Catalogue > List by artist

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.

A worker and an ambient artist, stuck in loops of work, creation and isolation, have two strained social encounters. There is an illuminated patch of grass surrounded by darkness.

Jacob Brinkworth is a Boorloo/Perth-based filmmaker and academic, currently doing his doctoral studies. In 2022, he completed his Bachelor of Arts Honours with his practice-led research project "Night Walks: An Exploration of Time as a Commodity Through Transcendental Cinema". He has since premiered the practical output of the project at the 27th Revelation Perth International Film Festival. It has also screened internationally at the Experimental Fiction Film Festival and further nationally at Sightlines Festival and moviejuice. He is a member of the Australian Director's Guild.

Neo-Dadaistic artist duo that hunts for grotesque aspects of both the institutionalized art world and the very phenomena of art production itself. Their strategy is obvious and almost embarrassing in its literacy and straightforwardness but apparently that is their strongest aspect. Their issues and targets are elemental as well: everyday ethics, not to say moral code booklets, become their source of subject-matter-like vocabulary. The investigation is always and first of all in regards to the psychology of behavior as influenced or provoked by the external aspects of life and politics. Oscillating between use and abuse, advanced manipulation and cold untouchable registration of absurd reality, their work is truly critical and sincere in its desire to uncover the pathologies and hidden normalcies of inter-human relations. Their actions are always well structured and the dramaturgy is almost perfect, precise, and calculated, cold and emotionally disturbing, bold and vicious - thoroughly penetrating. It perhaps only needs to be more carefully balanced: the desired scandal properly used as a tool to emphasize a decay of certain values and their sudden corruption.

Ondrej Brody was born in Prague, Czech Republic in 1980, and currently lives between Antwerp, Berlin, and Prague. In his early childhood he lived in Guayaquil, Ecuador, where he remained until 1999. In 2000 he started his art degree at the Instituto Superior de Arte in Havana, Cuba. In 2001, he transferred to the Academy of Fine Arts in Prague, where he received his degree in 2005. He is a visual artist who works mainly with video and interventions/actions. His recent exhibitions include: Jiri Svestka Gallery, Prague (2006); Kunsthallen Brandts, Odense, (2006)' Sammlung Essl, Klosterneuburg/Vienna, (2005); and Jack the Pelican, New York City, (2006), among others. His prizes include the Essl Award, Sammlung Essl, Vienna, Austria (2205), and the International Prize for Performance, Galeria Civica, Trento, Italia (2006). Kristofer Paetau was born in Borga, Finland in 1972. He spent years studying various disciplines. In 2005/06 he was at the Higher Institute for Fine Arts (HISK), Antwerp, Belgium; in 2000/01 he did a Post-Diplome International ERBAN, Nantes, France; in 1999/2000 he received a Meisterschüler Diploma, having studied in the class of John M. Armleder at the Hochschule für Bildende Künste (HBK), Braunschweig, Germany; in 1999 he earned a MA in Art studies at the Ecole Nationale Supérieure d'Arts, Cergy, France; in 1993/94 he studied Art history at the Ecole du Louvre, Paris, France; and in 1991/92 he studied aesthetics and French at the University of Helsinki, Finland. His artistic experience includes various types of projects and work, such as: in 2004 - curated project "St. Stephanus Church", with Torsten Prothmann, Berlin, Re-Institutionalize #03, and solo show: "Antigraffitihiphop" installation and dance performance, at Paul Ekaitz 5050 Gallery, Berlin; in 2005 - group show "BoundLess", participation in the work of Jan Christensen, Stenersenmuseet, Oslo, Norway (catalogue), and performance: "Belgian Air Guitar Champion", In/Out Space, Open Studios, Higher Institute for Fine Arts, Antwerp, Belgium, and in 2006 - project "Super-Flux" e-mail service, together with Ondrej Brody. A short-time concurrence to e-Flux, and "Picturepeople", an e-mail-project (work in process), together with Rüdiger Heinze the writer.

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.

