Catalogue 2023-2024

Any Way shows three people running together on an athletics track. The repetitive motion introduces the rhythm to a serene trance. The act of running itself is the focal point of the film: a continuous movement suspended in time. Varying frame rates allow the viewer to examine details of the motion that would otherwise be obscured by their own speed. The repetitive soundscape and music generates suspense. Breath, heartbeat and the runners' strides give way to each other. Towards the end of the film the physical exertion turns into a state of bliss.

Born in Brussels in 1992, Eva Claus is an audio-visual artist working primarily with 16mm film. Her practice is driven by observations of un/expected encounters with landscapes and people, natural habitats, space, psyche, circularity and means of film itself. Claus´s films exhibit a contemplative form of watching. In her recent films she uses an intuitive method of filmmaking in which she shares her interest in minimal narration. Claus was educated at the Friedl Kubelka School for independent film in Vienna, Austria and she obtained her MFA in photography at the Royal Academy of Arts in Ghent. Her films have been shown at festivals such as Light Field San Francisco, International Film Festival Rotterdam, Moscow International Film Festival, Process Film Festival Riga, Harkat Festival Mumbai, Rencontre International Paris / Berlin, and Istanbul International Film Festival, amongst others. She won the Public film prize at the 22nd Dresdner Schmalfilmtage, Dresden, Germany in 2021. Parallel to her artistic practice she works as a film restoration assistant at The Temenos. Eva currently lives and works in Brussels.

The two best football teams of Yugoslavia met at the Maksimir Stadium in Zagreb on May 13, 1990. The match was never played. Fragments Untitled #6 vivisects media footage of the event. This film is part of the ongoing series of works Fragments Untitled, where Doplgenger researches the politics of media images that participated in creating the historical narratives of Yugoslavia in the period of 1980–2000, especially media images that performed the pretext to the Yugoslav Wars and the breakup of Yugoslavia.

D O P L G E N G E R is an artist duo from Belgrade, comprising of Isidora Ili? and Boško Prostran. Doplgenger engages as a time-based media artist, researcher, writer, and programmer. The practice of Doplgenger revolves around the relation between art and politics by exploring the regimes of moving images and the modes of their reception. They rely on the tradition of experimental and avant-garde film and through some of the actions of these traditions intervene on the existing media products or work in expanded cinema forms. Works of Doplgenger are in public collections and have been shown internationally at both art institutions and film festivals. Doplgenger is a recipient of film awards and the prestigious Serbian Politika Award „Vladislav Ribnikar”, has been supported internationally and granted fellowships and artist residences.

The process of making a playground is the starting point for a reflection on the relationship between work and free-time, highlighting the hidden labour of the production of culture by following the construction of Condorelli’s commission in South London. Jay Bernard wrote and recites the soundtrack.

Condorelli has produced an extensive body of work that develops different possibilities for living and working together, exploring notions such as public space, the commons, institutions, property relations. Condorelli’s practice is committed to a continuous exploration of the less explicit elements that compose the structures through which individuals encounter the world — be they cultural, economic, material, social or political – the apparatuses of visibility that are often taken for granted, and which the artist describes as “support structures”. Céline Condorelli lives and works between London and Lisbon. A selection of exhibitions and projects include: Pentimenti (The Corrections), National Gallery, London, UK (2023); After Work, Talbot Rice Gallery, South London Gallery, UK (2022); Our Silver City 2094, Nottingham Contemporary, Nottingham, UK (2022); Dos años de vacaciones, TEA, Tenerife, Spain (2021); Deux ans de vacances, FRAC Lorraine – Metz, France (2020); Ground Control, Bildmuseet, Umeå, Sweden (2020); Singapore Biennial, Art Encounters Biennial, Timisoara, Romania (2019); Céline Condorelli, Kunsthaus Pasquart, Biel, Switzerland (2019); Host / Vært, Kunsthal Aarhus, Denmark (2019); Zanzibar (commissioned sculpture), King’s Cross Projects, London, UK (2019); Geometries, Locus Athens, Greece (2018); Anren Biennale, Chengdu, China (2018).
Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Matt’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 – renowned for screening a unique programme of film from its earliest days through to the latest artist’s film and video.

