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The videoart “I, who ignore so many things, know that I ignore one more" is based on a short story by Brazilian writer Vilma Aguiar. The film aims to ponder between decisions, choices, and mistakes in order to understand the present and project the future through observations about the past, as the misunderstandings resulting from a time full of certainties led us to a hazy and fluctuating period between apathy, anesthesia, post-truth, torment, endless work-fun, euphoria, and fervor. Thus, aware of the yes and no, we could let ourselves be carried away by oscillations, abuse time, and get lost in it, in a lucid labyrinth.

Fernando Moletta is a visual artist and researcher (FBAUL). He holds a Master's degree from the Faculty of Fine Arts of the University of Lisbon. His artistic practice arises from an exploration of the challenges posed by modernism in contemporary times. Through an examination of temporal concepts and their intersections, he delves into the themes of failure, biopolitics, allegorical plasticity, and technological noise. These notions manifest as specters, hovering and intertwining to form a hybrid body of work that encompasses video, sculpture, and drawing. His recent exhibitions include solo shows such as "Three Sad Flawed" at the Gallery of the Faculty of Fine Arts of the University of Lisbon and "O que há entre o acima e o abaixo?" at the Museum of Art of Blumenau (Brazil), as well as group exhibitions including the 14th International Biennial of Contemporary Art in Curitiba (Brazil), "Drifting Time Misplaced" at Mono (Lisbon), "New future" at Industra (Brno, Czech Republic), and the 50th Contemporary Art Salon Luis Sacilotto (Santo André, Brazil). He has also participated in video and cinema festivals such as "Caminhos do Cinema Português" (Coimbra, Portugal) and the 36th Stuttgarter Filmwinter - Festival for Expanded Media (Stuttgart, Germany). He has taken part in artistic residencies at Duplex AiR (Lisbon) and Stalker/Mattatoio (Rome). His work has received awards and is part of the institutional collection at the Museum of Art of Goiânia (Brazil).

On 1972 the astronaut Charles Duke landed on the Moon on the Apollo XVI. He was in charge of taking photos of the lunar surface with a high-resolution camera. ‘The Sasha’ is a film about the human perspective on Earth and our constant struggle with our temporal and spatial limitations. From the exploration of space to cyberspace, from an analogue Moon in 1972 to a virtual Moon in Google Earth today. A story about parallel universes where eternity seems to be lost between frames and interfaces.

María Molina Peiró is a Spanish audiovisual artist, filmmaker and researcher. Her film and installations explore layered realities that connect humans, technology and nature. She is particularly interested in memory systems (from geology to digital memory) and the relation between cinema and science. Her work has been shown internationally both in art venues and film festivals such as International Film Festival Rotterdam IFFR, Rencontres Internationales, BFI London Film Festival, Haus der Kulturen der Welt, International Film Festival Oberhausen, Louvre Museum, EYE Film Museum, ISEA Korea, Indie Lisboa International Film Festival, Washington National Gallery, London Science Museum, MACBA, National Museum of Modern and Contemporary Art (MMCA) Seoul, CCCB, Sevilla European Film Festival (SEFF), LOOP Videoart Festival, VIS Vienna Shorts, Hong-Gah Museum (Taipei), MATADERO (Madrid), Vilnius National Gallery, Taiwan Video Art Biennale, NABI Art Center, or Museum of Contemporary Art of Vojvodina amongst others. María holds a BA in Fine Arts from the University of Sevilla and graduated Cum Laude from the Master of Film at the Netherland Film Academy, where she is a current lecturer. Molina Peiro’s work has been supported and awarded in the last years with grants like Amsterdam Funds for the Kunst (3 Package Deal), AHK (Amsterdam University of the Arts) Award for Best Master´s project, Aesthetica Art prize (UK), Bloom Awards (Germany) among others. María Molina Peiro´s has participated recently in residency programs at Museum Quartier Vienna and Santa Fe Art Institute.

