rencontres Internationales Paris/Berlin/Caracas, 2005 in Paris and 2006 in Venezuela. Bunkley?s sculpture has been commissioned by the NY MTA, the Minnesota Percent for Art program, Connells? Bay, NZ and several other public and private agencies (His work is featured in the Along the Way: MTA Arts for Transit, Celebrating 20 Years of Public Art, by the Monacelli Press; 2006 and The Art of Placemaking: Interpreting Community Through Public Art and Urban Design, 2008, by Ronald Lee Fleming.) Recent shows include FILE RIO 2007 in Rio de Janeiro, Brazil and FILE - Electronic Language International Festival, in Sao Paolo: Brazil, March 2008; Urban Screens Melbourne 08; Federal Square, Melbourne, Australia; Eform; Beijing - Today Art Museum; Shanghai - Duolun Museum of Modern Art; Chongqing - Jinse Gallery; Migration, Völklingen, Germany; as well as solo shows at the NZ Film Archive Gallery ?A Slow Train a? Comin?? and at Mary Newton Gallery - both in Wellington, New Zealand. In 2008 he co-curated and participated in the show Terrible Beauties, at City Art Room in Auckland. File 10 Nurbs Proto 4KT, Sao Paolo. In 2010 he co-curated and participated in the exhibition Hybrids at Auckland?s MIC gallery; exhibited at the National Contemporary Art Award at the Waikato Museum of Art, NZ; Insideout, Sydney; A Light at the End of the Tunnel, Scope Basel, Basel; From the Earth to Space: Exobiology & Biodiversity, Cité des sciences et de l`Industrie, Paris; and he recently had a solo show at the Mary Newton Gallery in Wellington. He will exhibit video at the E4C: Electronic Gallery; Seattle.

Les vignettes vidéo courtes font appel à la fois à des environnements d'animation et de vraies séquences qui visent à brouiller la frontière entre réalités amplifiées et décors véritables afin de créer une atmosphère inquiétante de transformation et de révélation. J'ai voulu que les vidéos fonctionnent par saisie d'images en mouvement imaginées dans des décors crédibles bien qu'un tantinet trafiquées. Ces décors devaient être convaincants et perturbants créant ainsi un contexte qui accentue le contenu sociopolitique sinistre des animations rapides qui fonctionnent par chutes marquantes (format publicité télé). Les Vignettes of War and Business sont une série de récentes animations en 3D courtes et interdépendantes. Entremêlées, elles font référence de manière indirecte à l'" économie de guerre perpétuelle" des Etats-Unis et ceci transposé dans le contexte de la Nouvelle Zélande moderne du marché (laquelle est, comme la plupart des pays, souvent aux ordres du "parlement virtuel" des investisseurs internationaux et des grandes entreprises). Ces vignettes proposent une réflexion sur la paranoïa, la beauté et la terreur inhérente au monde moderne aussi bien ici qu'aux Etats-Unis (8 min 56 sec). "Fleece Blackout" : une courte animation vidéo d'un mouton miniature en 3D qui reste(presque tout le temps) immobile et statuesque dans un paysage montagneux tandis que des missiles de longue portée passent et la toison de laine du mouton se transforme peu à peu en motif floral photographique. "Masquerade": une vignette fantaisiste de peur fabriquée avec en vedette un clown qui s'appuie sur une banque indéfectible du XIXe siècle ainsi que d'un chroniqueur d'actualités portant un masque à gaz (en attendant les ADM pendant l'invasion de l'Irak). "4 Heads": 4 têtes avec mappage de textiles type cagoules qui font bouger leurs oreilles et leur nez( avec clips modifiés à partie des originaux Invasion of the Body Snatchers) "Red Cap": Référence indirecte à la perte d'innocence inspirée par Citizen Cain The Return of the Body Snatchers: The Return of the Body Snatchers est une animation en 3D (influencée indirectement par le film d'origine de Siegel (The Invasion of the Body Snatchers) qui prend en compte le climat socio-politique mondial de peur qui sévit actuellement. "Girl in the Can?, the mouton de" Fleece Blackout" dérive sur un fleuve, suivi d'une chambre à air et d'un petit canard en caoutchouc. L'eau reflète une "fille dans un canoé". Une ville carte postale banale représentant une jeune fille dans un canoé à Wanganui (Nouvelle-Zélande) disparaît peu à peu en fondu (et se brouille) à la fin du clip. La bande-son est de moi à laquelle s'ajoute trois clips musicaux d'Alistair Galbraith et Constantine Karlis extraits du disque Radiant "In Prelight Isolate de Set Fire to Flames, de l'album" Telegraphs in Negative" , et" Translation" de Songs : Ohia.

