Catalogue > List by artist

Fragments d'une rencontre avec le musicien américain Loren Connors. Frôler les pulsations du temps, palper la matière, s'attarder sur l'imperceptible fragilité du geste...

Né en 1976 à Saint-Denis, France. Parallèlement à ses recherches sur la texture de l’image, les thèmes développés à travers ses films/photos sont essentiellement liés au Temps, à la mémoire et au fragment.

21 décembre 2015. Les images d’une caméra de surveillance montrent un renard à proximité de la cuve de confinement du réacteur no.2 de la centrale nucléaire de Fukushima..

Né en 1976 à Saint-Denis, France. Parallèlement à ses recherches sur la texture de l’image (qu’elle soit en pellicule, ou numérique) et le son, les thèmes développés à travers ses films sont essentiellement liés au Temps, à la mémoire et au fragment.

Mr. Jocotot, a philosophy and ethics professor, has just collected final exams from his students and, unlike most other days, decides to take a taxi home. As he turns onto Avenida Progreso, a prominent street in Mexico City, he will come up against corruption and his ignorance will teach him a lesson.

Mauricio Guillén was born in México city in 1971. He studied at Parsons School in Paris, The Cooper Union in New York City and The Royal College of Art in London England. He currently lives in Frankfurt Germany where last summer, as part of an exhibition of his work, he presented the film AVENIDA PROGRESO at MMK (Museum für Moderne Kunst Frankfurt am Main).

Alexis Guillier’s film looks at the deadly fire that broke out at the Beirut nightclub "Purgatoire" on the set of the 1969 Lebanese movie "Kolouna Feda'iyoun" ("We are all fedayeen") by Gary Garabedian, a take on Palestinian resistance at the time. Guillier’s project delves into the complexity of the film’s context, the precariousness of Lebanese cinema, and the investigation of the accident. The narrative of the film is built through the stories of the main protagonists: Purgatoire’s owner Sami Ghosn, TV star and Gary Garabedian's good friend Salah Tizani (aka Abu Salim), actor Samir Abu Saeed, the last living actor to have appeared in the film and who was at Purgatoire the night of the accident, actor Samir Chamas, who played in the film and who arrived on the scene just after the accident, Mirvat Kousa, sister of the actress Mona Slim, who was seriously injured in the accident, Hussein Al Sayyed, special effects expert and Christiane Mallouk, sister of the extra Gaby Mallouk who died in the accident. "Purgatoire" is part of the larger project "La réalité éclatée / A many splattered thing, conceived as an investigative history of cinema through set accidents that have caused deaths and severe injuries. The whole project is interested in the tensions between production and representation, material reality and image carried on the screen. In this respect, the exploration of the accident in "Purgatoire" is marked by these questions and inhabited by the revealing power of the accident. The film also testifies to the evolution of Alexis Guillier's image work, which is illustrated here through the increased exploration of visual associations, layered editing and opacity, which are also reflexive tools on the context, the story, and the narrative of the accident, and which nourish a play with certain formal codes of documentary.

Alexis Guillier se consacre à des performances, des films, textes ou installations, qui sont des montages narratifs, nés d’investigations (documentaires et de terrain) dans l’histoire collective et les histoires individuelles. L’entraînant de la falsification à la déformation et la disparition des œuvres, d’un accident de tournage aux vaisseaux fantômes, ou à gravir les contours de la géante Notre-Dame de France, ses formes mêlent des documents très divers, qui coexistent dans l’histoire culturelle mais ne s’y associent que rarement. Ses sujets d’investigation le poussent à observer la circulation des images et des productions culturelles, les échos et les récurrences, la formation des imaginaires, les interactions entre les actions personnelles et les histoires souvent nationales, sous un angle tant esthétique qu’anthropologique. La transmission de ces récits s’interroge elle-même, restant toujours sur une ligne incertaine, entre subjectivité détachée et lyrisme documentaire, et participant de l’indétermination des objets investis. Ses recherches sont faites d’analogies, d’associations d’idées, s’intéressent aussi à la paranoïa comme méthode. Plus récemment, il cherche à mettre en perspective ses projets avec des « affaires », partant du constat que l’accident, la catastrophe et leur violence reviennent avec insistance. Les processus d'enquête et de montage semblent aussi témoigner d’un même rapport au corps, comme s’il s’agissait de recoller ensemble des morceaux découpés dans plusieurs histoires ou sources.

SOAP is a film in seven episodes following the infiltration attempts of a cluster of left-wing people in right-wing social networks. The tactic chosen by the group is the creation of a YouTube channel aimed at teenagers employing the apparently conservative language of religious devotion and self help through prayer. SOAP asks questions such as can a coalition of artists, writers and activists avoid tripping over their own assumptions and privileges to form something persuasive? Is the white left dead? Or rather, have the forms of appeal and address relied upon by the intellectual Lefts ceased to be effective? Is there a way out of the internal bickering and accusations - that continue to hamper political movements? In episode 'six and a half', Camila narrates the previous episodes, reflecting on the project's aims and fractures from the perspective of a post election moment in which the Left was re-elected to the presidency in Brazil.

Tamar Guimarães (b. Belo Horizonte, BR, lives and works in Copenhagen and Berlin) is an artist working with film and installation. Her work has been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the International Exhibition at the 55th Venice Biennial; the LACMA - Los Angeles County Museum of Art (USA); Baltimore Museum of Art (USA); 11th Sharjah Biennial (UAE); the Banff Centre, Alberta (CA); the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); the 7th Gwangju Biennial (SK); the 3rd Guanghzhou Triennial (CN); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR). Her moving image work has been screened at the Les Rencontres Internationales (2014, 2021, 2022); Berlinale Forum Expanded (2019); Blackout, International Film Festival Rotterdam (2019); VIDEONALE, Bonn (2018); Anthology Film Archive, New York (2016); CPH:DOX (2013 and 2007); Images Film Festival and Experimental Media Congress, Toronto, Canada (2010); Architektur-Visionen # 1-6, Metropolis Kino, Hamburg (2015); TRAMWAY art film biennial, Glasgow (2012); Viennale Film Festival, Vienna (2011); and Oberhausen Film Festival (2009). Guimarães’ work is represented in the collections of the Tate Modern (UK); the Solomon Guggenheim Foundation, N.Y. (USA); Museo Nacional Centro de Arte Reina Sofía (ES); Kadist Foundation (SF); Frac Lorraine (FR) among others.

"Soap" est un film en quatre épisodes, dans lequel un groupe de citadins de gauche isolés imagine comment créer une telenovela, un soap, pour infiltrer l'extrême droite conspiratrice, dans le Brésil de Bolsonaro. Une coalition de militants, d'artistes et d'écrivains peut-elle éviter de se prendre les pieds dans ses propres préjugés et privilèges, pour créer quelque chose de convaincant? Peuvent-ils unir leurs forces pour battre un système populiste à son propre jeu? "Soap" est une collaboration entre Tamar Guimarães, Luisa Cavanagh et Rusi Millán Pastori. Il a été filmé à Berlin et São Paulo pendant le premier confinement du Covid19, en 2020.