Exploring the discrepancy between the story told by an archive and a family album, Archive, Album and Other Images takes a personal journey though a collection of family images. Part memoire, part biographical investigation, a central secret revealed by the film changes the filmmakers understanding of his past.

Stephen Connolly was born in Montreal in 1964. He has lived and worked in London as a filmmaker. His films critically explore social aspects of spatiality using the tools of artist cinema. Stephen has solo screened at the Institute for Contemporary Arts, and the National Film Theatre (London) and featured in the International Festival Rotterdam (NL) amongst many film and media festival worldwide. Stephen will be working in Xiamen, China for the 23-24 academic year and undertaking projects in this space.

Mars 2022, l'invasion totale de l'Ukraine par la Russie a commencé depuis peu. De la frontière polonaise jusqu'à Kyiv, un parcours fragmenté se dessine. Du plein au vide, des corps en mouvement à l'absence, des sons stridents à la confusion entre le vent et les bombardements, les voix anonymes portent vers l'immensité d'un événement indescriptible.

Diplômée avec les félicitations du jury des Beaux-Arts de Paris en 2022, Juliette Corne est une artiste vidéaste. En 2018, en collaboration avec Laure Despres-Khatib, étudiante de l’EHESS, elle entame un travail documentaire autour de l’exil. Elles co-réalisent Oria, un film de 74 minutes tourné en 2021 dans le camp de Moria, sur l’île de Lesbos en Grèce. Plusieurs installations vidéos naissent de ces images. Pendant trois ans, elle suit les ateliers d'Angelica Mesiti et de Clément Cogitore. Elle fait ses débuts en tant qu'assistante de mise en scène sur le film Goutte d’or de ce dernier, puis poursuit avec le film Le Lycéen de Christophe Honoré. Parallèlement, elle s'investit au sein de l'association Atelier Ati, qui organise des résidences artistiques à Lomé au Togo. Elle demeure attentive aux politiques migratoires et reste engagée aux côtés des exilés en France. Peu après les premiers bombardements massif russes en Ukraine, elle se rend à la frontière polonaise, puis à l'intérieur du pays en tant que volontaire. Elle collecte des sons et des images qui donneront naissance au triptyque vidéo intitulé En Cours. Un projet documentaire autour de l’Ukraine est actuellement en développement avec Les Films de l’Après-Midi. Ce projet a obtenu la bourse Brouillon d'un rêve et participe aux Rencontres d’Août de Lussas 2023.

In the three channel video installation 'I’ve Always Demanded More From The Sunset' a mysterious female artificial intelligence warns us about humans being naturally drawn to killing. While navigating different sequences of breathing exercises to overcome fear and what seems to be an array of non human entities in a state of uncanniness and disbelief, different associations and questions beginn to appear: What stories lie in the forest? What arises in the ruins of man made devastation? An orchestrated symphony of mushrooms emerges from the ground like a poetic anticipation of post-human life.

Eli Cortiñas is a video artist of Cuban descent, born in Las Palmas de Gran Canaria. She was a guest professor at the Art Academy Kassel and the Art Academy Mainz and shared a professorship for Spatial Concepts with Candice Breitz at the University of Art Braunschweig from 2019 till 2022 Cortiñas has recently been appointed professor for Media Art at the Academy of Fine Arts Leipzig. She has received numerous grants and residencies, including Fundación Botín, Kunstfonds, Villa Massimo, Berlin Senate, Villa Sträuli, Goethe Institute, Kölnischer Kunstverein, Rupert and Karl Schmidt Rottluff among others. Cortiñas’ work has been presented in solo and group exhibitions at institutions such as Museum Ludwig, Kunsthalle Budapest, CAC Vilnius, SCHIRN Kunsthalle, SAVVY Contemporary, Kunstverein Braunschweig, Museum Marta Herford, Kunstraum Innsbruck, Centro Atlántico de Arte Moderno, Centre Georges Pompidou, Museum of Modern Art Moscow, Kunstmuseum Bonn and MUSAC et al., as well as in international Biennials and festivals such as Ural Industrial Biennial, Riga Biennale, Moscow International Biennale for Young Art, Mardin Biennale, International Short Film Festival Oberhausen, International Curtas Vila Do Conde and Nashville Film Festival et al. She lives and works in Berlin.

