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Browse the entire list of Rencontre Internationales artists since 2004. Use the alphabetical filter to refine your search.  update in progress  
Sergii sabakar
Catalogue : 2018Outwards | Animation | hdv | noir et blanc | 2:25 | Ukraine | 2016
Sergii sabakar
Animation | hdv | noir et blanc | 2:25 | Ukraine | 2016

The source for the "Outwards" are the fragments of the found footages of the manifestations and conflict situations. There are plenty of them in the Internet now and sometimes difficult to understand what is going on. For the animation I choose the moments of aggression, it is not clear whether it is a defense or an attack, but all gestures directed from itself. Media is a reality where gesture, protest, and violence also take place. The similar, even equivalent acts we observe not always the evidences of equality of situations. So the question is not only about the limits of the screen, but also about the limits of understanding what we see.

Sabakar Sergii is born in 1982 in Sumy, Ukraine. From 1997 to 2001 he studied at the Sumy College of Art and Culture And from 2001 to 2007 he was student of the National Academy of Fine Art and Architecture at Kiev. Since 2007 he has been attending a post graduate course there. He is based in Kiev.

Kamran sadeghi
Catalogue : 2020Loss Less | Vidéo | mov | couleur | 22:53 | Iran | USA | 2020
Kamran sadeghi
Loss Less
Vidéo | mov | couleur | 22:53 | Iran | USA | 2020

“Loss Less” is a site-specific audiovisual work recorded inside of the defunct nuclear cooling tower Satsop. In the 1970’s, the U.S. was more than 20 years into its nuclear power program. In Washington State, a consortium of public utilities began what was to be the largest single nuclear power project in the country’s history. The construction was suspended shortly before the facility was completed and what remains is a structure 129 meters across at the base, and rising to a height of nearly 152 meters. Kamran Sadeghi used its natural acoustics to compose and reshape sound, capturing the architectural integrity and holistic immediacy of the nuclear cooling tower, while symbolically removing its entire existence. Maintaining an emphasis on the sound, Sadeghi created a 3D abstraction from a still taken on location. The title ‘Loss Less’ is derived from the term lossless compression - a process that allows for the preservation and perfect reconstruction of data (audio). In this case the audio was not preserved, but intentionally degraded. The title also expresses the reality of catastrophic loss and destruction caused by nuclear energy, and the cry for less.

Kamran Sadeghi is an Iranian American musician, composer, record producer and interdisciplinary artist based in New York City. Recent solo album on LINE was recorded inside a defunct nuclear cooling tower, followed by a collaboration with installation artist Zimoun. Sadeghi’s diverse body of work can be attributed to his use of sound as a sculptural material.  An alchemist who is guided by thematic research, controlled experimentation and intuition while working with synthesis, acoustics and sound recording / processing technology. Sadeghi’s performances, soundtracks, collaborations and installations have been experienced at the ICA (Boston), DTW (NY), Corcoran Gallery of Art (DC), CTM Festival (DE), KW Gallery (DE), K11 Museum (Shanghai), MUDAM (Luxembourg), MuCEM (Marseille), Centre Pompidou (FR), Berghain (DE), KOW (DE), and Berlin Biennale (DE). Distinguished collaborators include American singer and poet Patti Smith, Ethiopian Jazz musician Mulatu Astatke, American photographer Nan Goldin and French-Swiss film director Jean-Luc Godard and choreographer Sasha Waltz. Recordings and productions are published on such labels as Sternberg Press, Vinyl Factory, LINE, Dragons Eye Recordings, Sacred Bones, Apollo Records and more.

Mateusz sadowski
Catalogue : 2018Ksztalt chwili | Animation | 4k | couleur | 7:17 | Pologne | 2018
Mateusz sadowski
Ksztalt chwili
Animation | 4k | couleur | 7:17 | Pologne | 2018

During the realization of three-dimensional stop motion animation, Sadowski experimented with film, sculptural and photographic practice. “The Shape of The Moment” concentrates the complex experience of time and emotion, casts doubt on the habits of perception. Each perception is preceded by a process, carefully planned or quite random, reminiscent of the work of nature. The list of processes preceding the origin of record in the form of the last film by Sadowski is not clear at first glance. It doesn’t even require any explanations. However, over time, further layers of performances are exposed to us, offering insight into the nature of selected media and their modification. The action of time takes the form of one of many processes that determine our perception and the ways in which its object are presented to us.

Mateusz Sadowski b. 1984. Lives and works in Poznan, Poland. B.A. Photography (2007) and Intermedia M.A. (2010) graduated at the Academy of Fine Arts in Poznan. Winner of the scholarship `YOUNG POLAND` of the Ministry of Culture and National Heritage. Prize winner of 7th edition of Samsung Art Master Award 2010. Winner of the Chris Frayne Award for Best Animated Film at 54. Ann Arbor Film Festival in 2016. Currently he lectures at the Photography Department and completed PhD at the University of Arts in Poznan. Cooperates with Galeria Stereo.

Tulapop saenjaroen
Catalogue : 2018A Room with a Coconut View | Vidéo expérimentale | dcp | couleur | 28:25 | Thaïlande | 2018
Tulapop saenjaroen
A Room with a Coconut View
Vidéo expérimentale | dcp | couleur | 28:25 | Thaïlande | 2018

A tour guide and also a hotel rep automated voice, Kanya, leads her foreign guest, Alex, through a beach town in the east of Thailand called Bangsaen. Since Kanya’s presentation is overtly aestheticized and strictly regimented, Alex decides to explore the town by himself, fantasizing to get out of the frame.