Tamar Guimarães est née à Belo Horizonte (Brésil) en 1967. Elle vit et travaille à Berlin (Allemagne). Elle est artiste visuelle, travaillant le film et d'autres formes de médias basés sur le temps. Elle collabore souvent avec des acteurs et des non-acteurs dans des films semi-fictionnels qui explorent les dynamiques sociopolitiques résiduelles ou contemporaines, ainsi que des problématiques dans l'art, l'architecture et les institutions qui les présentent. Son travail a été présenté aux 29e, 31e et 33e Biennales de São Paulo (Brésil); à la 56e Biennale de Venise (Italie) [Pavillon belge]; à la 55e Biennale de Venise (Italie); au LACMA – Los Angeles County Museum of Art (USA); au Guggenheim Museum, New York (USA); au SculptureCenter, New York (USA); à la Renaissance Society, Chicago (USA); à la 7e Biennale de Gwangju (Corée du Sud); au Frac - Le Plateau, Paris (France); et au Centre d’art contemporain - Synagogue de Delme (France). Parmi ses expositions individuelles, citons le Museo Nacional Centro de Arte Reina Sofia, Madrid (Espagne), et le Jeu de Paume - Satellite, Paris (France). Luisa Cavanagh est née en 1979 à Buenos Aires (Argentine). Elle est artiste visuelle, coloriste et directrice de la photographie. Elle a étudié la cinématographie à la Escuela Nacional de Realización y Experimentacioón Cinematográfica, Buenos Aires (Argentine). Intéressée par le travail collaboratif, elle a rejoint le "Grupo Mexa", afin de développer le film/performance "Cancionero Terminal 10Mg". Elle est co-fondatrice de Eterno work in progress, un ciné-club géré par des artistes qui explore les possibilités de l’exposition de cinéma, de la musique en direct et des images en mouvement. Rusi Millán Pastori est né en 1976 en Argentine. Il est écrivain, réalisateur et directeur de la photographie. Des scénarios politiques réels constituent le dénominateur commun de son travail, sous la forme de chroniques combinant différents personnages et situations. Il a étudié la réalisation à la Escuela Nacional de Realización y Experimentación Cinematográfica, Buenos Aires (Argentine). Il a réalisé des courts et moyens métrages qui ont été présentés dans divers festivals, notamment au BAFICI – Festival international du cinéma indépendant de Buenos Aires (Argentine) et à la 41e Mostra de São Paulo (Brésil).

Isa, a young artist invited to propose a project for an exhibition, sets out to stage a dramatic adaptation of ‘The Posthumous Memoirs of Bras Cubas’, a satirical 19th-century novel by Machado de Assis. The rehearsal is marred by difficulties which the viewer must interpret as being due to the fact that Isa is a woman, young, black, all of the above, or as difficulties anyone would encounter. The novel delivers a mordant critique of Brazilian society in the guise of a satirical autobiography narrated by a dead protagonist. In 1880 its author foresaw the abolition of slavery that would happen in Brazil eight years later, but predicted that it would be a mere formal measure, informally everything would remain the same. The film was shot at the Ibirapuera pavilion designed by Oscar Niemeyer and its cast is made up of professional and non-professional actors, several of whom worked or currently work for the São Paulo Biennial Foundation. Featuring actors recast from another project Guimarães had worked on eight years earlier, O Ensaio is a film about the passage of time, about short lived revolutionary actions, about institutional memory, racism, and sexism in Brazil.

Tamar Guimarães (b. 1967, Belo Horizonte, BR, lives and works in Copenhagen) is a visual artist working with film and other forms of time based media, exploring situations both residual and contemporary, of art, architecture and the institutions that present them. She often works with actors alongside non-actors in semi-fictional short films. Another, more documentary strand of her work has delved into spectral architecture, ritual effervescence, states of rapture and their intersection with the nation state. Recent solo exhibitions include Museo Nacional Centro de Arte Reina Sofia, Madrid; Jeu de Paume Satellite, Paris; Gasworks, London and the IMA Institute of Modern Art, Brisbane. Guimarães’ works have been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the International Exhibition at the 55th Venice Biennial; at the LACMA - Los Angeles County Museum of Art (USA); Baltimore Museum of Art (USA); the 11th Sharjah Biennial (UAE); the Banff Centre, Alberta (CA); Malmö Museum (SE) and South London Gallery; the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); the 7th Gwangju Biennial (SK); the 3rd Guanghzhou Triennial (CN); the Jumex museum, Mexico (MX); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR).

SOAP, 2020-ongoing, imagines what it would take to create a soap opera with which to infiltrate, and influence, the conspiratorial far right in Bolsonaro’s Brazil. A group of idealistic left-wing intellectuals join forces to play a populist system at its own game. Through the initial five episodes, the heroes struggle to chart a course through their own ideas and ideologies by way of quotidian dramas and veiled intrigues. But how can this small group of artists, writers and activists overcome the struggle of principles, their internal bickering and the absurdities of their own privilege to create something that resonates and has real impact with their target audience? IN Episode 5, ‘MOSES AND MONOTHEISM’, concepts clash ferociously, hand puppets scream and pray, renowned Genocide Scholars are accosted and conspiracies bleed across borders. Meanwhile, as the left-wing infiltrators struggle to make sense of their own intentions, entertaining the idea of creating a YouTube series aimed at the evangelic Brazilians, the Querdenkers (a movement that fuses protesters against Covid measures with the far-right scene thriving on a sense of crisis and apocalypse) move through plague-time Berlin like a danse macabre.

Tamar Guimarães (b. Belo Horizonte, BR, lives and works in Copenhagen and Berlin) is a visual artist working with film and other forms of time based media. She often works with actors alongside non- actors in semi-fictional films. Recent solo exhibitions include Museo Nacional Centro de Arte Reina Sofia, Madrid; Jeu de Paume Satellite, Paris; Gasworks, London and the IMA Institute of Modern Art, Brisbane. Guimarães’ works have been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the International Exhibition at the 55th Venice Biennial; at the LACMA - Los Angeles County Museum of Art (USA); Baltimore Museum of Art (USA); the 11th Sharjah Biennial (UAE); the Banff Centre, Alberta (CA); Malmö Museum (SE); the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); the 7th Gwangju Biennial (SK); the 3rd Guanghzhou Triennial (CN); the Jumex museum, Mexico (MX); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR) and at the Haus der Kulturen der Welt, Berlin (DE). Her work has been screened at the Berlinale Forum Expanded (2019); Blackout, International Film Festival Rotterdam (2019); VIDEONALE, Bonn (2018); Anthology Film Archive, New York (2016); CPH:DOX (2013 and 2007); Images Film Festival and Experimental Media Congress, Toronto, Canada (2010); Architektur-Visionen # 1-6, Metropolis Kino, Hamburg (2015); Les Rencontres Internationales, Paris and Berlin (2014); TRAMWAY art film biennial, Glasgow (2012); Viennale Film Festival, Vienna (2011); and Oberhausen Film Festival (2009) among others. Guimarães’ work is represented in the collections of the Tate Modern (UK); the Solomon Guggenheim Foundation, N.Y. (USA); Museo Nacional Centro de Arte Reina Sofía (ES); Kadist Foundation (SF); Inhotim (BR); Frac Lorraine (FR); Guandong Museum (CN) and Cisneros Fontan- als Art Foundation (USA). She was awarded the 2018 Faena Prize for the Arts, Faena Art, Buenos Aires, Argentina; the 2014 Edstrandska Foundation Prize, Malmö, Sweden; the 2012 Cisneros Fontanals Art Foundation Grants and Commissions Prize, Miami, USA; was the receiver of a three-year work grant from the Danish Arts Council and was nominated for the 2018 Prize The Future of Europe, Leipzig, Germany.