LIFE « Journal de bord post-catastrophe. Tout commence dans un garage. On avait imaginé qu’il n’y avait pas de voitures ici, seulement des planches de surf et du matériel de jardinage. À cause de l’explosion, on n’entendait plus rien. Juste une sorte d’acouphène permanent. Il fallait réapprendre à écouter. » Life est un récit qui se déroule après un effondrement mystérieux où tout est à réinventer. Ici, il n’y a plus besoin de travailler, on se partage des couvertures pour se réchauffer et un parking est transformé en terrain de jeu d’où la vie peut reprendre. Dans ce monde étrange, on cherche la vague métaphysique sous terre, et l’on écoute Marc Bolan toute la journée… UN FILM DE Noé Cottencin AVEC Milla Sikora, Xavier Warming, Simone Avalon, Morris Draijer, Noé Cottencin, Clément Gingreau, Katerina Lymar CAMÉRA Sam Broekman, Noé Cottencin MONTAGE Noé Cottencin Produit dans le cadre de SoundImageCulture 2023, avec le soutien de la Sabam for Culture, Stichting Stokroos et NL Film Fonds.

Noé Cottencin (FR, 1994) a étudié l’image en mouvement à l’Académie Gerrit Gerrit Rietveld et au Sandberg Institute. Son travail, à travers des récits qui prennent différentes formes (dessins, films, interventions, publications), s’intéresse principalement à la mise en commun des individualités. Il vit et travaille actuellement à Amsterdam. Il fait actuellement partie du programme SoundImageCulture 2023, permettant à de jeunes réalisateurs d’êtres suivi dans le développement d’un projet personnel. Il est suivi dans le cadre de son projet par Andrea Luka Zimmerman (Jarman Award) et Amir Borenstein (Moving Image Art Prize).

OH FAT BABY est un film-essai musical qui frappe des mains le rythme des inventions bouffonnes de notre époque et épingle le patriotisme civilisationnel et ses gros bébés cannibales. Au fil d’images empruntées, le film dresse le portrait d’une culture technologique dysfonctionnelle dont les caprices sont des farces mortelles.

Cindy Coutant est artiste et chercheuse. Son travail sonde le désir du vivant de se relier aux êtres et aux choses et la coévolution entre espèces ou techno-espèces. Ses installations, films et lectures augmentées s’appliquent à démembrer les récits technologiques occidentaux et à leur adjoindre un imaginaire manquant dans laquelle la technologie se révèle non-instrumentale, baveuse, érotique et indéterminée. Sa thèse de création établit une généalogie de la critique minoritaire de la technologie pour actualiser notre rapport au futur. Elle envisage l’inquiétude des corps et l’indétermination des affects comme des enjeux souterrains cruciaux pour l’industrie capitaliste, mais aussi comme fondement d’un autre récit technologique. Ses œuvres ont été exposées en Europe, en Amérique du Nord et en Asie, notamment: Ars Electronica, Linz; Mamco, Geneva; Queer Sicilia film festival, Palermo; Palais de Tokyo, Paris; SPOT, Taipei; Berlin Porn Film Festival; CPH:DOX, Copenhagen; The Living Art Museum, Reykjavik; La Maison de la Littérature, Québec; ont reçu le Prix CIC pour l’art Contemporain (2018), l’Award of Distinction (computer animation) à Ars Electronica (2019), une mention spéciale Révélation art numérique - ADAGP (2020). /////////// Théo Po?oga est un musicien électronique et un artiste sonore qui explore les notions d'affect, de temps et d’espace en mélangeant autant une matière sonore dite populaire que des méthodes de composition et de diffusion experimentales. Ses œuvres audiovisuelles ont été exposées à Berlin à Gr_und, à l'Institut Français, à la Haus Der Statistik ainsi qu’au sein du Center For Unfinished Business installé entre autres a l’exposition Transmediale 2020. Il a pu collaboré avec Cindy Coutant pour la création musicale et le design sonore de son film « Télédésir » en 2020 ainsi que pour des performances dites de "lectures augmentées » au Printemps de Septembre à Toulouse en 2018 et à la Gaieté Lyrique à Paris en 2022. Théo Po?oga est actuellement à l'Institute for Art in Context dans le cadre de l’UDK Berlin. Il est également co-fondateur du collectif W.E.L.T.