Tulapop Saenjaroen (b.1986)is an artist/filmmaker whose works encompass performance, video/film, and public projects. Tulapop holds an MFA from the Slade School of Art, University College London, and MA in Aesthetics and Politics program at the California Institute of Arts. He was a recipient of Experimental Film/Video Grant from Office of Contemporary Art and Culture, Ministry of Culture, Thailand. He also worked as an associate producer and a casting director for Anocha Suwichakornpong’s By the Time It Gets Dark (2016). His works have been selected to participate in exhibitions and screenings internationally including Locarno Festival, International Film Festival Rotterdam, International Short Film Festival Oberhausen, 25FPS Zagreb, Kasseler DokFest, FICVALDIVIA, Vancouver International Film Festival, Singapore International Film Festival, National Gallery of Art Vilnius, Asia Culture Center Gwangju, Institute of Contemporary Art London, Seoul International New Media Festival, Moscow International Biennale for Young Art, Centre for Chinese Contemporary Art Manchester, Korean National Film Archive; and won awards including from Internationale Kurzfilmtage Winterthur, Arkipel Festival Jakarta, Moscow International Experimental Film Festival.

Catalogue : 2020People on Sunday | Vidéo expérimentale | 4k | couleur | 20:53 | Thaïlande | 2020
Tulapop saenjaroen
People on Sunday
Vidéo expérimentale | 4k | couleur | 20:53 | Thaïlande | 2020

In this homage to Menschen am Sonntag (1930), the watchful surveillance of the camera captures the paradox of actors trying to relax while working.

Tulapop Saenjaroen, who holds an MFA in Fine Art Media from the Slade School of Art and MA in Aesthetics and Politics from CalArts, is an artist and filmmaker based in Bangkok. His recent works interrogate the correlations between image production and production of subjectivity as well as the paradoxes intertwining control and freedom in late capitalism. In the combined narrative and essayistic manner, he lately investigates on subject matters such as tourism, self care, and free labor through re-making and re-reading the produced images and their networks. Saenjaroen’s works have been shown in exhibitions and screenings internationally including Locarno Festival, International Film Festival Rotterdam, International Short Film Festival Oberhausen, Images Festival Toronto, Image Forum Tokyo, Curtas Villa do Conde, Asia Culture Center Gwangju, 25FPS Zagreb, Kasseler DokFest, Vancouver International Film Festival, Harvard Film Archive, BACC Bangkok, 100 Tonson Gallery, Display Gallery Prague, Seoul International New Media Festival, Moscow International Biennale for Young Art; and won awards from Winterthur, Jakarta, Moscow, and Thailand.

Mauricio saenz
Catalogue : 2017The Origin of Stones | Vidéo expérimentale | hdv | couleur et n&b | 4:53 | Mexique | 2016
Mauricio saenz
The Origin of Stones
Vidéo expérimentale | hdv | couleur et n&b | 4:53 | Mexique | 2016

“ The origin of stones ” questions the ideals of the past and their validity in the present through the decay and fall of monuments built to preserve a historic memory. With a text based on a debate that puts in doubt the efficiency of a scale used to document the proportion and appearance of archaeological remains, this work looks to ruins as elements of live content linked to the present and emphasizes the powerful yet fragile nature of the narratives of history. Thus, it mirrors the impossibility to imagine the promises of a future on the ruins of the recent past, representing in this way a model of a fallen utopia.

Mauricio Saenz (b. 1977, Matamoros, Mexico) is a visual artist and filmmaker with a practice between experimental and docufiction. He obtained a master`s degree in artistic production from the Polytechnic University of Valencia in Spain and has exhibited his audiovisual work in festivals such as Stuttgarter Filmwinter and European Media Art Festival in Germany where he was also nominated for the Dialogpreis of the German Ministry of Foreign Affairs. He was recently nominated for the LOOP Discover Award in Barcelona for outstanding international video artists.

Catalogue : 2019Meteorito | Film expérimental | hdv | couleur | 15:0 | Mexique | 2018
Mauricio saenz
Film expérimental | hdv | couleur | 15:0 | Mexique | 2018

Les hommes-oiseaux souffrent de chutes mystérieuses dans la recherche de l'endroit où le soleil se lève. A travers des épisodes où la frontière entre la réalité et la fantaisie s'estompe, ces personnages parcourent à la fois le céleste et le terrestre avec un seul objectif: mourir pour générer la vie. L'impulsion obsessionnelle à tomber pour féconder se situe entre un récit scientifique et des mythes d'origine mésoaméricaine qui entremêlent les actions suscitées par plus qu'une force de gravité, conduisant à des défaillances poétiques et visuellement suggestives. Ce travail de docufiction ouvre un dialogue de coexistence entre la vie et la mort qui fusionne la représentation d?un phénomène naturel avec un rite millénaire à travers une réalité altérée.

Mauricio Sáenz (b. 1977, Matamoros, Mexico) is a visual artist and filmmaker with a practice between experimental and docufiction. Meteorito, his first film, is a short that opens a dialogue of coexistence between life and death by fusing the representation of a natural phenomenon with a millenary rite through an altered reality. He obtained a master?s degree in artistic production from the Polytechnic University of Valencia in Spain and has exhibited his audiovisual work in festivals such as International Film Festival Rotterdam, Ann Arbor Film Festival, Stuttgarter Filmwinter and European Media Art Festival in Germany where he was also nominated for the Dialogpreis of the German Ministry of Foreign Affairs. He was recently nominated for the LOOP Discover Award in Barcelona for outstanding international video artists.