SOAP follows the infiltration attempts of a cluster of left-wing people in right-wing social networks. The tactic chosen by the group is the creation of a YouTube channel aimed at teenagers employing the apparently conservative language of religious devotion and self-help through prayer. In episode six our infiltrators continue to discuss the implications of the soap they are plotting. In the meantime the group has fractured and one of its former member has left the project to pursue traditional politics, preparing to launch her candidacy as a trans councilwoman.

Tamar Guimarães (b. Belo Horizonte, BR, lives and works in Copenhagen and Berlin) is an artist working with film and installation. Her work has been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the International Exhibition at the 55th Venice Biennial; the LACMA - Los Angeles County Museum of Art (USA); Baltimore Museum of Art (USA); 11th Sharjah Biennial (UAE); the Banff Centre, Alberta (CA); the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); the 7th Gwangju Biennial (SK); the 3rd Guanghzhou Triennial (CN); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR). Her moving image work has been screened at the Les Rencontres Internationales (2014, 2021, 2022); Berlinale Forum Expanded (2019); Blackout, International Film Festival Rotterdam (2019); VIDEONALE, Bonn (2018); Anthology Film Archive, New York (2016); CPH:DOX (2013 and 2007); Images Film Festival and Experimental Media Congress, Toronto, Canada (2010); Architektur-Visionen # 1-6, Metropolis Kino, Hamburg (2015); TRAMWAY art film biennial, Glasgow (2012); Viennale Film Festival, Vienna (2011); and Oberhausen Film Festival (2009). Guimarães’ work is represented in the collections of the Tate Modern (UK); the Solomon Guggenheim Foundation, N.Y. (USA); Museo Nacional Centro de Arte Reina Sofía (ES); Kadist Foundation (SF); Frac Lorraine (FR) among others.

AGNÈLES VOLANTES SYNOPSIS Les Aroumains, une minorité balkanique de bergers nomades, de langue romane, vivant au sud du Danube, se sont vus persécutés et menacés de mort dans des luttes territoriales sanglantes lors de l'effondrement de l'Empire ottoman et de la formation des nations qui s'en suit. Ils ne peuvent plus louer les montagnes de pâturage et les frontières deviennent une menace. Sans territoire et sans langue écrite, ils sont bannis de l'histoire et sont en constante errance. Ils marchent avec les troupeaux, ayant pour seule certitude leur propre identité, une culture orale dans un dialecte archaïque que l'auteure a parlé dans sa petite enfance avec ses grands-parents nés dans le nord de la Grèce. Dispersés dans le monde, absents des cimetières, ce film cultive la mémoire des Aroumains qui traversent dans un exil permanent les montagnes et les mers, habités par des échos de voix qui résonnent fort, rebondissent sur les rochers et pourtant ne sont pas entendus. Leur histoire est racontée du point de vue subjectif de l'artiste, mettant en scène des archives qui interprètent passionnément cette perpétuelle errance tragique mais aussi pleine de courage.

Alexandra Gulea Lives and works between Berlin and Bucharest Alexandra Gulea (1970, Bucuresti, Romania) graduated in 1997 ‘cum laude’ Diplom at "Ecole Nationale Supérieure des Beaux Arts " in Paris. After paticipating in several painting exibitions, she studied documentary film at Munich Film School and since 1999 directed Documentary Films, Shorts, Video Installations and a Feature Fiction. She also worked as an Editor on several movies.

Children of the Jiu Valley are familiar with roads. Theirs but especially those of the adults. Roads through the tunnel, the mountains or the Valley. All the roads seem made to leave as well as to return. The parents of these children, once the inhabitants of an old industrial area of Romania, take now long roads to reach the West, wherever they may find work. They return too seldomly. They send money. Their children are a lot like orphans. Many of them experience depression. Some choose to take the fatal road to Paradise or Hell. Maybe with the hope of coming back to a kinder vale.

ALEXANDRA GULEA (1970, Bucuresti, Romania), graduated in 1997 at ENSBA in Paris. She studied documentary film at Munich Film School and since 1999 directed Documentary Films: “Anonymous”- 11`, 2000 International competition Kurzfilmtage Oberhausen, Prize fff bayern, Munich Documentary FF, Minority Prize Mediawave, Hungary . “God plays Sax, the Devil Violin” 45`, 2004, German Short Film Prize, Golden Key, Kassel, Best Student Film, Molodist, Ukraine, DAAD Prize, Germany, Prix du Film Long, Les Ecrans Documentaires, France, Mention Henry Langlois, Poitiers. IFF Rotterdam, Cinema du Reel Paris, IDFF München, IDAFF Leipzig, IKF Oberhausen, MoMA. “Today I was Young and Pretty” 52`, 2008, Festival dei Popoli, Firenze, Italy , Cronograf, Moldova, IFF Györ, Ungary, TIFF, Romania, MNAC, Romania, Institut Culturel Francais, Romania. Short films : « Wooden Boy » 10’, 2017, Rencontres Internationales Paris - Berlin, IKF Oberhausen. « Valea Jiului - Notes » 13’, 2018, Bucharest Experimental FF, Astra Sibiu, Prize for the Best German Film, IKF Oberhausen. As Fiction films she directed and edited: “The fourth wall"- 17`, 2001 with Werner Schroeter, IKF Oberhausen. “Hacker”, 5 x 52 min. TV-fiction, 2003. She wrote, directed and co-edited her first feature “Matei Child Miner” 2013 Nominated for the “Big Screen Award” IFF Rotterdam, Premio “Lino Micciché”, “Young Critics Award” at Pesaro IFF Italy. Prize at Regiofun IFF, Katowice, Poland. Cinema Jove Valencia IFF Spain, Zlin IFF Czech Republic, TIFF Romania, Anonimul Romania, FF Edu, Evreux, France. IWFF, Köln. Werkstatt Kino, München.

C’est au bout du conte que la sympathique poupée Pinocchio, se transformait en homme après avoir renoncé à faire des bêtises et s’être conformé au bon sens de rigueur. D’abord il s’était réjoui de cette récompense. Mais un beau jour, Pinocchio vit une multitude d’animaux empaillés dans un musée. Des êtres du passe, mais qui en même temps représentent bien plus que ce qu’elles étaient. Plus libres que lui, Pinocchio, libres de peupler son imagination. Mais le garçon en bois réalisa cela bien plus tard, quand, à l’âge adulte, il se rappela ses larmes en rentrant du musée, où, loups et ours l’attendaient le regard fixé sur lui.

Alexandra Gulea Vit et travaille entre la France, l’Allemagne et la Roumanie 1970 - née à Bucarest, Roumanie FORMATION 1988 - Lycée des Beaux-Arts “ N. TONITZA” – Bucarest, Roumanie Baccalauréat « arts plastiques » 1990 - Académie Nationale d’Art – Bucarest, Roumanie 1992/1993 - Ecole Régionale des Beaux-Arts - Rouen 1993/1997 - Ecole Nationale Supérieure des Beaux-Arts (ENSBA) - Paris Diplômé avec les Félicitations du Jury (Atelier J.M Alberola) 1999/2012 – Etudes Film Documentaire, Hochschule für Fernsehen und Film (HFF) - München, Allemagne Diplôme

AGNÈLES VOLANTES SYNOPSIS Les Aroumains, une minorité balkanique de bergers nomades, de langue romane, vivant au sud du Danube, se sont vus persécutés et menacés de mort dans des luttes territoriales sanglantes lors de l'effondrement de l'Empire ottoman et de la formation des nations qui s'en suit. Ils ne peuvent plus louer les montagnes de pâturage et les frontières deviennent une menace. Sans territoire et sans langue écrite, ils sont bannis de l'histoire et sont en constante errance. Ils marchent avec les troupeaux, ayant pour seule certitude leur propre identité, une culture orale dans un dialecte archaïque que l'auteure a parlé dans sa petite enfance avec ses grands-parents nés dans le nord de la Grèce. Dispersés dans le monde, absents des cimetières, ce film cultive la mémoire des Aroumains qui traversent dans un exil permanent les montagnes et les mers, habités par des échos de voix qui résonnent fort, rebondissent sur les rochers et pourtant ne sont pas entendus. Leur histoire est racontée du point de vue subjectif de l'artiste, mettant en scène des archives qui interprètent passionnément cette perpétuelle errance tragique mais aussi pleine de courage.

