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Deux lieux se rapprochent dans un mouvement d?alternance et de réversibilité : le centre financier de la bourse de Tokyo et les cratères volcaniques de l?archipel des Açores. Les fluctuations économiques se relient aux secousses telluriques à la recherche d?un point d?attache et d?équilibre. Un sentiment de douce inquiétude émerge de cet état de rencontre.

Vivant à Paris, Cécile Hartmann née en 1971 à Colmar aborde l?image par les médiums de la peinture, de la photographie et plus récemment de la vidéo. D?emblée, son travail se situe du côté d?une image méditative, dans une négociation entre le mystère, le songe, l?utopie et une réalité contemporaine liée aux grands ensembles urbains, à leur influence sur l?espace terrestre et sur les modes de vie des êtres qui l?habitent. Paradoxalement, la portée critique et politique des ?uvres s?exprime dans des formes magnifiées, non autoritaires aux limites du fantastique. Le minimalisme des compositions, l?emplois de couleurs saturées ou encore la présence fréquente sur les sujets d?une trame poudreuse, confèrent à ses images fixes comme à ses ?uvres vidéos un caractère hypnotique et sensuel. Diplômée de l?Ecole Nationale Supérieure des Beaux Arts de Paris en 1998 et d?une Licence d?Arts Plastiques et d?Histoire de l?Art en 1994, elle participe notamment à l?exposition La Force de l?Art, en 2006 à Paris, à Emerging Artists à Vienne en 2005. Elle était résidente à la Cité Internationale des Arts à Paris en 2006 et au Japon en 2004 dans le cadre de la Villa Médicis Hors les Murs. Ses ?uvres font partie de la collection du Fonds Nationale d?Art Contemporain.

Water as a physical and metaphysical metaphor and background of human existence. A docu-fictional essay between the Brazilian Sertão-deserts and the Northern-German flood areas of Dithmarschen. Dramas and day-by-day-observations in times of climate change.

Philipp Hartmann, born in 1972 in Karlsruhe, Germany, working as a filmmaker since 2000. Before studying film at Hamburg University of Fine Arts (graduated in 2007) he obtained a master’s degree in Latin American Sciences and a Ph.D. in Environmental Economics in Cologne and Brazil. His last feature length films were: virar mar / meer werden / becoming sea (2020), From the 84 Days (2021), El Argentino (2021), 66KINOS (2017) and Time goes by like a Roaring Lion (2013). He also makes short films like Skala (2019), About the Necessity to Travel the Seas (2010) or requiem for Mrs. H. (2007), as well as commissioned films, especially for museums and artists. Danilo Carvalho, born in 1972 in Fortaleza, Northeast Brazil. Filmmaker specialized in sound recording, sound design and soundtrack. Studied music at the State University of Ceará. Worked as a sound engineer and sound designer for directors such as Karim Aïnouz (Brazil), Hilton Lacerda (Brazil) or Margarita Hernandez (Cuba). Directed the films Supermemórias (2010), virar mar / meer werden (2020) and Torquato Imagem da Incompletude (2020). He founded the experimental jazz band Realejo Quartet and, at the end of the 1990s, he played in the bands Cidadão Instigado and Belchior. He teaches classes in sound recording or sound design at universities, schools and NGOs.

Le pipeline géant Keystone transporte chaque jour plus de 700 000 barils de résidus impurs depuis les exploitations à ciel ouvert de la forêt Boréale à travers les Grandes Plaines des Sioux, souillant les terres et les réserves d'eau. Dans une plongée au coeur des ténèbres, l'histoire contemporaine retrouve le temps prophétique des commencements :"lorsqu’il n’y avait ni lune ni étoile”, le lieu des spectres, du surgissement et de la disparition.

Cécile Hartmann is a french artist and filmmaker based in Paris. Born in Colmar, she studies Art at the National Fine Arts Academy of Paris (2000) and Art History in Human Sciences at the University of Strasbourg. Inspired by documentary aesthetics and Minimalism, her work questionnes the divisions between a constructed world and a natural world. Using different mediums and image regimes she fuses video, photography and performative gestures to create effects of instability and sublimity in her representations. Close to the terrestrial surface, in search for hidden layers and collective mythologies, her cinematic language plays on the indecisive nature of perception, between the visible and invisible, the organic and non-organic, past and futur. Main exhibitions included : Le Serpent Noir, MABA, Nogent-sur-Marne, Achrone, MOCA, Hiroshima, Et voici la lumière, Museo de Arte del Banco de la República, Bogotá, The family of the invisibles, SEMA Séoul Museum of Art, AGITATIONISM, Eva Internationale Bienniale, Limerick, De la Casa a la Fabrica, Palau la Virreina, Barcelone, French Edges, Museum of Fine Arts, Boston, Paysages de la conscience, MAMBO, Bogotà, Microclimat, CCC, Tours.