Biographie de Brit Bunkley Brit Bunkley est responsable de la sculpture et conférencier en médias numériques à la Quay School of the Arts, Wanganui UCOL à Wanganui, Nouvelle-Zélande. En 1995, il quitte New York pour émigrer avec sa famille en Nouvelle-Zélande. Ils deviennent citoyens nouveaux-zélandais en 1999. Au cours des seize années que Bunkley a passé à New York en tant que sculpteur et photographe, il a eu l'occasion de réaliser de nombreuses commandes tout en recevant plusieurs subventions et bourses universitaires comme la bourse du National Endowment of the Arts Felloship et la Rome Prize Fellowship. Depuis son installation en Nouvelle-Zélande, Bunkley a présenté plusieurs manifestations au sein de galeries publiques et privées, dont une récente production au Tuhi - The Mark in Auckland en février et une manifestation à la McPherson Gallery à Auckland, février 2003, le New Zealand Film Archive Pelorus Trust Media gallery et Lopdell House 2005. Bunkley a également participé à de nombreuses prestations collectives allant de St@rt up: New Interactive Media and Animation au Museum of New Zealand Te Papa à Intersculpt: 2001 à Wellington and Intersculpt: 2003 à Auckland (dont il était également le conservateur) à la Adam Gallery de Wellington. Il a récemment présenté des installations vidéo/scupture numériques à la Mary Newton Gallery 2005. Outre-Mer, Bunkley a également été sélectionné comme l'un des six "working artists" lors de l'exposition d'art numérique SIGGRAPH,2002. Il a également présidé conjointement l'exposition d'art para-innée par la ACM à la Span Gallery de Melbourne, Australie. En 2003, il a exposé des sculptures et des vidéos numériques au SIGGRAPH:2003 de San DiegoExpace[ex-space] project#002 projection vidéo, Knitting Factory, NYC, Not Still Art Festival, The Micro Museum, New York City, the Transference, The Manipulation Of Vision in Sydney, Australie. Il a participé à l'Exposition internationale et itinérante de sculpture RP qui s'est déplacée dans dix lieux internationaux dont le Zoller Gallery at Penn State University, Yeditepe University, Istanbul, Turkey, Chicago Institute of Technology, Chicago, Ill.Il a projeté des vidéos d'animation numériques au festival 2004 de Cibeart-Bilbao et une exposition d'art à Bilbao, Espagne, Avril 2004, le Thailand New Media Festival à Bangkok en mars 2004 et plus récemment aux Rencontres Internationales Paris/Berlin, le First International Festival of Electronic Art 404/ Astas, Argentine. Cette année, il a présenté une animation vidéo au Prog:ME thelst Festival of Electronic Media de Rio de Janeiro au Brésil, File 2005, Sao Paolo Brazil et Not Still Art au Micro Museum de New York en septembre. Cette ?uvre vidéo a été primée à la Sargeant Gallery de Nouvelle-Zélande pour l'année 2005. Bunkley a coanimé avec Ian Gwilt et participé à "Made Known", une exposition de sculpture numérique et d'animation vidéo en 3D à la University of Technology (UTS) Gallery, Sydney, Australie en septembre dernier. Vignettes of War and Business a remporté le premier prix à la remise des prix annuelle de la Sarjeant Gallery. Son ?uvre part en tournée en Nouvelle-Zélande dans le cadre du Wallace Trust en 2005-2006.

Ghost Zone is an homage to Tarkovsky`s “Stalker” (1979) takes us on a journey to the original expedition into the ineffable aqueous “Zone” - where wishes may be granted to one’s detriment. Bunkley stitches together his own footage in such a way that the landscape and buildings resemble a magic realist post-apocalyptic wasteland. Photographic composites of two rural locations has been made a lot easier with the use of drone captured imagery in that they will accommodate points of view not accessible form the ground. From this data he uses photogrammetry 3D scanning to create his eerie works as “œislands of memory┝ - akin to the islands that feature in the science fiction film Solaris (1972) by Andrei Tarkovsky. (Photogrammetry uses multiple photographs placed within software that creates 3d printable meshes.) By extracting these images, the buildings are divorced from their surrounds while the videos resemble chunks of architecture and landscape made from an indefinable material floating in black cyberspace.Ultimately they refer to eschatology - the “end of time”.

Brit Bunkley is a New Zealand based artist whose art practice includes the proposal and construction of large scale outdoor sculptures, discrete objects, installations as well as the creation of ”impossible” moving and still images and architecture designed using computer 3D modelling, video editing and image editing programs. His work explores an oblique sense of paranoid apocalyptic fear tempered with a sense of whimsy and irony. International screenings include the White Box gallery in NYC and Rencontres Internationales Paris/Berlin (2016, 2018, 2019), and at the Cité Internationale des Arts in 2018. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017 and 2018. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival, and he was again included in «Now&After» at Moscow’s Artplay Design Center February 2018. Recent solo exhibitions include Ghost Shelter 17 at Te Uru, Titirangi, Auckland, The Happy Place- Sanderson Contemporary Art, Auckland and the Sarjeant Gallery, Whanganui, New Zealand in 2018.