Catalogue : 2020Meteorito | Fiction expérimentale | dcp | couleur | 15:0 | Mexique | 2018
Mauricio saenz
Fiction expérimentale | dcp | couleur | 15:0 | Mexique | 2018

Bird men suffer mysterious falls in the search for where the sun rises. An altered reality through rites that converge in one objective: dying to generate life.

Mauricio Sáenz (b. 1977, Matamoros, Mexico) is a filmmaker with an experimental praxis that blends fictional elements into a predominantly ethnographic approach. His work exposes counter narratives of resistance to history and the established order permeated with elements that range from performance art, poetics, and a strong visual component within an auteur context. Selected festivals include International Film Festival Rotterdam, AFI Fest, Karlovy Vary International Film Festival, Ann Arbor Film Festival, Sao Paulo International Short Film Festival, and Rencontres Internationales, among others. He received an honorable mention in the experimental shorts category in Slamdance in 2020, a nomination for the Dialogue award in the European Media Art Festival in 2017 and was also nominated for the LOOP Discover award in Barcelona that same year.

Niyaz saghari
Catalogue : 2017The Tigger of the Cone | Film expérimental | super8 | noir et blanc | 2:22 | Iran | 2016
Niyaz saghari
The Tigger of the Cone
Film expérimental | super8 | noir et blanc | 2:22 | Iran | 2016

A Visual experimentation with the dadaist poetry of Ali Sarandibi which juxtaposes the outer, urban life in Tehran with the inner, softer life of its inhabitants

Niyaz Saghari is an Iranian born,UK based documentary maker. Her work is focused on the urban life in her home town of Tehran and Bristol where is based .

Catalogue : 2019The Stairs, The Suitcases and The Grand Hall of Books | Doc. expérimental | super8 | noir et blanc | 6:2 | Iran | 2019
Niyaz saghari
The Stairs, The Suitcases and The Grand Hall of Books
Doc. expérimental | super8 | noir et blanc | 6:2 | Iran | 2019

The poet Ali Sarandibi takes us to an experimental journey in to his work place in The Grand Hall of Books (Tallar Ketab) in Enghelab street in Tehran,best known for its bookshops and Tehran University.The sound bites from the shopkeepers tell the story of the arcade and how their work condition has changed lately.

Niyaz Saghari is an Iranian born,UK based documentary maker. Her work is focused on the urban life in her home town of Tehran and Bristol where is based.She is mainly focused on using super 8 format and using echo developing methods specially Caffenol. She is a member of BEEF (Bristol Experimental Expanded Film) collective.

Eléonore saintagnan
Catalogue : 2018Une fille de Ouessant | Documentaire | 0 | couleur et n&b | 27:58 | France | 2018
Eléonore saintagnan
Une fille de Ouessant
Documentaire | 0 | couleur et n&b | 27:58 | France | 2018

L`île d`Ouessant est la plus à l`ouest, tout au bout de la pointe de la Bretagne. La dernière terre française avant l`Ame?rique... Autrefois, les hommes y travaillaient tous en mer, pour la pêche ou dans la marine, et de ce fait l`île e?tait peuple?e presque uniquement de femmes. En immersion sur cette terre, Eléonore Saintagnan plonge dans les archives, et dans un flottement entre rêve et re?alite?, s`identifie à Barba, une fille de Ouessant, dont le père a disparu en mer sans laisser de traces. Comment alors faire son deuil? Entre film de vacances, documentaire anthropologique et fiction, Une Fille de Ouessant prend la forme d`un conte ethnographique.

Eleonore saintagnan
Catalogue : 2010Un film abécédaire | Doc. expérimental | dv | couleur | 21:0 | France | 2009
Eleonore saintagnan
Un film abécédaire
Doc. expérimental | dv | couleur | 21:0 | France | 2009

Le Parc Naturel Régional des Ballons des Vosges et les habitants de ses villages. Ce film est un hommage à des individus qui vont chercher le bonheur en dehors des sentiers battus, là où n?est pas l?évidence. Ceux qui croient encore en quelque chose, qui alimentent leurs mythes et adorent leurs dieux, qu?il s?agisse des Dieux Vikings ou du Rock?n Roll, en passant par Saint Nicolas et frère Joseph.

Éléonore Saintagnan, née le 31 décembre 1979 à minuit, vit et travaille entre Bruxelles et Paris. Sa formation s`étend des arts plastiques au cinéma documentaire en passant par le film d`artiste, ayant entre 2002 et 2006 obtenu un DEA en Arts plastiques à Paris 1, puis un Master en Réalisation de film documentaire à Lussas ? L`école du Doc, et enfin le concours du Fresnoy ? Studio National des arts contemporains pour deux ans de formation audiovisuelle. Cette artiste vidéaste et/ou cinéaste réalise des ?uvres à mi-chemin entre réalité et fiction, document et expérimentation, dressant souvent les portraits d`individus pris au naturel, paraissant pourtant être mis en scène. Sa dernière ?uvre, Un film abécédaire, fût sélectionnée au 55ème Salon de Montrouge 2010 et a reçu le Prix du commissaire artistique pour la prochaine Biennale de la Jeune création contemporaine. Elle collabore sur plusieurs projets avec l`artiste Grégoire Motte. Son travail est régulièrement présenté en projection ou en exposition.