Every day, news reports and other TV images pass by in an endless stream that numbs the viewer, who, as if hypnotized, does nothing more than watch and watch: constantly zapping to the next image or channel, in a steady flow; there is no more standing still. Attention is fragmentary; identification and reflection are impossible, there is always something happening, and old and new images crop up time and again in different places: behind a mountain a town is burning; a soldier is aiming his gun; a girl is screaming; and a (destroyed) beach lies next to the building where a UN top meeting is taking place.

Margit Lukács was born in Amsterdam, Holland, in 1973, and Persijn Broersen was born in Delft, Holland, in 1974. They currently live and work in Amsterdam. They both studied Graphic Design at the Gerrit Rietveld Academy in Amsterdam from 1994-1998, and completed Masters Degrees in Design and Fine Arts at the Sandberg Institute in Amsterdam from 1998-2001. Their work has been exhibited throughout the Netherlands and in various other countries including China, India, and Japan, and they participated in the International Artists Studio Program in Stockholm, Sweden, in 2005. Broersen and Lukács create videos that employ footage in a number of ways, including scenes they have filmed themselves, images appropriated from television news reports, and digitally animated segments to create flowing, smoothly edited montages. Some of their pieces are highly narrative and seem almost autobiographical, while others specifically resist presenting a coherent narrative in order to critique how the media makes it impossible for viewers to critically reflect on the images they present. Utopic and dystopic fantasy landscapes operate in a number of ways in Broersen and Lukács's work, showing how various narratives presented by the mass media and general culture come to constitute whole worlds for the people who absorb them.

Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.

Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024

East of the Sun, West of the Moon is the title of a Nordic fairytale about a heroine who leads a cursed prince, turned into a white bear, to a place that lies East of the Sun, West of the Moon. This lovestory, in which the fate of humans and animals are intrinsically linked, is later on used in the song with the same name, most famously interpreted by Frank Sinatra (1940). During a residency in Sweden (at Hybrida), a centuries old iron industry wasteland that turned into endless forests where the wild wolves roam, Broersen and Lukács conceived n a collaboration with Smári Róbertsson a new version of East of the Sun, West of the Moon. They transformed Sinatra’s beguiling song into a sometimes desperate, growling plea for love, embodied by a white wolf. Spinning in circles, the hybrid wolfman(creature) is torn between the natural and the virtual, the animal and the man inside him.

Margit Lukács and Persijn Broersen work and live in Amsterdam (NL). They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie voor Beeldende Kunsten in Amsterdam. Their work, consisting of layered projections, digital animations and spatial installations, has been exhibited by institutions and organisations worldwide, among others at Remix Nature/Cultural City of Europe ESCH (LX), HEK, Basel (CH), WRO Media Biennale, Wroclaw (PL), the Biennale of Sydney (AU), Le Lieu Unique, Nantes (FR), LUMA Arles (FR), Wuzhen Biennial Now Is The Time(CN), U2/UCCA Beijing (CN), Stedelijk Museum Amsterdam (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Kröller Müller (NL) and ERES Foundation Munchen (DE). Their films have been shown at a.o. ARTE TV,  Oberhausen Film Fest (DE), LAForum (US), Kassel Dokumentar und Filmfestival (DE), Videomedeja, NoviSad (RS), Oberhausen Film Fest (DE), LAForum (US), Rencontres Internationales Paris Berlin@Louvre Paris and Haus der Kulturen der Welt Berlin, the NewYork Film Festival (US), and the domestic festivals IDFA and IFFR.

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

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 by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

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.

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs 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 nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.

Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024

East of the Sun, West of the Moon is the title of a Nordic fairytale about a heroine who leads a cursed prince, turned into a white bear, to a place that lies East of the Sun, West of the Moon. This lovestory, in which the fate of humans and animals are intrinsically linked, is later on used in the song with the same name, most famously interpreted by Frank Sinatra (1940). During a residency in Sweden (at Hybrida), a centuries old iron industry wasteland that turned into endless forests where the wild wolves roam, Broersen and Lukács conceived n a collaboration with Smári Róbertsson a new version of East of the Sun, West of the Moon. They transformed Sinatra’s beguiling song into a sometimes desperate, growling plea for love, embodied by a white wolf. Spinning in circles, the hybrid wolfman(creature) is torn between the natural and the virtual, the animal and the man inside him.