During one year María Molina Peiró carried a wearable camera taking a photo every 30 seconds. The enormous collection of photos collected by the camera are shown in an online archive that instead of "remembering" creates a creative forgetting of the vast photo archive. One Year Life Strata proposes a visual metaphor of forgetting by transforming the digital images into what is likely the ultimate memory trace that will remain from us: The geological record. The project, in a sort of digital geology, mines the data from the strata and invite viewers to investigate one year of Maria Molina's life through an AI vision system, not concerned about personal memories but the collection of patterns and numbers they contain. In a society obsessed with recollection, data and monitoring One Year Life Strata addresses the disturbing territory of forgetting. Today that we have the tools to remember and archive almost everything, forgetting has become a term very close to death raising very similar fears. One Year Life Strata wants to overcome this fear and embrace forgetting in a game of time scales, where the speed of Digital Time is buried into a time difficult for us to grasp, the slow Deep Time.

María Molina is an audio-visual artist and filmmaker with a background in fine arts. She works in an open format mixing film, digital media and experimental animation. María Molina´s films and art works have been showcased in international museums like Haus der Kulturen der Welt (Berlin), EYE Film Museum (Amsterdam), MACBA (Museum of Modern Art Barcelona), Hong-Gah Museum (Taipei), Centre de Cultura Contemporània Barcelona (CCCB), MATADERO (Madrid) or Museum of Contemporary Art of Vojvodina (Serbia) among others. Her works has been featured in festivals like Rotterdam Film Festival, Art Futura (Barcelona), Taiwan Video Art Biennial, MADATAC (Madrid), VISS (Vienna International Film Festival) or Forecast Forum (Berlin). In her work she explores the increasingly blurred boundaries between material and digital realities. She is particularly interested in the convergences between different memory systems (from Geology to Digital Memory) and how the ubiquity and pervasive nature of Digital Technology is reframing our spatial and temporal perspective. Her films and installations often use metafiction, postproduction and geo-tools to unfold layered realities that connect humans, technology and nature. Her current research focuses on humanity's constant struggle with its temporal and spatial limitations, and how this struggle has driven civilisation and technology to change our relation with nature, time and our understanding of life itself.

I am in a supermarket. Instead of buying the products I need, I buy that ones that the others want. Does a product taste better when is desired by the others? A supermarket is a very common place in our daily life which represents well today`s capitalist system. Through my action I attempt to confront the idea of consumer choice and desire. Transcending the comic or quirky, the video promotes the possibility of a critical engagement with consumer values and cultural behaviour. It has without being propangandist a political agenda.

Mercedes Mollá (b. 1980, Valencia) received a Postgraduate Diploma in Fine Arts at Chelsea College of Art and Designed, University of the Arts in London. Studied her BA at Facultad de Bellas Artes de San Carlos in Valencia .With the Erasmus scholarship she studied six months at Winchester School of Art,UK. Recent solo exhibitions include Matuvu gallery, Brussels, Art Below, London; Imprevisual gallery, Valencia. Group exhibitions include Canvas Collectie , gallery on line ,Belgium; Really London?s gallery; Galeria de arte Kessler-Battaglia, Valencia. Mercedes is currently based in Brussels.

Moore Street est un unique travelling filmé à Moore Street en Ireland. Le film est en swahili et en anglais. Pendant cinq minutes, nous suivons les pensées d'une jeune africaine en Irlande, songeant à son passé, son avenir et le sentiment d'identité qui se révèle à elle tandis qu'elle longe la rue dans la nuit. D'une part, Moore Street revient sur rue emblématique de Dublin à un moment charnière de son renouveau officiel de développement, où déjà les espoirs et les rêves des nouvelles communautés refondent la ville à l'image de leur chez-eux. D'autre part, il s'agit d'une lettre d'amour chuchotée à un amant absent au c?ur de la nuit.

Christine Molloy et Joe Lawlor sont tous deux originaires de Dublin (Irlande). Ils sont actuellement basés à Londres où ils réalisent des ?uvres filmiques et vidéo pour le cinéma, Internet, sites et galeries. Moore Street est issu d'une série de sept cours métrages en 35mm tournés par Molloy et Lawlor sous le titre Civic Life qui ont contribué à l'entrée de l'Irlande dans la Biennale de Sao Paulo en 2004.