Azar saiyar
Catalogue : 2018Monument of Distance | Vidéo | hdv | couleur | 6:57 | Finlande | 2018
Azar saiyar
Monument of Distance
Vidéo | hdv | couleur | 6:57 | Finlande | 2018

Googoosh, a popular and loved Iranian-Azerbaijani singer, performs a version of the song Ayrılıq – Separation. The performance is from a 1970s television show and it has been copied several times from one videotape to another. Ayrılıq could be a love song but it is told that composer Ali Salimi (who as a young man had to leave Soviet Azerbaijan, move to Iran and leave many of his loved ones behind) wanted to make music about his sense of longing.

Azar Saiyar is Helsinki-based filmmaker and visual artist whose art has been shown at film and media art festivals, galleries, exhibitions, museums and from television. Currently she is working with a short film project called The Story of a Badly Behaving Child and Monument of Distance – a found footage piece on immigration and memory. She often uses archive materials and plays with images and words of collective memory to look towards the ways of looking, speaking, remembering, growing, conforming and telling stories. She also does collaborative works with other artists.

Manuel saiz
Catalogue : 2006Specialized Technicians Required : being Luis Porc | Vidéo expérimentale | dv | couleur | 2:0 | Espagne | 2005
Manuel saiz
Specialized Technicians Required : being Luis Porc
Vidéo expérimentale | dv | couleur | 2:0 | Espagne | 2005

Manuel Saiz l?a fait ! Le célèbre acteur hollywoodien a encore une fois gracieusement accepté d?être ou de ne pas être ce qu?il est. En témoigne le film qui a inspiré le jeu de mot dans le titre de ce court-métrage ? quelques piques lancées à sa personne ou son statut ne lui font pas peur. Il a probablement une petite armée d?agents, de managers et d?assistants à ses ordres afin de garder à distance tous ceux qui essaient de l?utiliser pour son nom. Peut-être que Manuel Saiz a eu de la chance, peut-être qu?il connaît les amis des amis de ? peut-être qu?il a attendu sur le pas de la porte, accroché au téléphone et rendant folle l?armée entière. Il a probablement juste utilisé un argument compatissant qui a touché la corde sensible : est-ce que l?acteur qui aime inverser les rôles pourrait pour une fois prêter sa voix charismatique à un homme qui a précisément l?habitude de prêter sa propre voix ? Un homme qui reste toujours obligeamment dans l?ombre mais qui est, pour la partie de la population mondiale qui parle espagnol, la voix de l?acteur et donc en grande partie, qui est lui. ?Being Luis Porcar? fait partie de la série ?Specialized Technicians Required?, et il nous fait nous demander qui est au juste le technicien spécialisé dans cette construction. Est-ce que c?est le personnage principale, l?homme qui fait le doublage, est-ce que c?est l?artiste lui-même, qui de nos jour doit savoir faire tellement de choses différentes pour être capable de faire son métier comme il faut ?

Manuel Saiz est né à Logroño (La Rioja) en Espagne, il vit maintenant à Londres, en Grande-Bretagne. Il est artiste visuel et conservateur indépendant.

Manuel saiz
Catalogue : 2008Buffer | Art vidéo | | couleur | 3:0 | Espagne | 2008
Manuel saiz
Art vidéo | | couleur | 3:0 | Espagne | 2008

Le terme « buffer » (tampon) est utilisé dans la technologie informatique pour définir un espace de mémoire dans le quelle l'information est stockée, en attente d?un processus ou d?un transfert. Le « buffer » reçoit l'information de manière désorganisée et abrupte et la redistribue en des paquets bien ordonnés, aptes à être facilement manipulés. Le film décrit le fonctionnement d?un dispositif architectural en train d'exécuter métaphoriquement cette même fonction, et d?ordonner des êtres humains comme de simples données par l'intermédiaire de du déplacement physique dans l'espace. Ce mécanisme se réfère à des situations de la vie quotidienne dans lesquelles la population des grandes villes interagit avec les services publics. La sculpture représentée montre la structure de base de ces situations. Les visiteurs qui font l?expérience de cette ?uvre sentiront une excitation mécanique et répétitive proche de l'aliénation.

Manuel Saiz est un artiste visuel basé à Londres. Depuis le milieu des années 1980, il a exposé ses des sculptures, photographies et vidéos dans des galeries d'art et des musées du monde entier. Depuis 1995, il travaille principalement avec la vidéo et les installations vidéo. Ses créations ont été présentées dans de nombreux festivals de films d'art et de vidéo, notamment Impakt à Utrecht, VideoLisboa à Lisbonne, Videoex à Zurich, Int. Kurz Film Fest, à Hambourg et Transmediale à Berlin, entre autres. Ses installations vidéo ont été présentées dans des galeries et des espaces publics du monde entier. Parmi ses expositions récentes, signalons notamment « Parallel Universes » à la Galerie Moriarty de Madrid, « Nominal Politics » au T1+2 Space de Londres, ainsi que l?exposition collective « East End Academy » au Whitechapel de Londres ou « Save the Day » au Kunstbüro de Vienne. Son court-métrage « Being Luis Porcar » a reçu le premier prix de l'Internationale Kurzfilmtage de Winterthur.