The project Two within close range is an investigation of urban spaces that remain private or inaccessible despite their public significance. The urban structures and familiar places - a park and a construction site with a disputed past - are used to reflect the socio-political issues in the area outside the walled city of Jerusalem. Instead of remaining invisible and unnoticeable in the everyday environment, aspects of contemporary experience of place are revealed through observations of the usage patterns of the selected sites, the Rockefeller Garden and the Nusseibeh building. In this way, they become the centre of attention. In the work, the two sites are represented through still images, video and 8 mm film corresponding with written narratives weaved together in an attempt to re-write and expand what already exists as the oral history of these places. The written narratives deal with the recent past of the area, as well as historical and political narratives, through a more descriptive and spatial approach. By using official information, personal stories collected from the area and fictional elements, a mix of voices and positions appear in order to reproduce and examine recent, at times unnoticed, history.

Maj Hasager is a Danish artist and filmmaker based in Copenhagen, Denmark. She studied photography and fine art in Denmark, Sweden and the UK, earning an MFA from Malmö Art Academy, Sweden. Her work deals with power structures, identity, memory, the construction of history, and architecture, looking at how these interlinked phenomena are interpreted and represented culturally and spatially. Her artistic approach is research-based and interdisciplinary, and she works predominantly with text, sound, video and photography. She has exhibited her work internationally in events and institutions such as; Society Acts, Moderna Museet Malmö (2014), A voice of ones own, Malmö Konstmuseum (2014), Past Upon Past, Red Barn Photo Gallery, Belfast, Ireland (2013), Decembers, LAZNIA Centre for Contemporary Art, Gdańsk, Poland (2012), Liverpool Biennial, UK (2010). She has been awarded grants in support of her work from the Danish ArtsCouncil, The Danish Arts Foundation, Arab Fund for Arts and Culture (Beirut, Lebanon), ArtSchool Palestine, Danish Centre for Culture and Development and the Danish Arts Agency. She is the programme director of Critical and Pedagogical studies at Malmö Art Academy, and is a guest lecturer at the International Academy of Art – Palestine, Dar al-Kalima College, Bethlehem and University of Ulster, Belfast.

We will meet in the blind spot, 2015 Maj Hasager The film ”We will meet in the blind spot” takes its point of departure from the architecture in and around the Esposizione Universale di Roma (EUR) area in Rome. The EUR was built during the fascist rule and was meant to be the site of the World Exposition in 1942, in addition to being a celebration of the 20-year jubilee for fascism in Italy. The World Exposition in 1942 never took place due to WWII, and the area intended as Mussolini’s “Third Rome” wasn`t completed until the 1960`s - though not in the shape the utopian project was given from the onset. Since then Italian filmmakers have made extensive use of EUR as an exterior location. We will meet in the blind spot is intended as a document of stories and voices that are often lacking in the discussion on migration, both in an Italian context as well as within a broader European perspective. Through encounters with a local Filipino community that is centred around a church in EUR, stories and voices were revealed and the film departs from their personal accounts. In the film, which is situated between documentary and fiction, the focus is on leisure time, interests described by individuals in the group and referencing scenes from Italian film of the 60’s.

Maj Hasager is a Danish artist and filmmaker based in Copenhagen, Denmark. She studied photography and fine art in Denmark, Sweden and the UK, earning an MFA from Malmö Art Academy, Sweden. Her work deals with power structures, identity, memory, the construction of history, and architecture, looking at how these interlinked phenomena are interpreted and represented culturally and spatially. Her artistic approach is research-based and interdisciplinary, and she works predominantly with text, sound, video and photography. She has exhibited her work internationally in events and institutions such as; Society Acts, Moderna Museet Malmö (2014), A voice of ones own, Malmö Konstmuseum (2014), Past Upon Past, Red Barn Photo Gallery, Belfast, Ireland (2013), Decembers, LAZNIA Centre for Contemporary Art, Gdańsk, Poland (2012), Liverpool Biennial, UK (2010). She has been awarded grants in support of her work from the Danish ArtsCouncil, The Danish Arts Foundation, Arab Fund for Arts and Culture (Beirut, Lebanon), ArtSchool Palestine, Danish Centre for Culture and Development and the Danish Arts Agency. She is the programme director of Critical and Pedagogical studies at Malmö Art Academy, and is a guest lecturer at the International Academy of Art – Palestine, Dar al-Kalima College, Bethlehem and University of Ulster, Belfast.