New Centuries Are Rare is a short film by the artist collective coyote (SWE/DK). The film explores the interlaced history of the former mining village Norberg in Sweden and the emblematic story of the electronic music scene at the turn of the last century. Sampling these intersections in time, New Centuries are Rare unfolds a journey through psychological, chemical and technological rhythms placed in close proximity to the grinding resistance present in the region’s past.

coyote is a multidisciplinary artist collective founded in 2017. Their collective practice is constantly in flux and moves between artistic and curatorial work. In addition to several self-produced exhibitions and projects, coyote have exhibited at Bizarro (DK), KØS - Museum of Art in Public Spaces (DK), Index - The Swedish Contemporary Art Foundation (SE), NSFW/SVILOVA (SE) and curated events at Filmform (SE), Moderna Museét (SE) and Bonamatic (DK) among others.

Un crâne, deux personnes, une question A qui appartient ce crâne ?

In March 2020, Sophia and Steve Alcorn found themselves stranded in a one-bedroom apartment in Elmhurst, Queens. The married couple had just left Kentucky and moved to New York after Steve Alcorn started his residency in Elmhurst hospital. Sophia Alcorn feels alienated in the neighborhood, famous for its diversity, and finds comfort in the arms of a local young man. Meanwhile, Steve finds himself working extra hours volunteering with the rest of the hospital team, facing an epidemic they didn't know before. Elmhurst hospital found itself at the center of the storm, with a disproportionate number of critically ill people and deaths, and young Dr. Alcorn is overwhelmed by the swift changes in his private life and the morbid atmosphere at work. Affected by the situation, Sophia Alcorn decides to volunteer at a crisis line, where she surprisingly befriends a young woman called Annie. The young couple drifts apart. ?

Keren Cytter creates films, performances, drawings and photographs on topics of social alienation, language representation, and the function of individuals in predetermines cultural systems through experimental modes of storytelling and human perception. Selected solo exhibitions include: Ludwig Forum Aachen (2022) Kunstmuseum Winterthur (2020), Center for Contemporary Art, Tel Aviv and Museion Bolzano (both in 2019) Künstlerhaus - Halle für Kunst & Medien, Graz (2016) Museum of Contemporary Art Chicago (2015) and the Kunsthal Charlottenborg, Copenhagen State of Concept, Athens (both in 2014,) Tate Modern Oil Tanks, London (2012,) Kunsthalle Bielefeld (2023, forthcoming,) Cytter was awarded the Guggenheim Fellowship in 2021.

Good Life lets you in behind the curtain of a co-living start-up inspiring its tenants to run their entire life as a business operation. What happens when corporate storytelling becomes part of one’s innermost self and community becomes a commodity?