Alexandra Gulea Lives and works between Berlin and Bucharest Alexandra Gulea (1970, Bucuresti, Romania) graduated in 1997 ‘cum laude’ Diplom at "Ecole Nationale Supérieure des Beaux Arts " in Paris. After paticipating in several painting exibitions, she studied documentary film at Munich Film School and since 1999 directed Documentary Films, Shorts, Video Installations and a Feature Fiction. She also worked as an Editor on several movies.

Children of the Jiu Valley are familiar with roads. Theirs but especially those of the adults. Roads through the tunnel, the mountains or the Valley. All the roads seem made to leave as well as to return. The parents of these children, once the inhabitants of an old industrial area of Romania, take now long roads to reach the West, wherever they may find work. They return too seldomly. They send money. Their children are a lot like orphans. Many of them experience depression. Some choose to take the fatal road to Paradise or Hell. Maybe with the hope of coming back to a kinder vale.

ALEXANDRA GULEA (1970, Bucuresti, Romania), graduated in 1997 at ENSBA in Paris. She studied documentary film at Munich Film School and since 1999 directed Documentary Films: “Anonymous”- 11`, 2000 International competition Kurzfilmtage Oberhausen, Prize fff bayern, Munich Documentary FF, Minority Prize Mediawave, Hungary . “God plays Sax, the Devil Violin” 45`, 2004, German Short Film Prize, Golden Key, Kassel, Best Student Film, Molodist, Ukraine, DAAD Prize, Germany, Prix du Film Long, Les Ecrans Documentaires, France, Mention Henry Langlois, Poitiers. IFF Rotterdam, Cinema du Reel Paris, IDFF München, IDAFF Leipzig, IKF Oberhausen, MoMA. “Today I was Young and Pretty” 52`, 2008, Festival dei Popoli, Firenze, Italy , Cronograf, Moldova, IFF Györ, Ungary, TIFF, Romania, MNAC, Romania, Institut Culturel Francais, Romania. Short films : « Wooden Boy » 10’, 2017, Rencontres Internationales Paris - Berlin, IKF Oberhausen. « Valea Jiului - Notes » 13’, 2018, Bucharest Experimental FF, Astra Sibiu, Prize for the Best German Film, IKF Oberhausen. As Fiction films she directed and edited: “The fourth wall"- 17`, 2001 with Werner Schroeter, IKF Oberhausen. “Hacker”, 5 x 52 min. TV-fiction, 2003. She wrote, directed and co-edited her first feature “Matei Child Miner” 2013 Nominated for the “Big Screen Award” IFF Rotterdam, Premio “Lino Micciché”, “Young Critics Award” at Pesaro IFF Italy. Prize at Regiofun IFF, Katowice, Poland. Cinema Jove Valencia IFF Spain, Zlin IFF Czech Republic, TIFF Romania, Anonimul Romania, FF Edu, Evreux, France. IWFF, Köln. Werkstatt Kino, München.

C’est au bout du conte que la sympathique poupée Pinocchio, se transformait en homme après avoir renoncé à faire des bêtises et s’être conformé au bon sens de rigueur. D’abord il s’était réjoui de cette récompense. Mais un beau jour, Pinocchio vit une multitude d’animaux empaillés dans un musée. Des êtres du passe, mais qui en même temps représentent bien plus que ce qu’elles étaient. Plus libres que lui, Pinocchio, libres de peupler son imagination. Mais le garçon en bois réalisa cela bien plus tard, quand, à l’âge adulte, il se rappela ses larmes en rentrant du musée, où, loups et ours l’attendaient le regard fixé sur lui.

Alexandra Gulea Vit et travaille entre la France, l’Allemagne et la Roumanie 1970 - née à Bucarest, Roumanie FORMATION 1988 - Lycée des Beaux-Arts “ N. TONITZA” – Bucarest, Roumanie Baccalauréat « arts plastiques » 1990 - Académie Nationale d’Art – Bucarest, Roumanie 1992/1993 - Ecole Régionale des Beaux-Arts - Rouen 1993/1997 - Ecole Nationale Supérieure des Beaux-Arts (ENSBA) - Paris Diplômé avec les Félicitations du Jury (Atelier J.M Alberola) 1999/2012 – Etudes Film Documentaire, Hochschule für Fernsehen und Film (HFF) - München, Allemagne Diplôme

Ce film a été tourné pendant une période où j'ai vécue et travaillé à Berlin. La tour désaffectée où le film a été réalisé, a eu une vie antérieure du temps de la RDA où elle abritait un centre administratif de services sociaux. Le film suit les mouvements de plaques en plastique que j'ai suspendues en haut des fenêtres au dernier étage de l'immeuble. La légèreté des feuilles en plastique fait que ses mouvements, générés par le vent subissent un fort ralentissement. Le jour du tournage, j'ai mis en place une station de radio pirate afin de diffuser une bande-son que j'avais enregistrée dans la cage d'escalier. Celle-ci se caractérise par un multiplexe sonore de rythmes et de bruits acoustiques de l'immeuble. Ces sons sont mixés par ordinateur et diffusés depuis un émetteur du haut d'un immeuble.

Stephen Gunning est né en 1974 à Limerick (Ireland) 1992/1995 - Limerick College of art and Design. 1998/2000 - National College of Art and Design, Dublin. 2001/03 - MFA Virtual Realities, NCAD, Dublin

We live in times of crises and failing economic systems. No wonder that questions of change are recurrent. Protest culture is having a revival. Every revolution has its icons. Nowadays, we see the mask show up. Wearing a mask is a carnivalesque strategy. Carnival is a ritual, temporarily dismantling social and political regimes, suspending norms and values. But after this limited period of allowed disorder and change, the order is restored. So the question arises: does the current wave of protests serve as an illusion of carnival? Or have we forgotten the function of carnival? Have we forgotten that the purpose of the ritual is to remember? To Each His Own Mask is a challenging artistic documentary by filmmaker and visual artist Tine Guns, linked to her installation Perpetual Moment of Pause.

Tine Guns (1983) lives and works in Ghent, Belgium. Her videowork was screened at festivals like Jean Rouch Festival & Next Festival. She exhibited at Cinematek/BOZAR, Netwerk Aalst, Brakke Grond Amsterdam among others. Her photograpic work was selected for Voies Off Festival 2014, Encontras Da Imagem Braga, BruggeFoto & Salut d’Honneur de Jan Hoet. In 2015 she was selected for .tiff, Young Belgian Talent, Introduced by Fotomuseum (FoMu) Antwerp. She has self-published various photobooks such ass: Amoureux solitaire (2014), and The Diver (2014), After The Flood (2017), The Collector (2017). In 2015 “ The Diver ” was shortlisted as a finalist in the 2015 First Book Awards of MACK. “ To Each His Own Mask ”is her first Film In 2017 she received the First Price of Visual Arts, East of Flanders, Belgium

While observing an isolated event of an artificial, industry-facilitated disaster, Normalisation of A Disaster makes a reflective commentary on the psyche of people in the vicinity of the site of disaster, albeit not immediately affected by it. Exploring the ideas of nonchalance, sensitization and casual tourism towards sites of disaster in a region plagued by disasters, this reflection includes the self of the artist, and his family, and hordes of ‘tourists’ attracted towards the light of the morbid spectacle. The Baghjan Oil Blowout happened on 27th of May 2020, which caught fire through a massive explosion on 9th of June 2020 after leaking gas in the atmosphere for two weeks, continued to burn for 6 months, before being finally doused on 15th of November, 2020. This artificial disaster in an Oil-India Limited owned site has caused the displacement of more than 1600 families who were in the vicinity of the site of gas blowout, and were being sheltered in makeshift relief camps in nearby areas.