Forensic Forensics is a collection and a research in how forensic images is aesthetisized in the American TV-series CSI. I have used all 15 seasons and collected all the forensic / technical images and presented them in a single-video work. e videos are categorized in four video- streams: Optical, photographic, video and interface. Forensic is inspired by the work of Vilem Flusser.

My name is Bjørn Erik Haugen, and I have an MA from the National Academy in Oslo 2007. I work mainly with sculpture, sound- and video installation. I work from a conceptual platform where the idea to the work comes before the material, media or way of expression. My works has been shown on the annual national autumn exhibition in Norway, and have been screened in Wienna, Barcelona, Sweden, Germany, England and in USA. I exhibited at Transmediale 2012, Berlin. I received«Honorary Mention» at Prix Ars Electronica 2012 in the section Digital Musics & Sound Art. One of my videos was screened at Palais de Tokyo, during Rencontres Internacionales, December 2012 and at WRO International Media Art Biennale in May. In 2014 I exhibited at Bucharest Biennial, ISCM 2014 and at Bristol Biennial. Last year I exhibited at Land-Shape, Århus, Spring- exhibition, Fotogalleriet, Oslo, ISEA 2015, Vancouver and at 28. Festival Les Instants Vidéo, Marseille. I started my artistic research position this autumn.This year I will have a solo-exhibition at Haugar Art Museum and I will exhibit at the Research Pavilion in Venice and at Wroclaw Media art Biennial 2017.

In my video I problematize how how scientific research is published now and the changes and demands it is stands forward on regard to the Open Access-declaration and Sci-hub. I have concentrated my work on the idea of authorship, and in the near future when cognitive or artificial intelligence will curate, compile and find correlations over many research disciplines. This will be possible when research will gain open access. I think that we will see knowledge organized in new ways and in cross-disciplines. AI I have made a paraphrase on the old saying which is "The Pen is mightier than the Sword", that is central to my works proposed for this exhibition. The pen is here a metaphor for the Computer with AI / cognitive computing that can read and compile research material. It is not the person/author that is central, it is the knowledge that other can read/build upon that is important. The video is a mixture between documentary and a power-point presentation. In my works I often make archives, and work with several medias to make installations. Knowledge production, science-sociology and bio-politics are central in my artistic work. And I want with my works to make the viewer reflect on what they see/experience. I look upon art as knowledge-production. The ideological foundation for Open access to research I will focus on is the UN declaration of human rights article 27: "Every has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits." We know see that access to research is expensive and more difficult to access, and the privileged Universities has access while African/Asian and South-American Universities and their researchers and student must resort to criminal activities, copying articles from more privileged colleagues or from Sci-hub. This structure correlate to the same structure of wealth in the world. The video was screened at the Research Pavilion during the Venice Biennial in May 2017.

My name is Bjørn Erik Haugen, and I have an MA from the National Academy in Oslo 2007. Currently I am working on a phd at the Academy of Music in Oslo. I work mainly with sculpture, sound- and video installation. I work from a conceptual platform where the idea to the work comes before the material, media or way of expression. My works has been shown on the annual national autumn exhibition in Norway, and have been screened in Wienna, Barcelona, Sweden, Germany, England and in USA. I exhibited at Transmediale, 2012 I received«Honorary Mention» at Prix Ars Electronica 2012 in the section Digital Musics & Sound Art. One of my videos was screened at Rencontres Internacionales 2012 and at WRO International Media Art Biennale 2013. In 2014 I exhibited at Bucharest Biennial, ISCM 2014 and at Bristol Biennial. Last year I exhibited at Land-Shape, Arhus, Spring- exhibition, Fotogalleriet, Oslo, ISEA 2015, Vancouver and at 28. Festival Les Instants Vidéo, Marseille. In 2017 I had a solo- exhibition at Haugar Art Museum and presented a video-work at the Second Research Pavilion for the 2017 Venice Biennale. Last year I performed at Only Connect Festival, Klang Festival, Copenhagen and Blurred Edges, Hamburg, and participated on a group exhibition at Haugar Art Museum. This year I have a concert at Ultima 2019, and a solo exhibition at Khåk.