TIONG BAHRU follows the lives of three characters of very different ages over the course of a day as they reveal to their families and friends their hopes and desires. Lyrical and musical in its style, the film is a sensitive portrait of 3 people caught at a crossroads in their lives and the extraordinary place in which they live. TIONG BAHRU is the latest and most ambitious film in CIVIC LIFE, the acclaimed series of short films by Christine Molloy and Joe Lawlor, through which over the last 8 years the artists have explored the themes of belonging, place, change and relationships. The films are developed through an extensive process of dialogues with communities and are made with casts of volunteers drawn from the areas in which they are filmed. Featuring 150 volunteers, many of whom had never acted before, TIONG BAHRU was shot on 35mm in the market and hawker centre of the art deco heritage estate of Tiong Bahru in Singapore in June 2010. ?TIONG BAHRU is the touchstone of (Molloy and Lawlor?s) work?restrained and lavish, formally audacious and sentimental? (Sight & Sound)

Born in Dublin, Ireland Christine Molloy (b 1965) and Joe Lawlor (b 1963) studied theatre in the UK in the late 80s. From 1992 to 1999 they devised, directed and performed in six internationally acclaimed touring theatre shows before shifting their attention towards moving image based work. Between 2000 and 2003 they directed a number of episodic, interactive works for the internet, and large-scale community video projects for galleries. Since 2003 Molloy and Lawlor have produced, written and directed 10 acclaimed short films, under the title CIVIC LIFE. All shot on 35mm, the CIVIC LIFE films have screened extensively around the world including screenings at the Telluride Film Festival, the International Film Festival Rotterdam, the Thessaloniki International Film Festival, the Sydney Film Festival and IndieLisboa. HELEN, their acclaimed debut feature film, premiered at the Edinburgh International Film Festival in June 2008 before screening at over 50 film festivals worldwide. TIONG BAHRU is the latest film in the CIVIC LIFE series.

Escape Pod is a seamlessly looping 20 minute computer animated film chronicling a golden deer through glossy environments of wealth, power, and authority. Composed of one continuous tracking shot, the journey imagines a new reality devoid of human bodies, left only with material desires and ambitions of power.

Artist Jonathan Monaghan (born 1986, New York) creates animated video installations that challenge the boundaries between the real, the imagined, and virtual. Pulling from wide-ranging sources such as science fiction and baroque architecture, he creates bizarre, yet compelling, narratives and imagery with the same high-end technology used by Hollywood and video games. His work has been exhibited widely, including venues such as: The Sundance Film Festival, The BFI Southbank in London, The Hirshhorn Museum in Washington D.C., and The Crystal Bridges Museum of American Art. His work has been featured by The Washington Post, VICE, The Wall Street Journal, The Huffington Post, and The Village Voice.

Salvador Dali meets science fiction in a fantastical vision from an alternate reality. Cows, superheros, video games, luxury hotels, and operating rooms seamlessly meld in a surreal exploration of value and power in the digital era. Trapped in an endless loop of seductive but ultimately vacuous simulation where meanings don’t quite materialize.

American artist Jonathan Monaghan (born 1986, New York) creates sculpture and animated video installations that challenge the boundaries between the real, the imagined, and virtual. Pulling from wide-ranging sources such as science fiction and baroque architecture, he creates bizarre, yet compelling, virtual environments and stories with the same high-end technology used by Hollywood and video games. His work has been exhibited worldwide in venues such as Bitforms Gallery in New York, BFI Southbank in London, Eyebeam Art & Technology Center, The Hirshhorn Museum in Washington D.C., and the Moving Image Art Fair London. His work has been featured by The Washington Post, Metropolis M, The Huffington Post, TimeOut NY, The Wall Street Journal and NYC TV.

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Jonathan Monaghan is an award-winning visual artist who works across a range of media, such as prints, sculpture, and animation, to produce otherworldly objects and narratives. Drawing on wide-ranging sources, such as historical artworks and science fiction, his fantastical pieces uncover subconscious anxieties associated with technology and consumerism. Monaghan’s work has been exhibited at the Sundance Film Festival and the Palais de Tokyo in Paris, among other major venues. He has been featured in several media outlets, including The New York Times, Vogue Italia, and The Washington Post. His work has also been acquired by numerous public and private art collections, including The Crystal Bridges Museum of American Art and the Washington, D.C., Art Bank Collection.

Rainbow Narcosis follows a headless lamb through hallucinatory and otherworldly environments. From the Palais Garnier in Paris, to a modernist loft, the film weaves a cryptic narrative of iconic subject matter relating to wealth and power. Like an alternate reality, elements from contemporary culture coexist with an antiquated past.