Devadeep Gupta B. 1989 Guwahati, Assam, India I frame my artistic process as an exploration of regional ecological uncertainties through a critical examination of associated mainstream perspectives. Inspired by site-specific and vernacular occurrences, I delve into the intricate relationship between people and their land. My artistic practice encompasses the realms of film and sculpture, bridging the gap between conceptual and documentary approaches. Within this intersection, I am particularly interested in narratives that emerge from the convergence of mythology and contemporary experiences. Grounded in the rich cultural landscape of Assam, I draw inspiration from pragmatic practices, oral traditions, and folklore. Central to my artistic endeavors are performative processes that pay homage to meta-cultural practices. Through visual and conceptual stimuli, I incorporate elements of local community-led actions to portray the environmental changes specific to each site. Everyday rituals that have organically evolved as meta-cultural actions inspire the forms and expressions within my artistic practice. The outtakes of my process, realized as rhythmic sculptural forms are expressed through mediums of film, image and sculpture to illustrate these outcomes. ?

The film Please Kill Me is a personal expression of my own account around the time we live in, pointing out one of our greatest challenges: The market and capital domination in the world. When economic growth is the strongest driving force, we experience increasing economic, social, cultural and, not least, enormous environmental challenges. It is no longer human, ideological or religious ideals that govern, but material growth. The feeling is this: We find ourselves not in a crisis resulting in radical restructuring, but are caught in a loop of repetition and denial, where genuine change appears impossible. In no way whatsoever does art stand outside this static situation. It stands in the midst of it and has no power to act as a genuine opposing force. The constant striving for ‘the new’ cannot expel the feeling that things are at a stand-still; the admonishment to establish micro-utopias in the increasingly sleek art institutions proves merely to repeat the imperative that each and every person should tend his or her own garden – or network; the mantra to summon ‘critical discourse’ does not hinder one’s thoughts from first and foremost revolving complacently around oneself. We know we are sitting in the same boat, and since we all know it is sinking, we try to sit as still as possible, so that at the very least it sinks slower. This is the artist`s confrontation with himself, the art scene and a world gone crazy spinning around itself, trapped in an eternal loop of repetition. In Please Kill Me the staged models have been assigned the same roles as they play in reality: In the gallery space you find the artist, curator, critic and gallerist frozen in a position where they are confronted with the allegation that art is dead.

Crispin Gurholt (b. 1965) is a Norwegian artist based in Oslo and Berlin. The density of his work reflects his versatility and the range of his studies, which in turn are essential to the creation of the highly composite universes of his Live Photos. Gurholt studied at the National Academy of Art in Oslo and The New York Film School SCE. He also has a background in scenography and directing. Since 2012 he has been teaching at The Art School of Rogaland in Norway. His Live Photos represent the sum of a wide-ranging expertise that, combined with social comment, presents a compelling picture of our time. Crispin Gurholt has an international reputation. His work and installations have been shown in Venice, Rome, Paris, Berlin, London, Copenhagen, Turin, Madrid, Cologne and Havana, as well as a number of major Norwegian art institutions. Gurholt is a receiver of the Norwegian Artist Grant since 2010.

In twilight we see a French limousine parked in front of a doorway next to a cash machine. In the back seat of the parked car is a middle-aged businessman. The private chauffeur is withdrawing money from the cash machine, and the driver`s car door is open. Next to the driver is a transvestite prostitute who is suggestive in his communication. Another transvestite prostitute leans against the limo`s rear window and is looking at the man in the back seat. In the dark doorway in the background we see the shadow of an elegant, masculine, Arab man, the pimp of the two prostitutes. Thematically the film points to the relationship between power, politics, money and sex, suggesting identity conflicts, double standards and hidden desires. The theme is archetypal, Machiavellian, and refers to a tacit acceptance of a system that helps to sustain an outdated patriarchy. As long as you don`t get caught everything is allowed! Recent sex scandals linked to European politicians, does not make the thematic less relevant. An intricate relationship between political and criminal groups is insinuated. The film is open and suggestive and apparently simple, but beneath the surface a complex communication pattern is unfolding.

Crispin Gurholt (f.1965) is a Norwegian artist based Berlin. He is a graduate of the National Art Academy in Oslo (1993-98) and New York University Film School (1996). He has exhibited in Havana, Venice, Rome, Turin, Madrid and Paris, the Henie Onstad Art Centre, Lillehammer Art Museum, Art Copenhagen, Stenersen Museum, Vigeland Museum, the North Norwegian Art Museum and Haugar Art Museum.

.

Crispin Gurholt (f.1965 in Oslo) is a graduate of the National Art Academy in Oslo (1993-98) and New York University Film School (1996). He has had exhibitions in Venice, Rome, Turin, Madrid and Paris, the Henie Onstad Art Centre, Art Copenhagen, Stenersen Museum, Vigeland Museum, the North Norwegian Art Museum, Lillehammer Art Museum and Haugar Art Museum. Gurholt is participating in the 11th Havana Biennial. He has also been a set designer for several films and stage productions, and produced and directed numerous music videos, including videos for the Norwegian band Turbonegro.

There is an electric silence. We are witnessing a frozen moment in a staged drama with the suspense of a detective film. A real tableau presents living, breathing and thinking human beings located in the hills of Ekebergaasen in Oslo, Is this the future, the present and the past rolled into one single moment? We feel confused. What is happening. is the group of people lost or are they trespassing, Are they a part of the development we see in the background of the greenery, or are they forced out and away from the development? Are they passive or active?

Crispin Gurholt (b. 1965) is an artist working in the fields of photography, installation and video. He was educated at the Einar Granum Art School, Oslo Drawing and Painting School and was an apprentice to master painter Odd Nerdrum in 1992. He then attended National Academy of the Arts (1993-98), and the New York University Film School in 1996. Gurholt is best known for his vivid tableaus Live Photo, in which he problematized the relationship between reality and what`s beyond what we see. He makes use of the media`s language and exposes the often unpleasant situations, emotions and conditions. His works have been exhibited in Venice, Rome, Madrid, Paris, the Henie Onstad Art Centre, Art Copenhagen, Stenersen Museum, Vigeland Museum, the North Norwegian Art Museum and Haugar Vestfold Kunstmuseum. He has also produced a series of music videos, including for the rock band Turbonegro.

we see a family in a hospital with a nurse, the scene is frozen in a moment, maybe in real time, maybe from memory, there is noting telling what has happened or what is going to happen, they are all captured in the same moment, they are remote and at the same time together, multiple stories in a shared moment. are we! with our objective view seeing all the truth in the given scene and moment? or are there multiple stories to be told as we float through everyday life.