Margit Lukács and Persijn Broersen work and live in Amsterdam (NL). They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie voor Beeldende Kunsten in Amsterdam. Their work, consisting of layered projections, digital animations and spatial installations, has been exhibited by institutions and organisations worldwide, among others at Remix Nature/Cultural City of Europe ESCH (LX), HEK, Basel (CH), WRO Media Biennale, Wroclaw (PL), the Biennale of Sydney (AU), Le Lieu Unique, Nantes (FR), LUMA Arles (FR), Wuzhen Biennial Now Is The Time(CN), U2/UCCA Beijing (CN), Stedelijk Museum Amsterdam (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Kröller Müller (NL) and ERES Foundation Munchen (DE). Their films have been shown at a.o. ARTE TV,  Oberhausen Film Fest (DE), LAForum (US), Kassel Dokumentar und Filmfestival (DE), Videomedeja, NoviSad (RS), Oberhausen Film Fest (DE), LAForum (US), Rencontres Internationales Paris Berlin@Louvre Paris and Haus der Kulturen der Welt Berlin, the NewYork Film Festival (US), and the domestic festivals IDFA and IFFR.

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

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 by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

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.

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs 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 nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.

Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024

East of the Sun, West of the Moon is the title of a Nordic fairytale about a heroine who leads a cursed prince, turned into a white bear, to a place that lies East of the Sun, West of the Moon. This lovestory, in which the fate of humans and animals are intrinsically linked, is later on used in the song with the same name, most famously interpreted by Frank Sinatra (1940). During a residency in Sweden (at Hybrida), a centuries old iron industry wasteland that turned into endless forests where the wild wolves roam, Broersen and Lukács conceived n a collaboration with Smári Róbertsson a new version of East of the Sun, West of the Moon. They transformed Sinatra’s beguiling song into a sometimes desperate, growling plea for love, embodied by a white wolf. Spinning in circles, the hybrid wolfman(creature) is torn between the natural and the virtual, the animal and the man inside him.

Margit Lukács and Persijn Broersen work and live in Amsterdam (NL). They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie voor Beeldende Kunsten in Amsterdam. Their work, consisting of layered projections, digital animations and spatial installations, has been exhibited by institutions and organisations worldwide, among others at Remix Nature/Cultural City of Europe ESCH (LX), HEK, Basel (CH), WRO Media Biennale, Wroclaw (PL), the Biennale of Sydney (AU), Le Lieu Unique, Nantes (FR), LUMA Arles (FR), Wuzhen Biennial Now Is The Time(CN), U2/UCCA Beijing (CN), Stedelijk Museum Amsterdam (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Kröller Müller (NL) and ERES Foundation Munchen (DE). Their films have been shown at a.o. ARTE TV,  Oberhausen Film Fest (DE), LAForum (US), Kassel Dokumentar und Filmfestival (DE), Videomedeja, NoviSad (RS), Oberhausen Film Fest (DE), LAForum (US), Rencontres Internationales Paris Berlin@Louvre Paris and Haus der Kulturen der Welt Berlin, the NewYork Film Festival (US), and the domestic festivals IDFA and IFFR.

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

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 by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

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.

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs 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 nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.

Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024

East of the Sun, West of the Moon is the title of a Nordic fairytale about a heroine who leads a cursed prince, turned into a white bear, to a place that lies East of the Sun, West of the Moon. This lovestory, in which the fate of humans and animals are intrinsically linked, is later on used in the song with the same name, most famously interpreted by Frank Sinatra (1940). During a residency in Sweden (at Hybrida), a centuries old iron industry wasteland that turned into endless forests where the wild wolves roam, Broersen and Lukács conceived n a collaboration with Smári Róbertsson a new version of East of the Sun, West of the Moon. They transformed Sinatra’s beguiling song into a sometimes desperate, growling plea for love, embodied by a white wolf. Spinning in circles, the hybrid wolfman(creature) is torn between the natural and the virtual, the animal and the man inside him.