American artist Jonathan Monaghan (born 1986, New York) creates animated films that challenge the boundaries between the real, the imagined, and virtual. Pulling from wide-ranging sources such as science fiction and baroque architecture, he creates bizarre, yet compelling, environments and stories with the same high-end technology used by Hollywood and video games. Jonathan received his BFA from the New York Institute of Technology in 2008 and his MFA from the University of Maryland in 2011. His work has been exhibited worldwide in venues such as Bitforms Gallery, BFI Southbank London, The Hirshhorn Museum, and the Moving Image Art Fair. He has given lectures and workshops at the Glasgow School of Art, the University of Denver, and the Metropolitan Museum of Art. His work has been featured by the Washington Post, Metropolis M, The Huffington Post, TimeOut NY, the Colbert Report, ArtInfo and NYC TV. Monaghan is represented by Curator?s Office in Washington D.C

Résumé du film : Le long des voies ferrées délabrées d`un pays tropical, un poste radio diffuse en boucle une alerte climatologique : une catastrophe naturelle est imminente Intention : *Ce film est inspiré d’un phénomène historique concret, l’abandon progressif du système ferroviaire de la Colombie pendant la deuxième moitié du XXe siècle, lequel caractérise la relation complexe que ce pays a entretenu au fil du temps avec la notion de Modernité. Il est envisagé en quelque sorte comme un processus intime de déconstruction de la cartographie imagée de ce territoire, comme une réflexion portée vers la corrélation existante entre un paysage physique et sa représentation mentale. Véritable «travelling avant» sur les voies ferrées vétustes d’une mémoire collective, qui cherche à scruter de façon transversale, les conditions à partir desquelles l’individu contemporain construit les cadres de son expérience intérieure.

Guillermo Moncayo a fait des études de cinéma à Bogotá (Colombie) de 2003 à 2006. A partir de 2007, il étudie à l`École Supérieure d’Art d’Aix en Provence, de laquelle il est diplômé en 2012. Actuellement, il suit le cursus du Fresnoy-Studio National des arts contemporains. Son travail, qui se situe entre l’art vidéo, le film documentaire et la photographie, a été exposé dans de nombreuses manifestations en France et à l`étranger. Il explore la façon dont notre environnement géographique, qu`il soit aménagé ou non, agit sur notre comportement affectif. On y décèle régulièrement des questionnements sur les processus à partir desquels l`Homme contemporain construit les cadres de sa propre expérience.

The personal stories lived by the Uncle, the Father and the Son, respectively, form a tragic experience that is drawn along a line in time. This line is comparable to a crease in the pages of the family album, but also to a crack in the walls of the paternal house. It resembles the open wound created when drilling into a mountain, but also a scar in the collective imaginary of a society, where the idea of salvation finds its tragic destiny in the political struggle. What is at the end of that line? Will old war songs be enough to circumvent that destiny?

Born in Vitoria-Gasteiz (Basque Country) in 1988. He achieved his Bachelor degree at the University of the Basque Country and also carried out studies at Universitatea de Arta si Design din Cluj-Napoca (Romania) and Universidade de Vigo (Spain). Over the past few years he has developed his artistic career in visual arts and audiovisual media, enrolling in personal projects both as author, editor and cinematographer. His creations have been displayed in several cultural institutions and film festivals in Europe, Asia and America. He completed his film studies at ESCAC (Catalonia) and at the UAB-Universidad Autónoma de Barcelona (Catalonia) where he co-directed "The Interior City" that premiered at IDFA 2017. "Orbainak" ("The Scars"), his first film on his own, has been produced thanks to the Montehermoso Cultural Center grant and has participated into mentoring programes at IDFAcademy (The Netherlands) and Zlab (Basque Country). It premiered at Punto de Vista 2019 and has been awarded at Filmadrid 2019. He is currently finishing his next short film ?Begiak Hesteko Artean? (2020) and developing his first feature film 'Almanaka' (2021).

La peur des ponts

Caroline Monnet est une artiste multidisciplinaire d`origine Algonquine et Française qui travaille principalement en film et vidéo, photographie et sérigraphie. Ses oeuvres ont été présentées dans plusieurs galleries et festivals autour du monde, notamment au Festival International de Toronto, Urban Shaman Contemporary Aboriginal Art (Winnipeg),Plug In ICA, Cannes, Magere Arts Centre (NZ) et Künstlerhaus Bethanien (Berlin). Monnet est membre active d`ITWÉ, un collectif dédié à la recherche, à la création et à la production des arts médiatiques autochtones.