Crispin Gurholt, born 1965 in Oslo, Norway. Norwegian photo, installation and video artist. Education: Einar Granum Art School, Oslo Drawing and painting school. Was apprenticed to Odd Nerdrum (1992). Educated at the National Art Academy (1993-98) and New York University (Film School 1996). Gurholt is best known for his vivid tableaus "Live Photo", in which he problematized the relationship between reality and what`s beyond what we see. He makes use of the media`s language and exposes the often unpleasant situations, emotions and conditions. His works have been exhibited in Venice, Rome, Madrid, Paris, the Henie Onstad Art Centre, Art Copenhagen, Stenersen Museum, Vigeland Museum, the North Norwegian Art Museum and Haugar Vestfold Kunstmuseum. He has also produced a series of music videos, including for the rock band Turbonegro. http://www.snl.no/Crispin_Gurholt

I walked along the road with two friends ? the sun was setting ? I felt a wave of sadness ? suddenly the sky turned blood-red ? I stopped, leaned against the fence, deathly tired ? I saw the clouds flaming like blood and swords, over the deep blue fjord and the city ? My friends walked on ? I stood there trembling with angst and fear ? I felt a great endless scream echo through nature. From Edvard Munch?s diary, 22 January 1892, Nice Five dark figures enclosed in a bushy piece of greenery. A rusty car door, a bicycle wreck, some planks. They are serious and concentrated, like grieving or as if lost in an endless waiting for Godot, gathered around an object that could be the root of a tree, a sculpture or a gravestone. Around them high-rise buildings are shooting up, dark clouds are hanging over the cranes. A threating storm is rolling in over the city and the fjord. One of the figures is holding a scythe; his face is like a dark empty hole, the mask frighteningly dead. Nature has lost its voice. The photograph By Ekebergåsen is a dystopian manifestation of the marginalised position of art and artists in society. The artist, rejected and hunted, has gone into hiding. The shelter is a small patch of uncultivated ground squeezed in between capitalistic and populist political forces. From here they fought their guerrilla war, and lost. Between Bjørvika and Christian Ringnes?s future sculpture park, a small group of art students have gathered. An old bunker serves as their gallery. No one knows they are there.

Crispin Gurholt (f.1965 in Oslo) is a graduate of the National Art Academy in Oslo (1993-98) and New York University Film School (1996). He has had exhibitions in Venice, Rome, Turin, Madrid and Paris, the Henie Onstad Art Centre, Art Copenhagen, Stenersen Museum, Vigeland Museum, the North Norwegian Art Museum, Lillehammer Art Museum and Haugar Art Museum. Gurholt is participating in the 11th Havana Biennial. He has also been a set designer for several films and stage productions, and produced and directed numerous music videos, including videos for the Norwegian band Turbonegro.

"It`s like you`ve got yesterday, today and tomorrow in the same room. There is no telling what can happen" This line from the Award-winning film "I`m not there", about the life of Bob Dylan, conveys the same sense of a melding of time and place, and the uncertainty of what may happen, that defines Crispin Gurholt`s Live Photo... (Selene Wendt)

born 1965 in Oslo, Norway. Norwegian photo, installation and video artist. Education: Einar Granum Art School, Oslo Drawing and painting school. Was apprenticed to Odd Nerdrum (1992). Educated at the National Art Academy (1993-98) and New York University (Film School 1996). Gurholt is best known for his vivid tableaus "Live Photo", in which he problematized the relationship between reality and what`s beyond what we see. He makes use of the media`s language and exposes the often unpleasant situations, emotions and conditions. His works have been exhibited in Venice, Rome, Madrid, Paris, the Henie Onstad Art Centre, Art Copenhagen, Stenersen Museum, Vigeland Museum, the North Norwegian Art Museum and Haugar Vestfold Kunstmuseum. He has also produced a series of music videos, including for the rock band Turbonegro.

Il y a un silence électrique. Nous assistons à un instant congelé dans une mise en scène de théâtre, avec le suspense d'un film de détective. Un vrai tableau présente deux êtres humains, vivant, respirant, pensant, situés dans l?espace étroit et confiné d'une sortie de secours. L'homme vient de tirer sur la femme. Est-ce l'avenir, le présent et le passé, réunis en un seul instant?

Crispin Gurholt est né en 1965 à Oslo. Il s?est diplômé à l'Académie Nationale Norvégienne des Beaux-arts en 1998 et à la New York University School of Continuing Education Film School (USA) en 1996.

The search for the underlying, essential message during the realization of an increasingly impossible seeming project becomes a reflexive, trance-like loop: the video piece rigorously rehearses artistic processes of creation and reflection, the conditions of production and the fear of failure. In a circular movement, as if the artist where spinning on her own axis in the studio, the camera scans the studio and all the objects, sketches and open processes it contains. Spaces open up – sometimes more distant, sometimes closer to the object of attention – as the camera traces a picture frame or traverses an urban landscape. Between old works pictured and image-like notes, cross-references emerge between image and text. The loop is repeated and constantly refined: at each screening the film is overwritten and thus becomes infinite and unfinished, continuously expanding and re-inscribing itself. Through this process, the artist repeatedly questions herself, thus highlighting her own as well as the general conditions of production.

Maia Gusberti *1971 born in Bern (CH) Lives and works in Brussels, Bern and Vienna 1986-93 Graphic Design Studies, Schule für Gestaltung, Biel (CH) 1996-02 MA Media Arts, Univ. f. applied Arts, Vienna (AT) 2096-10 Lives in Vienna (AT) Artist in residence in Sofia/Interspace, (EU) Artist in residence Paris/Cité des Arts (BMUKK), Artist in residence Cairo (PRO HELVETIA) 2006-11 Lives in Vienna(AT) and Cairo(EG) 2009 Artist in residence at PROGR Bern (CH) 2010-16 Lives in Bern (CH) and Vienna (AT) 2010 Main Award Aeschlimann Corti Stipendium (CH) 2011 Photography Award of Canton Bern Distinction (CH) 2012 Work Grant Photography 2012 of Canton Bern (CH) 2010-16 Artist in residence in Rome/IT (BMUKK) Artist in residence Amman/JO (PRO HELVETIA) Artist in residence Brussels/BE (Bains Connectives) Artist in residence Rotterdam/NL (Kaus Australis) Co-Initiant of Das Lehrerzimmer, Space for Books, Art and Cooking in Bern Member of RE-P.ORG, collective for visual and art concepts in Vienna & Bern Website: www.maiagusberti.net Email: m.gusberti@re-p.org Contact: (Postal adress) Maia Gusberti, Nydeggstalden 22, 3011 Bern Atelier: Atelier 311, PROGR, Waisenhausplatz 30, 3011 Bern (CH) Atelier: 24-26, Rue Lambert Crickx, 1070 Brussels (BE)

Lazy Nigel explores the small industrial town of Nigel in the East Rand of Johannesburg during weekends. The video starts with its landscapes of industrial complexes and factories, devoid of employees. As the film and my filming -which took place over a number of weekends- progress, a variety of local activities are revealed. Many of the town industry employees leave to return to their families, who often lived elsewhere. I wanted look at what remained. The film explores laziness as a construct. I am interested in unpacking the fact that work is traditionally seen as the major locus of our identity. Time off from our jobs allows us to engage in other activities that may not be seen as productive in a traditional sense. These activities can be social, political or creative, allowing us to think of our value in different ways and, as such, offer new ways to think about our identity.