Margit Lukács and Persijn Broersen work and live in Amsterdam (NL). They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie voor Beeldende Kunsten in Amsterdam. Their work, consisting of layered projections, digital animations and spatial installations, has been exhibited by institutions and organisations worldwide, among others at Remix Nature/Cultural City of Europe ESCH (LX), HEK, Basel (CH), WRO Media Biennale, Wroclaw (PL), the Biennale of Sydney (AU), Le Lieu Unique, Nantes (FR), LUMA Arles (FR), Wuzhen Biennial Now Is The Time(CN), U2/UCCA Beijing (CN), Stedelijk Museum Amsterdam (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Kröller Müller (NL) and ERES Foundation Munchen (DE). Their films have been shown at a.o. ARTE TV,  Oberhausen Film Fest (DE), LAForum (US), Kassel Dokumentar und Filmfestival (DE), Videomedeja, NoviSad (RS), Oberhausen Film Fest (DE), LAForum (US), Rencontres Internationales Paris Berlin@Louvre Paris and Haus der Kulturen der Welt Berlin, the NewYork Film Festival (US), and the domestic festivals IDFA and IFFR.

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

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 by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

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.

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs 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 nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.

Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024

East of the Sun, West of the Moon is the title of a Nordic fairytale about a heroine who leads a cursed prince, turned into a white bear, to a place that lies East of the Sun, West of the Moon. This lovestory, in which the fate of humans and animals are intrinsically linked, is later on used in the song with the same name, most famously interpreted by Frank Sinatra (1940). During a residency in Sweden (at Hybrida), a centuries old iron industry wasteland that turned into endless forests where the wild wolves roam, Broersen and Lukács conceived n a collaboration with Smári Róbertsson a new version of East of the Sun, West of the Moon. They transformed Sinatra’s beguiling song into a sometimes desperate, growling plea for love, embodied by a white wolf. Spinning in circles, the hybrid wolfman(creature) is torn between the natural and the virtual, the animal and the man inside him.

Margit Lukács and Persijn Broersen work and live in Amsterdam (NL). They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie voor Beeldende Kunsten in Amsterdam. Their work, consisting of layered projections, digital animations and spatial installations, has been exhibited by institutions and organisations worldwide, among others at Remix Nature/Cultural City of Europe ESCH (LX), HEK, Basel (CH), WRO Media Biennale, Wroclaw (PL), the Biennale of Sydney (AU), Le Lieu Unique, Nantes (FR), LUMA Arles (FR), Wuzhen Biennial Now Is The Time(CN), U2/UCCA Beijing (CN), Stedelijk Museum Amsterdam (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Kröller Müller (NL) and ERES Foundation Munchen (DE). Their films have been shown at a.o. ARTE TV,  Oberhausen Film Fest (DE), LAForum (US), Kassel Dokumentar und Filmfestival (DE), Videomedeja, NoviSad (RS), Oberhausen Film Fest (DE), LAForum (US), Rencontres Internationales Paris Berlin@Louvre Paris and Haus der Kulturen der Welt Berlin, the NewYork Film Festival (US), and the domestic festivals IDFA and IFFR.

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

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 by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

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.

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs 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 nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

David Brognon & Stéphanie Rollin ont représenté l’abandon de l'activité et l’interruption brutale du temps qui en découle, par des images de l’usine désertée, d’horloges figées, et des enfants des travailleurs cherchant un nouveau lieu de transmission.

Lancé dans une course poursuite avec le soleil initiée en 2012 dans « The Most Beautiful Attempt » Anton, 25 ans maintenant, pousse toujours inlassablement des cristaux de sel pour les tenir dans la lumière.

David Brognon, né en 1978 à Messancy (B), et Stéphanie Rollin, née en 1980 à Luxembourg (L), vivent et travaillent à Paris et Luxembourg. Les deux artistes démarrent leur collaboration en 2006, après leur rencontre au MUDAM de Luxembourg. Ensemble, ils développent un travail singulier (installations, sculptures-objets, vidéos, performances, photos), dont l’humain est le matériau principal et la rencontre le moteur. A partir de situations réelles et le plus souvent complexes, ils donnent corps à l’expérience du temps, de la durée ou de l’attente, en prise directe avec la matérialité d’un territoire et de ses limites – en particulier dans le contexte de situations d’enfermement. Attentifs à la marge plutôt qu’au centre, les artistes s’intéressent aux interstices flous où la société cantonne celles et ceux qu’elle marginalise ou invisibilise. « Notre univers, c’est la périphérie, c’est cet espace-temps qu’on ne veut pas voir ».