What does it matter how many lovers you have if none of them gives you the universe This project is a transcription for mechanical piano of a lecture by the French psychoanalyst Jaques Lacan. The audience`s response in the lecture is played by a guitar amplifier. The video of the lecture will be screened with a video projector. Lecture The Lecture where he talks about the language as a foundation for our understanding of our surroundings. He is abruptly disrupted by a student that ruins his lecture notes with flour and water, that is the part II of the piece, as a protest against society. He is a situationist, inspired by Debord they start discussing before he ruins Lacan`s cravat/tie and is thrown out of the lecture hall. Lacan then starts lecturing about the protesters views about people and society, about revolution and love. Thoughts about the project In art discourse both Lacan and Debord are central, this is a meeting of their views upon society. This lecture hel place in 1971. The happening is highly coloured by the context, the student protests in France in the late sixties, and revolution as an frequent used word in discussion. The choice of the piano is intended to both be a critique and a hommage to Lacan and postmodern thinkers like him as they first started with theories that revolutionized and transformed how we experience our world, and ended up as virtuous theoretical performers. The audience knew exactly what they were getting when they entered their lectures. The title is a famous quote by Lacan. Here it refers to the two «ideologies» in the piece, the situationist and the psychoanalytic. What does it matter how many lovers you have if none of them gives you the universe received Honorary Mention at Prix Ars Electronica 2012 in the section Digital Musics & Sound Art.

My name is Bjørn Erik Haugen, and I have an MA from the National Academy in Oslo 2007. I work mainly with compositions, sound- and video installation. I work from a conceptual platform where the idea to the work comes before the material, media or way of expression. Art Practice My works has been shown on the annual national autumn exhibition in Norway, and have been screened in Wienna, Barcelona, Sweden, Germany, England and in USA. I exibited at Transmediale, Berlin, February this year.

UNresolved reflects on the twentieth anniversary of genocide in Srebrenica, where in 1995 more than 8000 men and boys were systematically murdered by the Bosnian Serb army of Republika Srpska (VRS). The title relates to the UN Security Resolution 819, passed on the 16th April 1993 declaring Srebrenica as a ‘safe’ area for refugees – the prelude to what was the largest act of genocide in Europe since the holocaust. Following Haughey’s earlier work in Bosnia, between 1998-2002, he gained exclusive access to buildings and atrocity sites in Serb controlled territory, areas that have hitherto been off limits. Since completing the film in early 2015 the building where the Dutch UN was based has been renovated. As a result Unresolved is also an important historical document which captures the building in its original state. The film includes eyewitness accounts of massacre victims collated from archives such as Human Rights Watch and also directly from people encountered on research visits to Bosnia, with accounts of resistance and survival, testimonies from young Dutch soldiers who were serving in Srebrenica and conflicting accounts from UN personnel and Serb military commanders. The film explores ideological and political narratives informing this emerging and contested history.

Anthony Haughey is an artist and a lecturer in the Dublin Institute of Technology. He was Senior Research Fellow (2005-8) in Belfast School of Art, where he completed a PhD in 2009. His work has been widely exhibited and collected nationally and internationally, most recently Uncovering History, Kuunsthaus Graz, Excavation, Limerick City Gallery where he premiered his new film, Unresolved, Making History, Colombo Art Biennale Art of the Troubles, Ulster Museum, Belfast, Settlement, Belfast Exposed, Northern Ireland: 30 years of photography, the MAC and Belfast Exposed, New Irish Landscapes, Three Shadows Gallery, Beijing and Homelands, a major British Council exhibition touring South Asia. His work has been published in more than seventy publications, monographs include The Edge of Europe (1996), Disputed Territory (2006) and an artist’s book State (2011). His work is represented in many international public and private collections and he is an editorial advisor for the Routledge journal, Photographies. He was recipient of the Create Arts and Cultural Diversity Award 2014 and is currently working on a new film supported by a Projects Award from The Arts Council/An Chomhairle Ealaíon which will premiere in NYC in April 2016.

Fall Fell Felt repose sur l’examen de vidéos d’actes manqués, les « fails », un genre populaire où des gaffes sont captées par la caméra et diffusées en ligne. S’attardant à un sous-genre extrêmement répandu, les « girl fails », ce projet évalue la capacité des images à susciter l’empathie, tout en considérant les manières dont le corps des femmes a été utilisé, tout au long de l’histoire de l’image en mouvement, pour provoquer des réactions physiques et viscérales chez les spectateurs.