Viktorija Šiaulyt? (1985, Kaunas, Lithuania) is a curator and filmmaker based in Berlin. She holds an MFA in Critical Writing and Curatorial Practice at Konstfack, University of Arts, Crafts and Design in Stockholm, Sweden. Marta Dauli?t? (1984, Šiauliai, Lithuania) is film director and producer based in Stockholm. She holds an MFA in film directing at Valand Academy of Art, Sweden. Along with partner Elisabeth Marjanovi? Cronvall, she runs the film production company MDEMC.

Starring a cast of 100 people, Olho da Rua (Out Loud) is divided into eight acts and presents performance propositions in front of the camera as exercises of the gaze. Simple actions are presented, such as looking and admiring oneself in front of a mirror, improvising an assembly and saying messages to the camera, representing a collective party making the public square a great stage, or facing the camera lens that it's the eye of the beholder, whether on the streets or on the movie screen when it's ready. Made in two days at Praça do Hipódromo, in Recife, the film is made up of a cast of homeless people, linked to public shelters and non-governmental initiatives to support the vulnerable population.

Jonathas de Andrade was born in Maceió, Brazil, in 1982, and studied communications at the Universidade Federal de Pernambuco, Recife. He works with installation, photography, and video to explore constructs of love and the process of urbanization, with particular emphasis on Brazil’s vibrant but often ignored northeast region. De Andrade’s series Love and Happiness in Marriage (Amor e Felicidade no Casamento, 2007) juxtaposes photographic portraits of a young couple with pages from a 1960s psychiatric textbook on love and marriage. What appear to be vintage shots are actually new images of contemporary actors, their treatment and combination framing the popular ideals of romance and family as bourgeois fictions. In 2 in 1 (2 em 1, 2010), diagrams and photographs of carpenters illustrate the process of converting two single beds into a double and also seem to offer functional instruction on how to “make” a couple. Tropical Hangover (Ressaca Tropical, 2009) also employs found material, in this case a salvaged diary that forms the basis for an installation in which a book’s pages are illustrated with original, vintage, and found photographs, offering a reflection on memory, modernity, and urban space. Since 2007, many of de Andrade’s ideas have been developed in collaboration with A Casa como Convém (The House as It Should Be), an artists’ collective that he founded with Cristiano Lenhardt and others in Recife. The group, which focuses on issues around tropical modern architecture, offers a valuable counterpoint to the dominant cultural axis of São Paulo and Rio de Janeiro. One example of the influence of collectivity and local community on de Andrade’s work is The Uprising (O Levante, 2012), for which the artist organized a horse-drawn cart race in the center of Recife. Also inspired by the town is De Andrade’s mural Nostalgia, a Class Sentiment (Nostalgia, Sentimiento de Classe, 2012). This work, constructed from 340 primary-colored geometric fiberglass tiles displayed in a segmented composition, reproduces a tiled panel in a Recife tropical modern house, and is shown opposite a vinyl text that quotes manifestos about modern life composed by two Brazilian architects of the 1960s and ’70s. Some of the tiles interrupt these texts, the suggestion of loss offering pointed comment on the failure of Brazil’s modernist project. De Andrade has had solo exhibitions at Instituto Cultural Itaú, São Paulo (2008); Instituto Cultural Banco Real, Recife (2009); Centro Cultural São Paulo (2010); Kunsthalle Lissabon, Lisbon (2013); and Musée d’art Contemporain de Montréal (2013). He participated in the group exhibitions When Attitudes Became Form Become Attitudes, CCA Wattis Institute for Contemporary Art, San Francisco; and Salvajes: Digesting Europe Piece by Piece, Traneudstillingen Exhibition Space, Copenhagen (both 2012); and EXPO 1: Rio, Museu de Arte Moderna de Rio de Janeiro; Love and Hate to Lygia Clark, Zach?ta National Gallery, Warsaw; HIWAR, Conversations in Amman, Darat al Funun, Amman, Jordan; My Third Land, Frankendael Foundation, Amsterdam; Imagine Brazil, Astrup Fearnley Museet, Oslo; La Bienal 2013: Here is where we jump, El Museo del Barrio, New York; and Moving: Norman Foster on Art, Carré d’Art, Musée d’Art Contemporain, Nîmes (all 2013). He participated in the Mercosul Biennial, Porto Alegre, Brazil (2009); São Paulo Biennial (2010); Sharjah Biennial, United Arab Emirates (2011); Istanbul Biennial (2011); New Museum Triennial: The Ungovernables, New York (2012); and Lyon Biennial (2013). De Andrade lives and works in Recife.