« Le documentaire expérimental hanté et hantant d'Alex Monteith nous invite à prendre en considération ses images de l'Irlande du Nord durant cette période transitoire, d'un point de vue des conflits. Certaines de ses images sont composées de beauté limpide et formelle, d'autres plus dans le style d'un journal télévisuelle avec une caméra à l'épaule, certaines en couleur, d'autres en noir et blanc mais la plupart n'ont un rapport qu'oblique avec les expressions élégantes de perspective personnelles et politiques entendu sur la bande son. Son approche contemplative et sans limites de représentation de la lutte historique est clairement influencé par Godard comme elle est la premiers à le faire savoir. Son infaillible sens du montage à utiliser la duré et l'interruption comme faire tressaillir un public déjà attentif. Pendant que nous écoutons un catalogue de morts, la caméra semble scruter les paysage pour des signes de violence. l'effet est étrangement semblable au plan de Resnais d'Auschwitz dans « Night and Fog ». Ce film fut tourné sur plus de trois ans sur des lieux de réminiscences des conflits comme le Bogside à Derby. Il se concentre aussi sur les morts de la petite ville de frontière souvent bombardée Castlederg, County Tyrone » -Bill Gosden, Directeur du Festival de Film de Nouvelle Zelande. « Chapter and Verse » comprend des extraits enregistrés avec des politiciens, des membre de la force de sécurité, au famille des victimes des conflits, des figures religieuses et académiques comme Ian Paisley, Premier Ministre de l'Irlande du nord et Edward Daly, Evêque émérite de Derry.

Alex Monteith est née à Belfast, Ireland du Nord en 1977. C'est une artiste, académique et réalisatrice expérimentale. Elle vie à Auckland, Nouvelle Zélande oû elle est directrice de Moving Image à la Manukau School of Visual arts, Manukau Institue of Technology

?onboard three grey Iroquis in military formation over Te WaiPpounamu?ridgetop alpine mists?tussock valley floors?radio communication... Award winning artist Alex Monteith collaborated with Royal New Zealand Air Force No.3 Squadron Leader Oliver Bint to compose a flight routine for three simultaneously flying RNZAF Iroquois helicopters. The action was performed during RNZAF Exercise Blackbird; a two weeklong search and rescue (SAR) training exercise based at Dip Flat at the northern section of the Southern Alps of New Zealand during the winter of 2010. Three helicopters fly maneuvers? in the line astern formation of banking turns in the Alpine areas of the isolated Leese Valley. Each helicopter was installed with identical rearward facing on-board HD cameras. The artworks key maneuver is a three helicopter simultaneous pedal-turn on a ridge-top; the only military maneuver of this kind ever developed specifically for an artwork. The video artwork contains no cuts. The audio is continuous intercom. dialogue between the radio operators at Dip Flat and the pilots in all three helicopters as they position and reposition to maintain the flight-plan.

Born Belfast, Northern Ireland (1977), Alex Monteith is an artist and academic based in Auckland New Zealand where she is a lecturer at the Elam School of Fine Arts, the University of Auckland. In 2008 she was awarded the Arts Foundation New Generation Awards, one of New Zealand?s most important bi-anneal awards for contemporary art and her video work Passing Maneuver 2008 was a finalist for the Walters Art Prize 2010. Her work is post-studio in orientation and often takes the form of performances, video art and large-scale actions with high-speed or high-risk cultures with radical sensitivities to geography.

SYNOPSIS Film essay recorded in Aotearoa / New Zealand`s Cascade Cove, Tamatea / Dusky Sound; one of the wettest places on earth. After he had sailed there for the first time in 1770, James Cook spent more than two months in Tamatea in Aotearoa on his second journey in 1773. Cascade Cove within Tamatea is also near to the sites of the earliest archeological digs of the lower fiords of Aotearoa. The Begg Brothers, then in the modern era, Peter Coutts, each made various archeological incursions looking for and removing both settler and Maori material culture from the area. This film compiles observations of the intensity of weather atmosphere as a physical expression of tension between elemental forces, as a way of approaching a contested past in which European research methods overran already existing Maori knowledge production about the area. This film is part of an ongoing series of work about this area of Aotearoa.