“The Peaceable Kingdom” is a deep fake ontology. It is a dreamscape of various domestic and wild animals inhabiting human architectural spaces metaphorically and physically as both totems and discrete intelligent beings. The title is taken from a series of paintings by the Quaker minister and painter, Edward Hicks.

Brit Bunkley is a New Zealand-based artist and videographer whose practice includes the construction of large-scale outdoor sculpture and installations as well as the creation of ‘impossible’ moving and still images and architecture designed using 3D modeling, video editing, and image editing programs. Bunkley, an NZ/USA citizen, has also been a recipient of a National Endowment for the Arts fellowship and the Rome Prize Fellowship in the USA. International screenings include the White Box gallery in NYC and the Rencontres Internationales Paris/Berlin. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017, 2018, and 2019. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne, and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018, Docfest Kassel 2019 and Jihlava IDFF 2021 and 2022, Czech Republic. And Video Art Miden and Video Art Projects, Municipal Gallery of Thessaloniki, Thessaloniki, Greece, FILE SP 2023 exhibition and Hochkantfilmfest, Portrait -video on advertising billboards, Bremen, Germany in 2023 Recent group exhibitions include the “Stories of Rust”, Tauranga Art Gallery, Tauranga, NZ, and “Green Around'' in Taipei, Taiwan in 2019, the Auckland Botanic Gardens 2022 and “Sculpture on the Gulf” 2022, Auckland, NZ, the “2021 National Contemporary Art Award”, Waikato Museum, Waikato, NZ and “Visions in the Nunnery”, Bows Art/Nunnery Gallery, London in 2022. Recent solo exhibitions include Solo exhibitions include the Sarjeant Gallery, Whanganui, New Zealand in 2018, the Institut für Alles Mögliche/Stützpunkt Teufelsberg, Berlin 2019, The Rabbit Room, Napier, NZ 2022, at Scott Lawrie Gallery, Auckland New Zealand 2022, and aGallery, Whanganui, NZ.

Las fuerzas follows a group of future jockeys. Under a school logic, with methods and forms of assimilation similar to any other kind of learning system, the material to be modeled is the body. A body that is complemented by an other, a small body that should not grow, of a latent fragility, always about to break.

Degree in Audiovisual Arts from the National University of La Plata, Argentina. Her short films Las Instancias del Vértigo (2010), Los Animales (2012), Las Fuerzas (2018) were screened at Cinéma du Réel, BAFICI, Film Society Lincoln Center, FICUNAM, FIC Valdivia, La Habana, among others. She was part of the Film Laboratory of Universidad Di Tella, coordinated by Martín Rejtman and Andrés Di Tella. Currently, she´s developing her first feature, The breed of swift.

Février 2004. Une femme,agent du Bureau of Inverse Technology (BIT) en transit par l?aéroport de Los Angeles (LAX) est entourée et immobilisée par au moins 16 policiers et agents de la sécurité aérienne parce qu?elle a refusé d?enlever ses patins à roulettes. Ce refus qui semblait anodin a précipité la voyageuse de l?autre côté de la mince frontière entre cliente de Première Classe et possible traîtresse folle. La caméra numérique de l?agent entassée dans son porte bagage enregistre la situation. LAX saisit la banalité d?un désastre, routinier pour un aéroport, pour exposer un état des choses plus général : l?escalade des contrôles et des decrets contre la mobilité personnelle ; et les effets diffus d?un sur-contrôle policier des aéroports au lendemain du 11 septembre. ??VOUS PORTEZ VOS PATINS A ROULETTES AUJOURD'HUI, MAIS VOUS AVEZ DECIDE QUE VOUS NE VOULIEZ PAS PRENDRE AVEC VOUS VOTRE CERTIFICAT QUI VOUS AUTORISE A PORTER DES PATINS A ROULETTES??.

Le Bureau of Inverse Technology (BIT) formé a Melbourne en 1991 en Australie incorpore les Îles Canaries. Ce Bureau est une agence d?information au service de l?Age de l?Information.

La ville n’est pas. Non pas en raison d'une hypothétique absence physique - la ville est bien présente - mais parce qu'elle échappe à la dénomination. (Johannes Binotto et Andri Gerber)

Daniel Burkhardt a étudié les arts médiatiques à la KHM - Kunsthochschule für Medien, Cologne (Allemagne), où il vit et travaille actuellement. Ses installations vidéo et audiovisuelles exposent de manière ludique et ingénieuse la perception humaine comme moteur de la construction du sens.