Anna Hawkins est une artiste américaine installée au Canada. Son travail porte sur la manière dont les images, les gestes et les informations sont transmis, transformés et vécus en ligne. Elle a exposé des projets individuels à Artspace de Peterborough, au Centre Clark de Montréal, à Eastern Edge Gallery de St. John’s, Untitled Art Society de Calgary ainsi qu’au Musée d?art contemporain des Laurentides. Ses œuvres ont été présentées et projetées à l’échelle internationale, à la Biennale New Wight de l'UCLA de Los Angeles, à la Biennale d?art médiatique WRO, à la Galerie Sturm de Nürnberg et au LUX à Londres.

You never listen est un film de trois minutes sur une fillette âgée de huit ans et prénommée Shirley qui échappe à sa vie une après-midi. Ressentant de la frustration à la fois à cause de malentendus dans sa famille et à cause de l?hostilité ambiante dans la rue, Shirley voit une chance de s?enfuir et s?en empare avec fougue. Elle fuit ainsi la vie qu?elle connaît sans regarder derrière elle.

Alys Hawkins est née pendant la canicule de 1976 et a grandi à Southampton, au Royaume-Uni. Elle a fait des études de cinéma à la Northumbria University à Newcastle upon Tyne et a obtenu un Master en Techniques de l?animation au Royal College of Art de Londres en 2002. Ses films ont reçu de nombreux prix et ont été couronnés de succès lors de festivals à travers le monde. Son dernier projet a été une commande faite par la chaîne de télévision Channel 4. Elle travaille actuellement sur une arche de chemins de fer à Southampton pour le développement d?un court-métrage expérimental à caractère érotique, et également sur un film de danse qui doit être tourné à Berlin.

C'est le soir. Tandis que le ciel s'assombrit, une fille est assise, seule, dans une tour. Elle porte des oreilles de chat et tricote de façon répétitive. En allusion à "The Lady of Shalott" d'Alfred Lord Tennyson, elle songe fiévreusement aux rêves secrets et aux désirs contradictoires des femmes dans la société contemporaine, qui ont trouvé pour s'exprimer le phénomène des "blogs", et les portraits médiculeusement chorégraphiés de vies entremêlées qu'ils permettent. L'artiste utilise un style hybride, mélange d'animation fixe et d'image en mouvement, ce qui accentue la texture intime et la fragilité du récit, tout en soulignant la non fiabilité et le caractère nécessairement lacunaire de tout récit personnel.

Eleanor Hawkridge vit et travaille à Liverpool, en Angleterre. Née en 1981, elle a étudié au University of Whales Institute, à Cardiff. Son oeuvre a été montrée en Europe et à travers le monde. Par le biais de la réprésentation, de la vidéo et de l'installation documentaire, elle construit des tragédies mondaines avec des fragments d'espoir du quotidien. En mélangeant récit et métaphore, que vient perturber une logique défectueuse, elle exprime la tendresse et la fragilité de l'expérience humaine, avec émotion et nostalgie. Eleanor est aussi co-fondatrice de The Royal Standard, un espace à la fois social et artistique, qui soutient les artistes débutants et les mouvements d'art contemporain.

Grand Ape town is a realtime animation movie based on a conducted research about human-animal relations in videogames. Within the movie half of the population of the videogame Grand Theft Auto V is swapped with the 3d-model of a chimpanzee. Through this modification the city of Los Santos is transformed into a hybrid playground of human and animal agency. It invites the viewer to perform Donna Haraways response-ability as a test-action in digital worlds.

Thomas Hawranke is artist and researcher. He received a diploma in audiovisual media from the Academy of Media Arts Cologne and a Ph.D. in media art from the Bauhaus-University in Weimar. In 2005 he joined the artist group susigames, was an artist in residence at the Center for Art and Media (ZKM) Karlsruhe and held a scholarship for artistic research in video games. In 2009 he co-founded Paidia Institute, an interdisciplinary research group operating between art, technology, and science.