Alex Monteith Biography (1977-) born Belfast, Northern Ireland, resides Tamaki Makaurau, Aotearoa resides in Piha, Aotearoa Alex Monteith’s works often explore the political dimensions of culture engaged in turmoil over land ownership, history and occupation. The works traverse political movements, contemporary sports, culture and social activities. Projects often take place in large-scale or extreme geographies. Recent surfing related actions connect the museum directly to local geography through participatory performance projects.

La Folie Almayer est l'adaptation faite par Chantal Akerman du premier roman éponyme de Joseph Conrad ; Une histoire de passion, de perdition et de folie quelque part en Asie du Sud-Est que la cinéaste est partie tourner en 2010 au Cambodge. Présent sur le tournage, Sopheak Sao a filmé la cinéaste au cœur de son travail dans la végétation exotique et dans les eaux noires d’un fleuve qui ne semble mener nulle part. Les images qu’il a filmées ont, après un archivage de dix ans, été montées par Marwan Montel, et montrent combien le travail formel et esthétique prend le pas sur l’aspect narratif dans le travail de la réalisatrice belge. Une véritable plongée au plus près de l'artiste, et une occasion exceptionnelle de se glisser au cœur de son travail.

Marwan Montel (né à Istanbul en 2001) est un monteur et réalisateur Français. Suite à ses études à l'IAD en Belgique, d'où il sort diplômé en montage-scripte, il réalise un film documentaire d’archive sur le dernier tournage de fiction de Chantal Akerman.

"A walker understands gradually that he does not know much about the turbulent and airy flow of the spirit. Or he is incapable of defining it. Nevertheless, he connects with it every time he discovers that his own person constitutes a fragile material structure in the hands of nature’s fluctuations, far from social intermediaries. However, he adapts his definition of “natural” to the changes of his own mind: today is freezing because I freeze, tomorrow the sun burns because I dry out. Fragment of "The book of Haiku" by Alberto Silva.

Luján Montes (1980, Buenos Aires, Argentina) is a filmmaker, colorist and photographer. Her projects have been exhibited in numerous national and international festivals (BAFICI, Festival Internacional de Mar del Plata, London Analogue Festival, Festival Internacional de Cine de Centroamérica, Derhumalc) and have been shown in many art venues and museums (Museo de Arte Moderno de Buenos Aires, Palais de Glace, Casa de Cultural del Fondo Nacional de las Artes).

Le mois de Juillet. Tout ce qui constitue un été ; La plage, les bals, les rencontres, les débuts d?histoires d?amour?Et les fins.