Simon Gush (b.1981, Pietermaritzburg), living in Johannesburg. He was a 2011 Fellow at the Gordon Institute for Performing and Creative Arts, University of Cape Town, and completed postgraduate studies at the Hoger Instituut van Schone Kunsten in Ghent, Belgium, in 2008. Solo shows include After Work at Galerie Jette Rudolph, Berlin and 9 o`clock, at the National Arts Festival, Grahamstown (both 2015), Red at the Goethe-Institut, Johannesburg (2014); 1st and 3rd at Galerie West, The Hague, and 4 for Four at SMAK, Ghent (both 2010), in addition to six previous exhibitions at Stevenson, Cape Town and Johannesburg. Group shows include Artists Engaged? Maybe at Fundação Calouste Gulbenkian, Lisbon (2014); the 2nd Montevideo Biennial, Uruguay (2014); My Joburg at La Maison Rouge, Paris, and the Staatliche Kunstsammlungen, Dresden (2013); Halakasha at the Standard Bank Gallery, Johannesburg (2010); 1910-2010: From Pierneef to Gugulective, Iziko South African National Gallery, Cape Town (2010) and the 2009 Luleå Summer Biennial, Sweden. In 2015 the academic workshop Red Assembly, with African Critical Inquiry Programme was held in East London around his exhibition Red. Gush was awarded the Jury prize at the Bamako Encounters Biennale (2015).

The title of the film, Iseeyou, comes from the slogan of the first multi-racial trade union in South Africa. It is a meditation of the relationship of visibility to work. Exploring public monuments to work and workers in Johannesburg, it looks at how these have been celebrated in apartheid and post-apartheid South Africa through public art. The film suggests that this celebration is a way in which the conditions of work, and often the abuse of the rights of workers, is justified through the promotion of a work ethic.

Simon Gush was born in 1981 in Pietermaritzburg, and is currently based in Johannesburg. He was a laureate at the HISK (Higher Institute for Fine Arts) in Ghent, Belgium, in 2007/8 and a Gordon Institute of Performing and Creative Arts Fellow at the University of Cape Town in 2011. Solo exhibitions have taken place at the SMAK (Stedelijk Museum voor Actuele Kunst) in Ghent (2010); and West, Den Haag, the Netherlands (2010); in addition to Stevenson Cape Town (2009, 2010 and 2013) and Johannesburg (2009 and 2011). Notable group exhibitions include My Joburg at La Maison Rouge, Paris,and the Staatliche Kunstsammlungen Dresden (2013); Present Unlimited, Sofia Contemporary, Fabrica 126, Sofia, Bulgaria (2012); Mind the System, Find the Gap, Z33, Hasselt, Belgium (2012); Connections, Kunsthalle Luzern, Luzern, Switzerland(2011); the 2009 Luleå Summer Biennial, Sweden; and .za: Young Art from South Africa at Palazzo delle Papesse, Siena (2008). Alongside his artistic practice, Gush has collaborated in founding and facilitating a number of alternative temporary exhibition platforms, most notably the Parking Gallery, Johannesburg.

Distance, presents the absence of belief, where labour is estranged and invisibly services ?lifestyle?. Helen stays at a hotel for a conference, and has invited her sister and her nephew (Grant) to join for the weekend. After Helen leaves for the day?s session, Grant grows bored and listless after playing while his mother sleeps and wanders off into the hotel. He amuses himself for a number of hours playing in the corridors and spaces of the hotel, while occasionally voyeuristically watching the staff at work. He returns to the room to find Helen also at the door, her conference finished for the day. They sit in the room and Helen waits for Grant?s mother to return who is not there when they enter. The mother does return briefly, but only to change into something more suitable for dinner, and leaves again, to the silent frustration of Helen. Helen then also abandons Grant to his own devices while she goes off to her evening function.

Simon Gush (b.1981, ZA) is a South African artist currently based Johannesburg. He completed his undergraduate degree at the University of the Witwatersrand in 2003. Gush was a laureate at the HISK (Higher Institute for Fine Arts) in Ghent, Belgium, in 2007/8 and a Gordon Institute of Performing and Creative Arts Fellow at the University of Cape Town, South Africa, in 2011. He has participated in numerous group exhibitions internationally and locally and has held solo shows at the SMAK (Stedelijk Museum voor Actuele Kunst) in Ghent (2010), West, Den Haag, the Netherlands (2010), and the Stevenson Gallery in Cape Town (2009 & 2010) and Johannesburg (2009 & 2011). Gush has been included in two international publications surveying young contemporary artists: the Younger Than Jesus Directory published by the new Museum in New York, USA (2009); and 100 New Artists by Francesca Gavin, published by Laurence King Publishing (2011). Alongside his artistic practice, Gush has collaborated in founding and facilitating a number of alternative temporary exhibition platforms, most notably the Parking Gallery in 2006, which was relaunched in 2012.

Lazy Nigel explores the small industrial town of Nigel in the East Rand of Johannesburg during weekends. The video starts with its landscapes of industrial complexes and factories, devoid of employees. As the film and my filming -which took place over a number of weekends- progress, a variety of local activities are revealed. Many of the town industry employees leave to return to their families, who often lived elsewhere. I wanted look at what remained. The film explores laziness as a construct. I am interested in unpacking the fact that work is traditionally seen as the major locus of our identity. Time off from our jobs allows us to engage in other activities that may not be seen as productive in a traditional sense. These activities can be social, political or creative, allowing us to think of our value in different ways and, as such, offer new ways to think about our identity.

Simon Gush (b.1981, Pietermaritzburg), living in Johannesburg. He was a 2011 Fellow at the Gordon Institute for Performing and Creative Arts, University of Cape Town, and completed postgraduate studies at the Hoger Instituut van Schone Kunsten in Ghent, Belgium, in 2008. Solo shows include After Work at Galerie Jette Rudolph, Berlin and 9 o`clock, at the National Arts Festival, Grahamstown (both 2015), Red at the Goethe-Institut, Johannesburg (2014); 1st and 3rd at Galerie West, The Hague, and 4 for Four at SMAK, Ghent (both 2010), in addition to six previous exhibitions at Stevenson, Cape Town and Johannesburg. Group shows include Artists Engaged? Maybe at Fundação Calouste Gulbenkian, Lisbon (2014); the 2nd Montevideo Biennial, Uruguay (2014); My Joburg at La Maison Rouge, Paris, and the Staatliche Kunstsammlungen, Dresden (2013); Halakasha at the Standard Bank Gallery, Johannesburg (2010); 1910-2010: From Pierneef to Gugulective, Iziko South African National Gallery, Cape Town (2010) and the 2009 Luleå Summer Biennial, Sweden. In 2015 the academic workshop Red Assembly, with African Critical Inquiry Programme was held in East London around his exhibition Red. Gush was awarded the Jury prize at the Bamako Encounters Biennale (2015).

The title of the film, Iseeyou, comes from the slogan of the first multi-racial trade union in South Africa. It is a meditation of the relationship of visibility to work. Exploring public monuments to work and workers in Johannesburg, it looks at how these have been celebrated in apartheid and post-apartheid South Africa through public art. The film suggests that this celebration is a way in which the conditions of work, and often the abuse of the rights of workers, is justified through the promotion of a work ethic.