The project deals with one of the first text-based adventure games in computer game history. Colossal Cave Adventure was developed by Will Crowther in 1976 and is based on the spatial presence of Mammoth Cave in Kentucky. Crowther’s game completely avoids a visual representation of the cave – instead, text input and text response shape the cave in the player’s individual perception. The AI-based animated film is approximately 55 minutes long. The camera constantly moves downwards, digging through geological layers and exposing new cave spaces again and again. Every eight seconds, the AI system receives a new textual description. These descriptions are taken from Crowther’s source code from Colossal Cave Adventure in 1976, which contains a total of 379 inputs ranging from narrative descriptions of nature, to jargon from the vocabulary of speleologists, to single words meaning an object, a compass direction, or an exclamation.

Thomas Hawranke and Lasse Scherffig are two interdisciplinary artists collaborating at the fringes of art, technology, and science. Rooted in media archeology, animation, and computational art, their most recent work employs generative AI systems to question their aesthetic and epistemic foundations. They have previously collaborated within the artist group Paidia Institute and have exhibited and published internationally.

"Hindsight" a été filmée sur Governors Island National Monument au cours de l`été 2009. L?occupation de cette île par des militaires, remontant à la colonisation hollandaise, culmina avec la construction à leur intention de Brick Village, complexe d?habitation à l?image de tant d?autres produits en série au lendemain de la Seconde Guerre mondiale pour remplir les promesses de liberté et de bonheur par la propriété individuelle au nom desquelles se battit maint soldat. Sauf que cette banlieue insulaire est aujourd?hui à l?abandon; ses maisons vides évoquent celles de tous ces Américains dont la spéculation financière a abusé des rêves d?accès à la propriété. Il y résonne l?écho des confidences d?un de ces soldats pour qui s?enrôler semblait la dernière chance d?échapper à la précarité en mettant sa vie en jeu pour les USA comme « land of opportunity ». Cette vision d?un pays de cocagne dont les conquêtes profiteraient à chacun grâce à l?entreprise privée s?estompe finalement comme tous les mirages, sous la peinture écaillée d?un mur lépreux, avec l?image de la statue de la Liberté dans les vitres aveugles d?un logement déserté?

Née en 1969, Isabelle Hayeur vit et travaille à Montréal. Artiste de l`image, elle est connue pour ses montages numériques grands formats, ses vidéos et ses installations in situ. Son travail se situe dans la perspective d`une critique écologique, urbanistique et sociale. Elle s`intéresse particulièrement aux sentiments d`aliénation, de déracinement et de dislocation.Ses oeuvres ont été présentées dans le cadre de nombreuses expositions et festivals.

La saison sombre se veut une sorte de présage. La vidéo nous montre des lieux dévastés et des paysages aux climats extrêmes. Elle évoque des bouleversements que nos sociétés actuelles connaissent, à une époque où notre dépendance aux énergies fossiles est de plus en plus importante.

Née en 1969, Isabelle Hayeur vit et travaille à Rawdon (Québec). Artiste de l'image, elle est connue pour ses montages numériques grands formats, ses vidéos et ses installations in situ. Son travail se situe dans la perspective d'une critique écologique, urbanistique et sociale. Elle s'intéresse particulièrement aux sentiments d`aliénation, de déracinement et de dislocation. Ses œuvres ont été présentées dans le cadre de nombreuses expositions et festivals.

"Losing Ground" est une critique de l?urbanisation horizontale qui ronge les paysages et les uniformisent un peu partout dans le monde. Négation de la ville historique, des particularités géographiques et donc de la mémoire culturelle, cet urbanisme standardisé impose aux hommes son amnésie, son mode de vie individualiste et son improbable présence à la nature. Filmée dans le Quartier DIX30 de Brossard, le plus grand "lifestyle center" au Canada, la vidéo sonde des territoires fraîchement façonnés par l?homme pour y déchiffrer les rapports qu?il entretient avec son environnement. Elle nous confronte à la perte des repères locaux au profit de stéréotypes culturels devenus, avec la globalisation, universels.

Isabelle Hayeur née à Montréal en 1969. Elle a fait ses études à l`Université du Québec à Montréal. Artiste de l`image, elle est connue principalement pour ses montages numériques grands formats et mes vidéos. Elle a aussi réalisé plusieurs installations in situ, des oeuvres d`art public et quelques oeuvres d`art internet. Son travail se situe dans la perspective d`une critique écologique et urbanistique. Il a été largement diffusé à travers le Canada, en Europe et aux États-unis. Il a notamment été présenté au Musée d`art contemporain de Montréal, au Massachusetts Museum of Contemporary Art (MassMoca), au Museum of Contemporary Photography (Chicago), au Casino Luxembourg forum d`art contemporain (Luxembourg), au Neuer Berliner Kuntsverein (Berlin) et aux Rencontres de la photographie à Arles (France). Ses vidéos ont été présentées lors de nombreux festivals tels que LOOP Videoart, Barcelona (2009), Le festival des nouveaux médias et de la vidéo de Montréal (2007, 2003, 1999), Vidéoformes, (2001, 2000, 1999, 1998), Videoart Locarno (2001), Les rencontres internationales Paris/Berlin (2000, 1999) et L.A. Freewaves (1998).