Catalogue : 2009The Two Teams Team | Art vidéo | | couleur | 10:0 | Espagne | Royaume-Uni | 2008
Manuel saiz
The Two Teams Team
Art vidéo | | couleur | 10:0 | Espagne | Royaume-Uni | 2008

A short film about the differences and similarities of video-art and cinema. Two actors are chatting in a film set, on a break, in the middle of props and cables. The conversation is about film sets in film and video-art projects, they are pointing out the differences of both ways of filming. They talk about budget, emotions and about the different approaches to fiction and reality that cinema and video-art have. Along the conversation the camera is getting closer and the quality of the image becomes more cinematographic. What at the beginning was a casual video in a break of a shooting is now a proper film of two characters talking. The reality becomes seamlessly fiction until the microphone irrupts on the frame and someone shouts: cut!

Manuel Saiz started working as an artist in the 1980?s in Spain, creating paintings, sculptures, photography and installations. He shows regularly since then in public and commercial galleries worldwide. In 1989 he showed a group of installations at the Sao Paulo Biennale and in 1990 he took part in Artificial Nature curated by Jeffrey Deitch at the Deste Foundation in Athens. Since 1995 he works mainly in video art and media installations. In 1998 he moved to London where he produced Video Hacking, a work that received an honourable mention in Hamburg Film Festival. In 2005 he produced Specialized technicians Required: Being Luis Porcar, which was shown widely and got the firmst Prize in the Winterthur Kurtztfilm Festival and an honorable mention in Transmediale 06. His installations have been shown in Intercommunication Center (Tokyo), Transmediale (Berlin), Whitechappel gallery (London), ICA (London), among others. His video productions have been shown at Impakt Festival (Utrecht), EMAF(Osnabruck), London Film Festival, Reina Sofia Art Centre(Madrid), Rencontres Internationales (Paris, Madrid, Berlin), VideoFormes (Clermont-Ferrand), World Wide Video Festival (Amsterdam), among many others. He has curated artist projects as Art Summer University (Tate Modern London), Communicating Vessels (Hara Museum Tokyo), 25hrs (El Raval Barcelona) or videoDictionary (multiple venues), involving internationally known media artists. Last year he had a 9 months fellowship at the Spanish Academy in Rome. He has published several books, as the 2009 101 Excuses. How Art Legitimizes Itself. His video work is distributed by Montevideo in Amsterdam and Vtape in Toronto. He is represented by Galeria Moriarty (Madrid).

Catalogue : 2010Sic transit | Art vidéo | 0 | couleur | 5:0 | Espagne | Italie | 2009
Manuel saiz
Sic transit
Art vidéo | 0 | couleur | 5:0 | Espagne | Italie | 2009

Manuel saiz
Catalogue : 2007Parallel Paradises | Vidéo expérimentale | dv | couleur | 5:0 | Espagne | 2006
Manuel saiz
Parallel Paradises
Vidéo expérimentale | dv | couleur | 5:0 | Espagne | 2006

"Parallel Paradises" s?ouvre sur l'image éclatante d?une forêt aux couleurs automnales que quelques plans suffisent à représenter : de fins troncs d?arbres, un sol jonché d?aiguilles de pins et de feuilles mortes, les rayons du soleil perçant le feuillage. Deux jeunes filles sont là, comme sorties de nulle part, portant chacune une fleur dans leurs cheveux noirs. L?artiste espagnol aurait-t-il développé une obsession pour l?exotisme comme Paul Gauguin un siècle auparavant? Si son intention était de refléter sur la forêt l?érotisme séduisant des adolescentes, le choix de la saison est pour le moins étrange. Le printemps ou l?été sont en effet beaucoup plus adaptés aux connotations sensuelles. Qui plus est, le choix d?une forêt en zone tempérée plutôt qu?une forêt tropicale, et le fait que leurs talons hauts roses et blancs soient totalement déplacés dans un tel environnement, suggèrent une toute autre intention. Enfin, la danse effectuée par les deux jeunes filles de manière parfaitement synchronisée est trop rapide et moderne pour paraître ancienne et traditionnelle. Le titre reflète la principale intention de l?artiste : deux mondes très différents qui entrent momentanément en symbiose. Le documentaire sur la nature rencontre "Saturday Night Fever". Ces beautés japonaises dansent le parapara, une danse à la mode dans les boîtes de nuit au Japon. Les rayons du soleil couronnant leurs têtes remplacent les projecteurs de la piste de danse. Leurs mouvements accompagnent en rythme le chant des oiseaux.

Manuel Saiz est né à Logroño (La Rioja) en Espagne et vit à Londres. Il s?intéresse particulièrement aux structures narratives et à l?économie du récit, sur divers modes de réalisation - documentaire, publicité et film - qui configurent l'expérience quotidienne dans le présent de la vie urbaine. Son travail reflète les relations existant entre la nature humaine et les techniques et en particulier l'impact des nouvelles technologies numériques sur les sociétés contemporaines. Les événements qui ont lieu dans l'espace de cette civilisation technologique émergente requièrent de nouvelles techniques de langage. Son ?uvre a été exposée internationalement, notamment en Espagne, en Suisse, en Allemagne, au Japon et en France.

Manuel saiz
Catalogue : 2004Upwards compatible | Vidéo | betaSP | couleur | 8:30 | Espagne | Royaume-Uni | 2001
Manuel saiz
Upwards compatible
Vidéo | betaSP | couleur | 8:30 | Espagne | Royaume-Uni | 2001

"Upwards Compatible" est un générique d`ouverture pour le film "2001 : L`odyssée de l`espace", réalisé par Stanley Kubrick en 1968 - la projection emplit l`espace de la galerie, tant par la taille de l`image que par la qualité et le volume du son. Les images ainsi projetées sont conçues pour répondre aux critères des génériques d`ouverture de films, notamment ceux des grosses productions américaines. Le nom du film, ceux des acteurs et des membres de l`équipe technique apparaissent en rythme à l`écran et se déplacent en suivant le tempo de la musique. Cette ?uvre se veut un supplément à "2001 : L`odyssée de l`espace", auquel il manquait un générique d`ouverture. Sur cette vidéo, les noms des acteurs et des techniciens ayant collaboré au film de 1968 trouvent ainsi leur place au générique.