A passing meteorite connects a roaming young woman, a burned-out factory worker and an unemployed young man during a long winter night. A portrait of the night and the people in it.

Yentl De Baets is a Ghent based director and cinematographer. He graduated at the film department of the KASK School of Arts in 2021 with his short experimental fiction film 'Burning Clouds'.

In a reconstruction of his father's death, the director combines techniques of animation, live action and photogrammetry. This intensely personal film deals with the universal topic of grief in a way that shows the power of contemporary artist animation and pushes the medium to its limits.

Brecht De Cock (1999) is an experimental multimedia artist, animator and filmmaker whose work combines computer graphics with original and archival footage. De Cock received his master's degree in audiovisual arts at LUCA School of Arts, Sint-Lukas Brussels, where he specialized in animation. He is currently studying for a master's degree in Cultural Studies at the Catholic University of Leuven (KUL).

Currently_off_sight investigates visibility on sex webcam platforms through the testimonies of webcam performers. Despite the asymmetry of power between them and the sexcam platform, currently_off_sight resists a binary understanding of what is and what is not visible in that context. In this way, the project questions the purpose of rendering things (hyper)visible at the expense of others while exploring the many shades of online perception. Foregrounding webcammers’ voices, currently_off_sight examines how visibility manifests on the platform, and the various degrees of agency the different actors have there. Both in its web and video versions, the project is divided into chapters concerning the different topics addressed by the webcammers. Quoting the aesthetics used in the camming environment, these elements are placed on a simulated desktop that works as a stage and place of observation, while it also acknowledges the presence of a user in this entanglement.

Lotte Louise de Jong is a media artist from the Netherlands with a background in filmmaking. Her work is research-based and ranges from physical, digital and online installations to more traditional forms of narrative. Her practice addresses how we, as a society, view and shape our identity through mediated spaces like the digital world. The internet as a space for exploring intimacy has been the main focus of her past projects. She obtained a master’s degree in Fine Art and Design at the Piet Zwart Institute in Rotterdam in 2019. In 2020 she received an emerging artist grant from the Mondriaan Fonds. Antonia Hernández is a writer, designer, and media artist whose work explores infrastructural relations of intimacy, combining theoretical investigation with arts-based practices to understand the fleshy, living, and domestic aspects of media. She has presented her work and research-creation methodologies widely at conferences, exhibitions, and in artist talks, and is preparing a book on the role of fictional currencies in sexcam platforms.

Some accounts bend the soul. Such changes, such losses, fold us. We curl up around the hollow. Then, to raise is to unfold. That which requires forms of return, to dwell and reflect. Then, memories prove themselves useful: stacked up, a column of support; moved around they play novel roles and entertain. At the peripheries of such accounts, in the process of change, external beings turn towards us, the world becomes loaded with entrails, the other moves us, while in face of everything we pour ourselves. Divides where never so present and simultaneously misty. The backbone of loss is a trajectory. It is myth as verb and essay intertwined. It is the flexible virtuality of structures; diverse forms talk like sisters. Like Chiropractice, this film is an adjustment, proper and of cinema’s patterns towards the unpredictable, the playful or loving.