Études de cinéma.Vit et travaille à Paris. Films En cours Un jour ou l?autre nous partons tous en voyage en Italie 53 mn DV (montage son) Place de l?Europe(Autour) 10mn(montage son)App photo Mer, baigneurs et taches colorées (take1, take2, take3) 11mn,10mn,8mn (montage son) DV Ceux de la côte (en attente de montage) DV A cold place 4mn App Photo 2009- Alice 16mn DV . Festival « Côté court » Pantin 2009 . Rodos International Film and Visual Arts festival ECOFILMS 2009 . International Filmfestival Schaebisch Hall "Formula Mundi" 2009 . Flexiff 2002-2022 Australia 2009 . DokumentART Neubrandenburg&Szczecin Allemagne / Pologne 2009 . Ekofilm Prague 2009 Solus ad Solam 23mn DV . The 13th Thai Short Film and Video Festival Bangkok 2009 Adieu mon général 58mn DV . FidMarseille festival documentaire Marseille 2009 2008- Vers un pays éloigné 44mn HDV Les jeux d?enfants 9mn HDV . Festival « Côté Court » Pantin 2008 . Instants Vidéo Marseille 2008 . Streaming festival La Haye 2008 . Traverse Video Toulouse 2009 . Telévision :Chaîne Cultura « Special New arrivals of IFFR?09 » Pays?Bas 2009 . Videoformes Clermont-ferrand 2009(vidéothèque éphémère) . Festival Bandits-Mages Bourges 2009 . Hamburg International Short Film Festival 2009 . Festival de films underground de Montréal (MUFF)2009 . Short Film Festival FF600 of Ljubljana,Slovenia 2009 . Flexiff 2002-2022 Australia 2009 . DokumentART Neubrandenburg&Szczecin Allemagne / Pologne 2009 . Festival du film de Dieppe (ciné-roulotte) 2009 . Strange Screen Film Festival Thessaloniki 2009 2007- Les travailleurs de la nuit 40 mn DV . Rencontres cinématographiques de Cerbères 2007 Chambres (ou Chagrin) 25mn DV . Festival « Côté court » Pantin 2007 . Streaming festival La Haye 2008 . Strange Screen Film Festival Thessaloniki 2009 2006- Le monde est immense 9 mn S8-DV . Festival « Côté court » Pantin 2007 . The int?l festival of Cinema and Technology Los Angeles 2008 . Projection Braquage(Cartoucherie de Vincennes) 2008 . Streaming festival La Haye 2008 . Festival Detour Le Caire 2008 . Festival Alternative film/video Belgrade 2008 . Traverse Video Toulouse 2009 . International Panorama of Independent Filmakers Patras 2009 . Flexiff 2002-2022 Australia 2009 . Cortopotere ShortFilmFestival IX Edizione Bergamo 2009 . International Bosphorus Film and Video Festival 2009 . Strange Screen Film Festival Thessaloniki 2009 Instants d?après 6mn S8-DV . Festival OUSFF Lausanne 2007 . Instants Vidéo Marseille 2007 . Traverse Vidéo Toulouse 2008 . Streaming festival La Haye 2008 . P?Silo / Festival Images Contre Nature Marseille 2009 . Video Art Festival Miden Kalamata 2009 . Flexiff 2002-2022 Sydney 2009 . namaTRE.ba project, (Independent platform for contemporary art), Trebinje, Bosnia & Herzegovina, 2009. 2003-Les Etrangères 20mn DV . Musée du jeu de paume ?Inventaire contemporain III Paris 2005 1999- Provisoirement et pour la vie 26mn Hi8 . Cortocinema Rome 1999 . Galerie du Delta Paris 1999 . Rencontres cinématographiques de Cerbères 2007 1997- All along theses lines 5mn 16MM Galeries, Installations Chambres (ou Chagrin) . Festival de films underground de Montréal (MUFF). 2009 Le monde est immense, Alice, Instants d ?après, Les jeux d?enfants . Broken Hill Regional Art Gallery Flexiff Australie 2009 Les jeux d?enfants . namaTRE.ba project, (Independent platform for contemporary art), Trebinje, Bosnia & Herzegovina, 2009.

S’enfonçant dans l’anéantissement qui les attire, ils ne craignent pas de se retourner sans fin pour raconter. (Susan Howe) Je reprends les rushes de certains de mes films. Autobiographie, autofiction, autofabulation.

Muriel Montini a fait des études de cinéma. Elle vit et travaille à Paris. Depuis 2000, elle a réalisé plusieurs films qui sont projetés dans différents festivals internationaux (Hamburg International Short Film Festival, FID de Marseille, European Media Art Festival Osnabrueck…) et diverses institutions (Musée du Jeu de Paume, Anthology Film Archives New York, ImagesPassages...).

Medea est un voyage sonore autour de la Mer Noire : une composition à partir d'enregistrements d'ondes hertziennes et de fragments sonores collectés au cours d'une traversée de deux mois par le Collectif Soundwalk le long de la Mer Noire sur un voilier équipé de scanners, d'antennes et de microphones. La diffusion de Medea s'accompagne d'images de Vincent Moon retravaillées en direct. Medea constitue la face sombre d'une pièce sonore de Soundwalk Ulysses Syndrome commencée il y a trois ans sur la mer Méditerranée. Des pièces sonores qui au départ partageaient des similitudes mais pour celle de la mer Méditerranée la référence au mythe d'Ulysse, dont elle reprenait alors le parcours, avait d'emblée été claire et évidente comparée à celle de la mer Noire. Ce titre Medea s'est imposé au fur et à mesure des séances d'enregistrement sur fond obscur de l'honneur rendu par le sang et la vengeance. Les pays abordés dans Medea : la Turquie, la Géorgie, la Russie, la Crimée, l'Ukraine, la Roumanie, et la Bulgarie, portent tous les cicatrices de cette malédiction. La pièce Medea est ainsi la lecture sonore d'une région du monde dont la beauté demeure sanglante et sombre.

Vincent Moon, de son vrai nom Mathieu Saura, est un réalisateur français de vidéo né le 25 août 1979 à Paris.