Standing in front of a window, a young boy methodically repeats the same action: watching his shadow drawn by the sun, placing a glass marble on the dividing line between light and shade, on the outline of the shape of his body. A number of marbles in a line suggest the repetition of this solitary ritual, month after month, year after year. This simple action represents the literal and painstaking measurement of the passing of time, the embodiment of an ancient gnomon. Cosmic time versus living time. Between a child?s game and first seriousness born of an awareness of the passing of time, this repeated action retains its poetry and its mystery. Is the child trying to check the relentless passage of time by placing this trivial object on the outline of his silhouette? Does he, like Tom Thumb, wish to mark each stage of his journey through life, so that he can remember it better or create his own future narrative? The film depicts a journey of discovery, a sort of simple yet sublime parable of our own temporality and the vanity of our actions. Hélène Guenin, Director, Mamac, Nice

Lancé dans une course poursuite avec le soleil initiée en 2012 dans « The Most Beautiful Attempt » Anton, 25 ans maintenant, pousse toujours inlassablement des cristaux de sel pour les tenir dans la lumière.

David Brognon, né en 1978 à Messancy (B), et Stéphanie Rollin, née en 1980 à Luxembourg (L), vivent et travaillent à Paris et Luxembourg. Les deux artistes démarrent leur collaboration en 2006, après leur rencontre au MUDAM de Luxembourg. Ensemble, ils développent un travail singulier (installations, sculptures-objets, vidéos, performances, photos), dont l’humain est le matériau principal et la rencontre le moteur. A partir de situations réelles et le plus souvent complexes, ils donnent corps à l’expérience du temps, de la durée ou de l’attente, en prise directe avec la matérialité d’un territoire et de ses limites – en particulier dans le contexte de situations d’enfermement. Attentifs à la marge plutôt qu’au centre, les artistes s’intéressent aux interstices flous où la société cantonne celles et ceux qu’elle marginalise ou invisibilise. « Notre univers, c’est la périphérie, c’est cet espace-temps qu’on ne veut pas voir ».

Standing in front of a window, a young boy methodically repeats the same action: watching his shadow drawn by the sun, placing a glass marble on the dividing line between light and shade, on the outline of the shape of his body. A number of marbles in a line suggest the repetition of this solitary ritual, month after month, year after year. This simple action represents the literal and painstaking measurement of the passing of time, the embodiment of an ancient gnomon. Cosmic time versus living time. Between a child?s game and first seriousness born of an awareness of the passing of time, this repeated action retains its poetry and its mystery. Is the child trying to check the relentless passage of time by placing this trivial object on the outline of his silhouette? Does he, like Tom Thumb, wish to mark each stage of his journey through life, so that he can remember it better or create his own future narrative? The film depicts a journey of discovery, a sort of simple yet sublime parable of our own temporality and the vanity of our actions. Hélène Guenin, Director, Mamac, Nice

Set (2024) Digital video, color, sound, 9.5 minutes A pandemonium of parrots at sundown

Madison Brookshire lives in Los Angeles, where he makes films, paintings, and performances. His work invites viewers to become aware of perceptual processes and the sensuous experience of time. He often works at the edges of disciplines, frequently collaborating with musicians and composers, including LCollective, Laura Steenberge, Mark So, and Tashi Wada. His awards include being named a 2023 Guggenheim Fellow in Fine Arts, an ARC grant from the Center for Cultural Innovation, a Rema Hort Mann Foundation Emerging Artist Grant, and being an Artist in Residence at the Echo Park Film Center and the Hammer Museum.