Artist and filmmaker based in Mexico City.?At first glance, her work carries aesthetic and pleasure claims, right up to a tenuous range of sensations. However, its presentation is performative - soaked with temporality; and its purpose, conceptual or perhaps spiritual. The work revolves around a quest to locate and isolate concepts built around tangible elements, to then create abstractions that regenerate their image and position their force within a new context. Virtual spaces rise and with them propositions for change: towards kindness, backwardness, slowing down, Ecology... Her practice ponders on presence; greatly inspired by the simplicity of certain formations, the economic and exponential nature of proposals, the power of hosting bodies and the playful air of philosophical reverberations. Laborde just finalized her first feature: The Backbone of Loss; as well as, attended Atelier 105 - Post production residency with her experimental documentary of Havana, Fiñe. As a result she is now distributed and archived by Light Cone. Her solo show, El duelo de una espina dorsal, curated by José Esparza Chong Cuy, Director and Chief Curator at Storefront for Art and Architecture took place at Luis Barragán’s J17 as a PEANA Off-site exhibition, February 2022. In 2021 Laborde aside having a retrospective with DocumentaMadrid, had a year long residency at The Museo Rufino Tamayo CDMX with her project -ito/-ita, a production residency at LIFT CA, and a three year, hybrid residency with Internationale Kurzfilmtage Oberhausen - Conditional Cinema for the production of her film Ficciones, recently presented at the New York Film Festival and BFI among others. Her thesis, AS WITHOUT SO WITHIN, is part of the catalogue: Ism, Ism, Ism / Ismo, Ismo, Ismo: Experimental Cinema in Latin America and was widely screened among these: Toronto International Film Festival, International Film Festival Rotterdam (Competition Tigger Shorts), New Directos/New Films at MoMa, FSLC and 20th Contemporary Art Festival Sesc_Videobrasil… and awarded GRAND PRIX at 25fps Zagreb and JURY AWARD at 24th CUFF. Collaboration Notas y notas y notas… with Jenny Berger Myhre was commissioned and presented at Borealis Festival for Experimental Music in 2019. Manuela de Laborde holds an Intermedia Art BA hons from Edinburgh College of Art and an MFA in Film and Video from The California Institute of the Arts.

Février 2015, l’opposant au Kremlin, Boris Nemtsov est assassiné. Images de contestation et textes de Pablo Neruda sont un cri contre la haine. Aujourd'hui, ces fragments prennent une résonance encore plus douloureuse. Contre la guerre, continuons à crier !

Eléonore de Montesquiou est née à Paris, elle vit à Berlin et Tallinn. Son travail gravite autour de l'articulation entre histoires privées et officielles, identités personnelles et nationales. Il aborde les complexités et les ambiguïtés de la vie en marge, en se basant sur son expérience personnelle de l'enracinement. Eléonore travaille principalement la vidéo, elle enregistre des témoignages, crée des mémoires prothétiques d'histoires refoulées. Dans ses œuvres documentaires, sa caméra transmet la parole de ces personnes sans voix. Son travail est basé sur une approche documentaire, traduite en films, dessins et textes. En Estonie, elle donne la parole à la communauté russe ou aux demandeurs d'asile des pays francophones. Les films suivent ses protagonistes sur la durée. „Traverses“, avec les bergers de la Grave, dans les Hautes Alpes, depuis 2011, ou „Nagrane“ avec des femmes vivant à la frontière Estonie-Russie, depuis 2005.

« Tout a tendance à dériver avec le temps et perd de sa précision de façon périodique. Un ajustement assure que la précision reste au niveau requis. » Comme une invocation, une nécessité de calibration du paysage qui perdrait petit à petit sa condition naturelle, le film projette une nature mouvante, en constante modification et réajustement. Les niveaux de vents, hauteurs de neiges, les compositions physiques, géologiques, morphologiques et temporelles s’étalonnent lentement, la montagne s’équilibre. Dans la continuité de « Volva », film tourné en 2016 à l’observatoire astronomique du Pic du Midi, « Calibration » est une expérience physique de la nature, d’un temps vécu, en plein hiver, isolé dans un refuge de haute montagne durant trois semaines, au contact des aléas du vent, de la neige, des lumières et du temps.