"Private Views" met en parallèle deux mondes bien différents : la misère des déshérités et le style de vie ostentatoire des nouveaux riches. La vidéo explore les thèmes des inégalités sociales, de la spéculation immobilière et de la dépossession. Elle documente le déclin de certaines villes nord-américaines et jette un regard critique sur l?émergence de nouvelles banlieues cossues. Ces enclaves résidentielles privées sont souvent clôturées et surveillées. Leurs habitations luxueuses, d?un style architectural douteux, sont à l?image d?un monde dominé par les apparences, la consommation et le conformisme social.

Isabel Hayeur is a visual artist, born in Montreal in 1969. She gets a fine arts master degree from the University of Quebec in Montreal in 2002. Her work consists in large photographic montages, videos and in situ installations. She?s the cofounder of the collective ?Perte de Signal?, which exhibited young media artists in international festivals. Her researches focus on the changes in the city planning, showing natural-looking landscapes which are actually totally artificial. Her work is internationally shown in festivals, museums and exhibitions, as the Museum of Fine Arts of Québec (2006), ?Les Rencontres Internationales de la Photographie? in Arles (2006), the Museum of Fine Arts of Canada, the ?Fonds National d?Art Contemporain? of Paris, the Contemporary Art Museum of Montréal, and the Museum of Contemporary Photography of Chicago (MoCP).

?Malerei heute? présente une série de 156 aquarelles d'affiches publicitaires et d'affiches électorales du paysage urbain berlinois. La démonstration filmique et picturale traitant d' une période étendue (1998-2005) débute au moment où les changements de conditions de travail et de vie en Allemagne réunifiée prennent une importance évidente et - à travers le changement de gouvernement en 98- une signification politique. Non seulement les affiches électorales, mais aussi la publicité pour les cigarettes, la lessive et le cinéma se rapportent plus ou moins à des thèmes tels que la fiscalité, l'assurance vieillesse, la précarité croissante de l'emploi, les crises dans le domaine de la politique intérieure et extérieure. La peinture joue dans le film le rôle d'outil d'analyse, comme travail et comme un effort pour permettre un regard neuf sur les transformations sociales -et leurs répercussions sur la vie privée- au-delà de ce que l'on en connaît déjà . Par le biais de la reproduction filmo-temporelle des aquarelles et de leur confrontation avec des textes narratifs/explicatifs, des séquences filmiques et une musique composée et enregistrée pour le film, l'"oeil du peintre" est rendu accessible aux spectateurs. Au-delà du double "détour" de la reproduction, d'abord picturale, ensuite filmique, d' affiches publicitaires et électorales, le film vise également l'analyse par l'image de ce qu'on appelle les nouveaux médias et de leurs promesses de bonheur dans le domaine social et privé.