Manuel Saiz a commencé son parcours d?artiste en 1980 en Espagne, avec des peintures, des sculptures, de la photographie et des installations. Il expose régulièrement depuis lors dans des galeries publiques ou commerciales partout dans le monde. En 1989, il a pris part à une exposition de groupe à la Biennale de Sao Paolo et en 1990 à « Artificial Nature » curaré par Jeffrey Deitch à la Fondation Deste à Athènes. Depuis 1995 ; il travaille principalement avec la vidéo et les installations multimedia. En 1998, il a emménagé à Londres où il y a produit « Video Hacking », qui a obtenu la mention honorable au Festival de film d?Hambourg. En 2005, il a produit « Spectialized technicians Required : Being Luis Porcar », premier prix dans le Winterthur Kurtztfilm Festival et mention honorable à Transmediale 06. Il a également curaté des expositions importantes dans des institutions prestigieuses.

Rimas sakalauskas
Catalogue : 2010Synchronisation | Vidéo | dv | couleur | 7:45 | Lituanie | 2009
Rimas sakalauskas
Vidéo | dv | couleur | 7:45 | Lituanie | 2009

Like in a child?s dream, buildings from the Soviet era start leading their own life in a separate reality. Synchronisation has been compiled from free associations and small impossibilities. The slow tempo and spatial soundtrack give the film a compelling atmosphere and inner logic. Buildings from the Soviet era make the scenes monumental and suggestive.

Rimas Sakalauskas (b.1985) is youngest generation video artist from Lithuania. From early childhood he tend to visual arts and music and thereby was studying in National M. K. Ciurlionis School Of Art. In 2009 he received BA in audiovisual arts, department of photography and media art, Vilnius Academy of Arts. His diploma being awarded with special prize. From 1997 he successfully started to participate in various artistic competitions, shows, exhibitions, festivals and other events. Among most important of his achievements is Baltic Award for the Best Work in the Field of Visual Art in International video and contemporary art festival "Waterpieces 2009", held in Riga, Latvia. His bigest success as visual artist is first prize in International Art Competition "Sound and Vision" which took place in 1997  in Helsinki, Finland. Till now he is an active video artist.

Umut sakallioglu
Catalogue : 2008Rally | Vid�o | dv | couleur | 3:47 | Turquie | 2007
Umut sakallioglu
Vid�o | dv | couleur | 3:47 | Turquie | 2007

Rally est un documentaire sur une performance réalisée à Istanbul. L'artiste participe à des manifestations publiques organisées par plusieurs groupes, de nationalistes, d?islamistes, de gauchistes, de femmes, etc. Il s?agit de manifestations publiques qui ont véritablement eu lieu et l'artiste y prend part en tant que « participante factice » (ce que le spectateur va comprendre après avoir vu une série de clips). On y voit les manifestations de neuf groupes choisis au hasard dans la scène politique d?Istanbul et de Turquie. Des intertitres sont utilisés pour donner des informations sur ces groupes.

Umut Sakalıoğlu Born: 16.06.1986 Ordu, Turkey. Resides: İstanbul. Studying: Marmara University, Fine Arts Faculty, Cinema-TV Department, 3rd grade. Works: in/on video- art, short-film, performance-art, cinema. GROUP EXHIBITIONS 2006 - Fabrikartgroup International Modern Arts Festival, Sinasos, Turkey - Istanbul Urban Theaters, 22. Youth Days, Democracy Park of Machka, Istanbul, Turkey 2007 - Winds into Future I, Selected works for the 13th Biennial of Young Artists from Europe and Mediterranean, Kasa Gallery, Istanbul, Turkey 2008 - 4th Kargart Performance Days, Istanbul, Turkey - 13th Biennial of Young Artists from Europe and Mediterranean, Bari, Italy - Urban Jealousy, the 1st International Roaming Biennial of Tehran, Istanbul, Turkey - 7th Strange Screen, Film and Video Festival, Thessaloniki, Greece. PUBLIC SPACE PERFORMANCES 2006 - To throw in the towel, Yard of Marmara University Fine Arts Faculty, Istanbul, Turkey - Animals, Democracy Park of Machka, Istanbul, Turkey - Ilovethefairychimnies, Sinasos Bazaar, Cappadocia, Turkey 2007-2008 - Motorway Speeches, E-5 Motorway, Istanbul, Turkey - Rally, Several squares in Istanbul, Turkey ACADEMIC ACTIVITIES 2006 - ?Chaos? , installation, video installation, solo exhibition in a classroom, Marmara University, Istanbul, Turkey 2007 - Screening and presentation of DVD; Avant-Garde, Experimental Cinema of the 1920s and 1930s, Kino Video®, Marmara University, Fine Arts Faculty, Department of Painting, Murteza Fidan Studio, Istanbul, Turkey JOB EXPERIENCE 2007-2008 - Asisstant cameraman and assistant editor in Karincalar Film Production Company, Istanbul, Turkey - First assistant editor in feature film ?Autumn? ,dir. Özcan Alper, Istanbul, Turkey WORKSHOPS 2008 - Bari lungoilmare, organisators; DEDΆ Studio, Francesco Marocco, Bari, Italy