Architecte de formation il collabore dans diverses agences avant de se consacrer exclusivement à sa pratique artistique. En 2006 il est lauréat de la bourse de la Fondation EDF pour les jeunes architectes. Il réalise le projet photographique Landscape scale sur les barrages des Pyrénées qui marquera la direction de ses futurs projets. Il centre ses recherches sur les relations qui se tissent entre l’architecture et le paysage, entre l’homme et la nature. Ses recherches tentent de construire la part impalpable de notre relation au naturel. Ses installations se développent entre photographies, vidéos et volumes construits. En 2016 il réalise son premier film, Volva à l’observatoire astronomique du Pic du Midi. Durant 3 semaines passées à 2871m, il capte inlassablement les traces du temps imprimés dans les expériences scientifiques, l’architecture du lieu et le paysage environnant. Nominé dans divers festivals, Volva est lauréat du prix LOOP Discover à Barcelone. Il intègre la collection du MACBA et du FRAC Normandie Caen. Il a été résident de la Casa de Velázquez et de l’Institut français. Ses travaux sont exposés en Europe, aux Etats-Unis et intègrent diverses collections publiques, FRAC, musées et Fondations. Il vit et travaille à Argut-Dessus, dans les Pyrénées.

Silhouettes and songs are hand-scrawled besides lists of birds and other animals. Feathers are carefully placed besides photographs of remote destinations. This was a life of observation documented in little notebooks, but the man who made them is no longer here. Now these fragments serve as a guide in search of a waning fascination for the environment. I revisit these traces and explore what is left behind.

Leon Decock was born in 1999 in Ghent, Belgium. He has a background in documentary filmmaking and holds a MA in audiovisual arts from RITCS, Brussels and as of 2022 studies media art at KASK, Ghent.

La maison qui vous veut du bien La maison qui vous veut du bien est un film-essai sur l'histoire de la sonnette caméra de la société Ring rachetée par Amazon devenant en quelques années l'épicentre des objets connectées dits smart. Elle se voit envahie d'innombrables produits, éclairages, capteurs, caméras, aspirateurs, ours en peluche « intelligents » qui deviennent autant de témoins aux points de vue improbables. Des logiciels associés au réseau de surveillance des quartiers sont programmés pour analyser des comportements, ou encore des réseaux de neurones sont entraînés à reconnaître des visages captent, annotent, data minent, transforment la masse de données, filtrent par la détection biométrique assistée par du deep learning, en fonction de listes de gestes suspects, balancent leurs résultats aux officiers des polices publiques ou autres agences de sécurité... La capture sans autorisation du voisinage, l'espionnage organisé entre voisins et la disponibilité des vidéos privées pour les polices municipales font basculer le grand rêve de la maison automatisée en un cauchemar paranoïaque. Le moindre signe capté – vol d'un papillon, chien perdu, ombre d'un promeneur... – devient suspect, vient hanter les occupants de la petite maison blanche. Il se constitue progressivement un réseau d'espionnage privé en peer to peer. La bunkerisation des maisons entre dans sa phase «deep».

Stéphane Degoutin est artiste et chercheur. Ses thèmes de recherche portent sur l'humanité après l'homme, la ville après l'espace public, l'architecture après le plaisir. Ses projets enquêtent sur des situations d'ambivalence, entre la guerre et la danse, entre le plaisir sexuel et le non-lieu, entre la ville et son potentiel, entre le posthumain et l'obsolescence de l'homme. Il enseigne à l'École des Arts Décoratifs à Paris. Site internet : https://d-w.fr/ Gwenola Wagon est artiste et enseigne à l'université Paris 8 à Saint-Denis. Son travail imagine des alternatives et des récits paradoxaux pour déconstruire le monde numérique contemporain. Elle a réalisé des films et des installations pour des festivals et des expositions en France et à l'étranger. Elle a publié Psychanalyse de l'aéroport international avec Stéphane Degoutin, et le livre Planète B aux éditions 369. Site internet : https://d-w.fr/