Bio- et filmographie Stefan Hayn né en 1965 à Rothenburg ob der Tauber 1986-93 études de peinture et de cinéma à l'école supérieure des arts de Berlin 1993 élève du cours Rebecca Horn 1995-98 étude de projet réalisation de films documentaires à l'académie de cinéma du Bade-Württemberg depuis 1989 Films, dont la majeure partie sont au sein de sa propre société de production, publication de textes Films SCHWULENFILM (1989, Super8 Blow up sur 16mm, couleur, muet, 2 min) TUNTENFILM (1990, Super8 Blow up sur 16mm, couleur, muet, 3 min) PISSEN (1990, Super8 Blow up sur 16mm, couleur et N&B, son optique, 12 min) FONTVELLA?S BOX (1991/92, 16mm, couleur, son optique ,18 min, avec le soutien de la Berliner Filmförderung) KLASSENKAMPF IN AMERIKA (1993, 16mm, couleur, son optique, 18 min) WHAT TO PUT ON TOP OF JACK SMITH?S MEMORIAL CHRISTMAS TREE? (1994, 16mm, couleur et N&B, son optique,7 min) AM ISRAEL CHAI / DAS VOLK ISRAEL LEBT ? BERICHT VON DR. URSULA BOHN (1995, Hi 8/Betacam SP, 46 min) DAS FESTSPIEL (1996, 16mm, couleur, son optique, 21 min) EIN FILM ÜBER DEN ARBEITER (1997/98, 16mm, N & B et couleur, son optique, 18 min) DREIZEHN REGELN ODER DIE SCHWIERIGKEIT SICH AUSZUDRÜCKEN THIRTEEN RULES OR THE DIFFICULTY OF SEXPRESSING ONESELF (d'après Ad Reinhardt et Copi, 1998, 16mm, N&B et couleur, son optique,50 min, Aide au scénario de la Berliner Filmförderung) Les journées internationales du court-métrage d'Oberhausen ont présenté, en Mai 2005, en programmation spéciale, une rétrospective des courts- et moyen-métrages de Stefan Hayn. Films en collaboration avec Anja-Christin Remmert SCHULDNERBERICHTE - PRIVATVERSCHULDUNG IN BERLIN (2001 / 02, 16mm, couelur et N&B, 88 min, produit par EIKON Südwest dans la série ?Junger Dokumentarfilm?, avec le soutien de MFG-Filmförderung du Bade-Württemberg,) GESPRÄCHE MIT SCHÜLERN UND LEHRERN (2000 / 02, DV, couleur, 45 min) DAS HEIßE EISEN (nach Hans Sachs, 2005, 16mm Blow up auf 35mm, Couleur,15min, avec le soutien du bureau fédéral de la culture et des médias MALEREI HEUTE (1998-2005, 35mm, couleur et N&B, 61 min, avec le soutien du Medienboard Berlin-Brandebourg, 3sat und SWR) Anja-Christin Remmert née en 1970 à Königs Wusterhausen 1992-97 études de réalisation de documentaires à l'académie de cinéma du Bade-Württemberg cours Thomas Schadt, Helga Reidemeister Films ZWISCHENZEIT (1995, 16mm, N & B et couleur, 25 min) GESTA (1997/99, 16mm, N&B, 20 min) IM LEBEN BLEIBEN (1998, avec Helga Reidemeister, vidéo, couleur, 50 min)

Ombres parmi les ombres, les balayeurs de nuit de Kaboul déplacent une lourde poussière le long d`une avenue. Images arrachées à la poussière et à la nuit, dans les phares des voitures, à la lueur d`une boutique, ou d`une pompe à essence.

I was born in a very remote village in 1977. Ghvas it is called, in Behsood, inWardak Province in Afghanistan. Soon my family immigrated in 1979, due to the dangers that would threaten my father. My family emigrated to Iran and passed all my childhood in that country. I returned to Afghanistan in 2004. I started the cinema, with Atelier Varan in 2007, in Afghanistan. I want to change the situation in Afghanistan, writing the song, movie making, andmaking fun of television programs. But after so many years remained a dark figurein my mind of my land, and it is dusty night.

Combining the language of documentary and artists film genres, Linear Shift draws on the historical and geographical locale of the North East of England to evoke the wider, national story of traditionally industrial locations during this time of economic instability. Whilst the visuals serve to document the current landscape in a photographic and almost painterly fashion, the audio highlights the feeling of the site, bringing in residues from the past - the boom of previous activity against the current stillness, as redundant spaces await redevelopment. Giving a different context to the visuals, the soundscape introduces disjointed and alternative narratives to the viewer, alternating between almost imperceptible sounds within the silence, alongside the reality of remaining life on the river.

Taryn Edmonds works across documentary film, new media and installation to explore socio-political issues inherent to the city, such as regeneration, community identity and representation. She has exhibited nationally and produced short films for broadcast. She recently worked as artist and project manager on ?Archive for Change? [http://archiveforchange.org/] a participatory film project exploring the architectural and emotional landscape of a neighbourhood in Newcastle undergoing wide-spread regeneration, which culminated in a large-scale public event. Lauren Healey works with photography, installation, sculpture and audio, making works around the subjectivity of documentation, in relation to domestic and urban environments. She has exhibited and worked on projects nationally, recently working with VARC on Response: A Rural / Urban Conversation, PVA MediaLab on a SALT sound residency and the Universities of Manchester and Chester on the research project Seeing the City Anew, in which asylum seekers use photography as a way of describing their relationship to their adopted home.