Paul sakoilsky
Catalogue : 2006Haroot's first experiment after arrival on earth | Vidéo expérimentale | dv | couleur | 1:23 | Royaume-Uni | 2006
Paul sakoilsky
Haroot's first experiment after arrival on earth
Vidéo expérimentale | dv | couleur | 1:23 | Royaume-Uni | 2006

D'après Nietzsche, la qualité d'un philosophe peut se voir à son rire et surtout à la façon dont il rit. Pour un visage fermé comme Hobbes il n'a, à juste titre, que du mépris. Le meilleur des rires, le plus long et le plus éclatant. Le pinacle étant le rire "doré", "olympien"; le rire des Dieux, le rire de Dionysos...Paul Sakpolsky engage le spectateur à tendre les bras et à tout étreindre.

Paul Sakoilsky. Né en 1964 à Norfolk, Angleterre. Elevé en Angleterre et dans le Sud-Est asiatique. Licence d'Art et de Philosophie (avec les Honneurs) à l'Université de Londres-Nord. Conservateur/ Programmateur pluridisciplinaire et Art Live, 30 Underwood St Gallery /underwoodaudio, 1995-2001. Artiste freelance basé à Londres et à Vienne, écrivain et conservateur.

Taiki sakpisit
Catalogue : 2013A Ripe Volcano | Film expérimental | hdcam | couleur | 15:15 | Thaïlande | 2011
Taiki sakpisit
A Ripe Volcano
Film expérimental | hdcam | couleur | 15:15 | Thaïlande | 2011

A Ripe Volcano reflects Bangkok as a site of mental eruption and emotionally devastated land during the heights of terrors, primal fears, trauma, and the darkness of time. A Ripe Volcano revisits The Rattanakosin Hotel, the site where the military troops captured and tortured the civilians, students and protesters who were hiding inside the hotel during the Black May of 1992; and Rajadamnern Stadium, a Roman amphitheatre styled Muay Thai boxing arena, which was built in 1941-45 during the Second World War and since then has become the theatrical labyrinth of physical and mental explosions. The work builds around the recollections of human experiences that took place within these spaces and shifts through the mental space distilled from the possessed memory of wounded time.

Taiki Sakpisit is a visual artist and filmmaker living and working in Bangkok. Over the past years, he has been prolific as an experimental filmmaker in Thailand producing series of works that may have similar in narrative structures but vastly different in details of visual language that narrates the world of images and sound with a repetitive sense of enigmatic gloaming atmosphere. Sound has a big role in his films, by either working in collaboration with sound designer, or combining his cinematic languages with existing music, he paves to a unique situation to discover layers of meanings hidden in the stories. In latest work The Age of Anxiety (2013), he immerses into the world of sound and found footages from period Thai soap opera creating a textured and transforming experience. His works have shown in exhibitions and screened both in Thailand and many festivals abroad. (Bangkok Art and Culture Centre)

Catalogue : 2019The Mental Traveller | Doc. expérimental | hdv | couleur | 18:0 | Thaïlande | 2019
Taiki sakpisit
The Mental Traveller
Doc. expérimental | hdv | couleur | 18:0 | Thaïlande | 2019

The Mental Traveller is a poetic reflection on the nature of remembrance. It navigates through the mental spaces of people consumed by memories of lost time. The film meditates on the passing of time, external behaviors, habitual patterns of thought and the sensorial realities of five mentally disordered men inside the psychiatric ward in Chanthaburi Province, east of Thailand, in which it is filmed. The film was conceived from the director’s connections to his parents and companions as they went through states of sickness, impending death, dementia, grief, and temporary insanity. At the same time it echoes upon the turbulent years of political upheavals and repercussions in Thailand, resulting the nation in a state of delirium, lunacy and trauma.

Taiki Sakpisit is a filmmaker working in Bangkok. His works explore the underlying tensions and conflicts, and the sense of anticipation in contemporary Thailand, through precise and sensorially overwhelming audio-visual assemblage using a wide range of sounds and images. His films produce heightened and uneasy modes of spectatorship that often relate to the tumultuous socio-political climate in Thailand. Taiki’s moving images and experimental shorts have been presented at numerous exhibitions and film festivals, including International Film Festival Rotterdam, Images Festival, Yebisu International Festival for Art, Les Rencontres Internationales, Dallas Contemporary and Kunstverein Gottingen. His previous work A Ripe Volcano (2011) has been screened internationally at more than 40 film festivals and museums. His first feature film The Edge of Daybreak is currently in post-production.

Avelino sala
Ivan salatic
Catalogue : 2016Dvorista | Fiction expérimentale | 4k | couleur | 20:59 | Montenegro | 2015
Ivan salatic
Fiction expérimentale | 4k | couleur | 20:59 | Montenegro | 2015

In the backyards there are sheds, a huge old tree, wild plants with wild offspring, waste scattered around. This is where they spend their time. A decaying building is about to be destroyed and someone may go beyond. Soon one of them becomes aware of the sea.

Ivan Salatic was born in 1982 in Dubrovnik and grew up in Herceg Novi. He finished the School of Fine and Applied Arts in Belgrade and graduated from the Faculty of Dramatic Arts in Cetinje. He has directed several short films that have participated in festivals such as Venice Film Festival, Sarajevo Film Festival, Torino Film Festival.