Simon Gush was born in 1981 in Pietermaritzburg, and is currently based in Johannesburg. He was a laureate at the HISK (Higher Institute for Fine Arts) in Ghent, Belgium, in 2007/8 and a Gordon Institute of Performing and Creative Arts Fellow at the University of Cape Town in 2011. Solo exhibitions have taken place at the SMAK (Stedelijk Museum voor Actuele Kunst) in Ghent (2010); and West, Den Haag, the Netherlands (2010); in addition to Stevenson Cape Town (2009, 2010 and 2013) and Johannesburg (2009 and 2011). Notable group exhibitions include My Joburg at La Maison Rouge, Paris,and the Staatliche Kunstsammlungen Dresden (2013); Present Unlimited, Sofia Contemporary, Fabrica 126, Sofia, Bulgaria (2012); Mind the System, Find the Gap, Z33, Hasselt, Belgium (2012); Connections, Kunsthalle Luzern, Luzern, Switzerland(2011); the 2009 Luleå Summer Biennial, Sweden; and .za: Young Art from South Africa at Palazzo delle Papesse, Siena (2008). Alongside his artistic practice, Gush has collaborated in founding and facilitating a number of alternative temporary exhibition platforms, most notably the Parking Gallery, Johannesburg.

Distance, presents the absence of belief, where labour is estranged and invisibly services ?lifestyle?. Helen stays at a hotel for a conference, and has invited her sister and her nephew (Grant) to join for the weekend. After Helen leaves for the day?s session, Grant grows bored and listless after playing while his mother sleeps and wanders off into the hotel. He amuses himself for a number of hours playing in the corridors and spaces of the hotel, while occasionally voyeuristically watching the staff at work. He returns to the room to find Helen also at the door, her conference finished for the day. They sit in the room and Helen waits for Grant?s mother to return who is not there when they enter. The mother does return briefly, but only to change into something more suitable for dinner, and leaves again, to the silent frustration of Helen. Helen then also abandons Grant to his own devices while she goes off to her evening function.

Simon Gush (b.1981, ZA) is a South African artist currently based Johannesburg. He completed his undergraduate degree at the University of the Witwatersrand in 2003. Gush was a laureate at the HISK (Higher Institute for Fine Arts) in Ghent, Belgium, in 2007/8 and a Gordon Institute of Performing and Creative Arts Fellow at the University of Cape Town, South Africa, in 2011. He has participated in numerous group exhibitions internationally and locally and has held solo shows at the SMAK (Stedelijk Museum voor Actuele Kunst) in Ghent (2010), West, Den Haag, the Netherlands (2010), and the Stevenson Gallery in Cape Town (2009 & 2010) and Johannesburg (2009 & 2011). Gush has been included in two international publications surveying young contemporary artists: the Younger Than Jesus Directory published by the new Museum in New York, USA (2009); and 100 New Artists by Francesca Gavin, published by Laurence King Publishing (2011). Alongside his artistic practice, Gush has collaborated in founding and facilitating a number of alternative temporary exhibition platforms, most notably the Parking Gallery in 2006, which was relaunched in 2012.

Le projet « Map Office » a commencé il y a de nombreuses années, dans le but d?élaborer une série d??uvres sur la production en Chine, et plus particulièrement, sur une usine de textile devenue, pour l?artiste, le laboratoire et le modèle d?expérimentation sur la « société harmonieuse ». Commencée en 1968 à Hong Kong, la « Cité de production » a été déplacée en 1989 vers un grand site, à la frontière entre Shenzhen et Dongguan. Depuis lors, il a constamment mis au point un environnement fabuleux, dont le défi est de réaliser un « capitalisme positif », par le biais de l'ingénierie du paysage et des avantages sociaux dont bénéficient ses dix mille travailleurs.

En 1997, Laurent Gutierrez et Valérie Portefaix, architectes Français, fondent à Hong Kong MAP OFFICE, une structure pluridisciplinaire dont les projets associent la recherche architecturale et urbaine aux arts visuels. Ils ont participé à plusieurs expositions locales et internationales, entre autres: une exposition personnelle à la galerie Parasite (HK), la 7e Biennale d?architecture de Venise (2000), 1e Biennale d?architecture de Rotterdam (2003), 2e Triennale de Canton (2005), 1e Triennale de Paris (2006), 15e Biennale de Sydney (2006), 10e Biennale d?Istanbul (2007), 52e Biennale d?art de Venise (2007), 2e Biennale d?architecture de Shenzhen (2007) et la 1e Biennale d?architecture de Hong Kong (2008). Leurs publications cherchent à mettre en évidence les phénomènes urbains visibles à Hong Kong et en Chine. Ils sont les auteurs de Mapping HK (2000), HK LAB (2002), Yung Ho Chang / Atelier FCJZ (2003), HK LAB 2 (2005), My PRD Stories (2005), The Parrot?s Tale (2007), Unreal Estates of China (2007) and City of Production: a Fabulous Opportunity to Experiment with Positive Capitalism (2008). Leur dernière recherche ? ?PIXEL: Wish Space and Other Minute Area of Illumination? - s?intéresse au ?Lean Planning? et examine l?impact des systèmes de production et de distribution appliqués à un environnement convertible, ainsi qu?aux effets du ?Made in China? sur la région du Delta de la Rivière des Perles. Laurent Gutierrez est architecte DPLG, professeur Associé à l?Ecole de Design de l?Université Polytechnique de Hong Kong ou il dirige le Master en Design Stratégies (MDES) et le Master en Innovation Design Management (MBA - IDM). Il termine sa thèse de doctorat à l`université de Paris 8 sous la direction de Claude Prélorenzo. Sujet: ?La production du territoire et le territoire de la production : du modèle au laisser-faire, stratégies et mise en ?uvre de l?aménagement territorial en Chine de 1949 à aujourd?hui.?(Soutenance prévue fin 2008). Valérie Portefaix est architecte DPLG et docteur en Urbanisme et aménagement du territoire. Sa thèse, ?Architecture et territoire: Outils et stratégies du projet à grande échelle dans l?oeuvre de Le Corbusier? a été dirigée par Rémi Baudoui, à l?Université de Grenoble, 2001. Elle est également directeur du bureau de recherche MAP OFFICE.

Dans la « crying room » (chambre à pleurer), la souffrance pour la vie gâchée des jeunes filles abusées éclate dans toute sa brutalité et son intensité pure ; l??uvre de Gutierrez combine une immersion dans cet espace traumatique avec une dimension de réflexion sur la critique sociale et une dénonciation des contextes sociaux de l?abus sexuel. La Thérapie primale ? controversée dans de nombreux pays occidentaux ? crée un espace intime et protégé où les jeunes filles abusées peuvent faire face à leurs traumatismes et commencer leur chemin vers la guérison. « Crying Room / Patch Worked Dreams » est une réponse à l'une des questions auxquelles la mondialisation est de plus en plus confrontée : les abus et violences sexuelles, la traite des jeunes filles et des femmes. L??uvre de Gutierrez est basée sur une perspective d'espoir et de résistance.

Sally Gutierrez est une artiste visuelle dont le travail se nourrit de différentes disciplines telles que les films, les études de genre, l'urbanisme, l'anthropologie, la poésie et la littérature. Elle a obtenu sa maîtrise en art à l'Université Complutense de Madrid et achevé un MA en études médiatiques à la New School University. En 2001, elle a reçu une bourse de résidence du Lower Manhattan Cultural Council au World Trade Center. De retour à Madrid, Gutierrez s'est rendue aux Philippines à deux reprises, grâce à diverses subventions et a développé plusieurs projets dans ce pays. Son travail a été exposé internationalement. Elle travaille également en collaboration avec sa s?ur, qui est réalisatrice et productrice de documentaires. Leur dernier film, « Papologo », est actuellement projeté dans des festivals de cinéma et des centres d'art du monde entier, et a reçu plusieurs prix.