b0mb is an online generative video, renewed at each viewing and accessible via a dedicated website. With an intense rhythm, it presents a montage of hundreds of images of all kinds from the internet, displayed on a musical soundtrack where one can hear the voice of Gregory Corso reading his poem Bomb (1958). Declaration of love to the most terrible technology and metaphor of human self-destructive nature, the poem has a wide variety of lexical fields giving it an almost universal dimension. Figure of the Beat Generation, Corso seeks to produce here a poetry where the sentences would be without perspective, building his text via a juxtaposition of keywords “against” each other. The artists then performed a work of “writing reduction”, filtering and rewriting the poem in order to translate its content into queries for search engine such as Google Image. Each image visible in b0mb thus comes automatically from the result of one of these queries, selected according to popularity algorithms and displayed synchronously with the stated text, on a predefined editing. If the duration and the sound remain fixed, the images are renewed on each viewing, evolving little by little in the time, over the news. Because of the great diversity of subjects covered in the poem and the heterogeneous nature of the images (amateur photographs, commercials, cliparts, press, definition variations, etc.), the work reveals a kind of snapshot of web culture. By a frantic sequence of indifferently innocuous, beautiful or terrible images, they also account for the violence that can emerge from it.

Born in 1984 and 1982 in France, Émilie Brout & Maxime Marion live and work in Paris. After studying at ENSA Nancy and ESA in Aix-en-Provence, they joined for two years the EnsadLab research laboratory of the Ecole Nationale Supérieure des Arts Décoratifs in Paris, where their collaboration began. Their work was awarded by the François Schneider Foundation Prize (2011), the Arte Laguna Digital Art Prize (2014) and the Sciences Po Public Prize for Contemporary Art (2019), and is part of the FRAC Ile-de-France, Aquitaine and Poitou-Charentes collections. It has been exhibited in France and abroad: MAC VAL, Vitry-sur-Seine; Cité de la Céramique, Sèvres; IAC Villeurbanne; FRAC Haute-Normandie, Rouen; Base sous-marine de Bordeaux; 5th Moscow Biennale for Young Art; Museum of Modern and Contemporary Art, Rijeka; Carroll / Fletcher, London; The Loft / Servais Family Collection, Brussels; Frederic de Goldschmidt Collection, Brussels; OCAT Shenzhen; Daegu Art Museum; Kunstraum LLC, New York; Redline Contemporary Art Center, Denver. They recently benefited from solo exhibitions at La Chaufferie, Strasbourg (2019, 22.48 m² gallery, Paris (2019), Villa du Parc, Annemasse (2018), Pori Art Museum, Pori, Finland (2018) and Steve Turner Gallery, Los Angeles, United States (2017). They will participate in the Kunsthal Gent Development Programme in 2020.

Brown re-works 16mm footage that he shot years ago during a cross-country road trip from Chicago to Las Vegas. The spatial discontinuities of the road trip are rendered as visual continuities across three frames as Brown goes in search of the next town to fall in and out of love with.

Bill Brown is a media artist interested in ways landscape is interpreted, appropriated, and reconfigured according to human desires, memories, and dreams. His research interests include haunted houses, memorial architecture, and outsider archaeology. Brown's films have screened at venues around the world, including the Viennale, the Rotterdam Film Festival, the London Film Festival, the Sundance Film Festival, and Lincoln Center. He lives and works in North Carolina, USA.

This project investigates the gestures of finance capitalism that were once used on the commodities trading floor. Through the production of a speculative instructional video, a commodities trader teaches an actor the gestures that capitalism both invented and made obsolescent.

Ben Thorp Brown is an artist and filmmaker living in New York. He received a B.A. at Williams College, an M.F.A. from the School of the Art Institute of Chicago, and attended the Whitney Museum Independent Study Program. Utilizing video, photography, writing, performance, and installation, his work examines relationships between language, memory, and labor. Brown was the recipient of the John Quincy Adams MFA Fellowship from the School of the Art Institute of Chicago, the Leonhardt Cassullo Video Fellowship at Creative Time, and the Florence J. Chandler travel fellowship from Williams College. His work has been presented in recent exhibitions at SculptureCenter (New York), MoMA PS1 (New York), Vox Populi (Philadelphia), and TEMP (New York).