João salaviza
Catalogue : 2011Strokkur | Documentaire | 0 | noir et blanc | 7:16 | Portugal | 2011
João salaviza
Documentaire | 0 | noir et blanc | 7:16 | Portugal | 2011

In the beginning the idea was to make something from nothing, in a neutral and unknown place. Collect images and sounds instead of producing them. The camera, the microphone and the mini-amplifier: tools that take away and then give back. We defined a rule: the sound shouldn?t illustrate the image and the image shouldn?t absorb the sound. Less than a hundred kilometres from Reykjavik we found Strokkur. A scar on the Earth that insists in not healing, gushing from the depths. We came closer. For three days we saw and heard the internal dynamics of the crevice: the boiling water that spat out every seven minutes and the thermal shock, given the eighteen degrees below zero of the atmosphere. The film was already there, the music too. Underneath the blizzard, the soaked amplifier was out of tune and produced strange noises. The camera was almost blown away with the wind gusts. Batteries did not resist the cold and died every fifteen minutes. We ran for shelter carrying the gear on our backs. Reload. Reheat. Start all over again. ?Strokkur? is above all a document. A log of an observation-dialogue, of what was left.

JOÃO SALAVIZA Born in Lisbon in 1984. He studied cinema at Escola Superior de Teatro e Cinema in Lisbon and completed his studies at the Universidad del Cine in Buenos Aires. His first short film, ?TWO PEOPLE?, 2005, was selected for several festivals and won the Take One Award in Vila do Conde. In 2009, with ?ARENA?, he won the Palme d?Or for best short film at the Cannes Film Festival and the award for best Portuguese short film at IndieLisboa. He then participated in several renowned international festivals such as Tribeca, Rotterdam, London and Pusan (PIFF). In 2010, he finished ?HOTEL MüLLER? (based on the work of Pina Bausch) and ?CASA NA COMPORTA? for the Portuguese entry in the 12th International exhibition of Architecture ? Venice Biennale. He is currently working in the short ?CERRO NEGRO? for the programme Próximo Futuro from Fundação Calouste Gulbenkian. In the summer of 2011, Salaviza will shoot the short ?RAFA? to be followed by the pre production of his first feature film.

Jonathan saldanha
Catalogue : 2020AFTER THE LAW | Fiction expérimentale | hdv | couleur | 27:0 | Portugal | 2020
Jonathan saldanha
Fiction expérimentale | hdv | couleur | 27:0 | Portugal | 2020

AFTER THE LAW is a courtroom short movie where a tribunal of humans and objects are contaminated by an untraceable virus. This judgement addresses an unknown accident that fractured the law and eroded speech. Trough a toxic mutation of roles and shapes, evidences, gestures and haptics the court colapses its capacity of deliberation. Shot in tape has a live performance, using a single camcorder, this court was designed has a cybernetic mechanism for haptic responses were collective drive, light, vibration, face recognition and empathy collide with a synthetic voice. All speech was generated with Google WaveNet, a generative model using neural networks to simulate human voices, this protocol was explored and accelerated to find moments were the voice of the machine breaks, stutters and drives glossolalia. In 2019 the images were used as a visual score for a group of deaf teenagers to interpret in an extended sine language, exploring the gaps of description and extending them to body description of this aphasic court. The coral voices were recorded through hipnose induced states, blending the surface frontiers that separate the body from its spatial resonators. A broken voice haunts a political paradox in a reversed bio engineering.

Jonathan Uliel Saldanha studied sculpture at the Faculty of Fine Arts of the University of Porto and devoted himself to studying the tabla - Indian percussion instrument - with the Hindu musical group Jugalbandi. He is the founder of the collective SOOPA, a visual, performative and sound laboratory, and Silorumor, a member of the Fujako duo and director of the group HHY & The Macumbas. Since 2010, he has composed several experimental sound pieces, co-created the pieces “Boca Wall”, “Shark” and “King Trilogy” and directed “Jungle Machine”, “Khorus Anima”, “The Well” and “Oxidation Machine”. , presented in venues such as Serralves, Porto - Rivoli Municipal Theater, Palais de Tokyo (Paris, France) and Accès (s) Festival (Billère, France). He collaborated with artists such as Carlos Zíngaro, Steve Mackay, Adrian Sherwood, Vera Mantero, Mark Stewart, João Fiadeiro among others, and as a musician, performed in festivals such as Nyege Nyege (Uganda), Unsound (Poland), Sónar (Spain). , Primavera Sound, Amplifest, Out.Fest, Circular, Million Party, Neopop, Tapettefest (France) and Elevate (Austria). In 2019 he presented the installation Vocoder & Camouflage (Vanishing Point: works from the António Cachola collection, Torreão Nascente Lisboa), the piece “Scotoma Cintilante”, for the blind choir and score-sculpture (Porto Catholic University, São Carlos Lisbon National Theater ) at the 2019 BoCa Biennial, and “Broken Field Atlantis” a light-sheet concert (Porto Municipal Theater: Rivoli). Also in 2018, a work that precedes this exhibition, he presented the play “SØMA” where a group of deaf teenagers translate in gesture the filming of an animist court, presented at Culturgest Lisboa and at the Porto Municipal Theater: Rivoli. At the same time, he presented the exhibitions “Behemoth Republic”, in the Sonic Geometry cycle in the Archipelago São Miguel Arts Center, in the Azores and “Dismorfia”, at the Catholic University of Porto.