Catalogue > Liste par artiste
Browse the entire list of Rencontre Internationales artists since 2004. Use the alphabetical filter to refine your search.  update in progress  
platoniq, -
Cameron platter
Catalogue : 2010The Old Fashion | Vidéo | dv | couleur | 16:7 | Afrique du sud | 2010
Cameron platter
The Old Fashion
Vidéo | dv | couleur | 16:7 | Afrique du sud | 2010

The Old Fashion, is an adventure in humour, love, loss and longing for something more? a mélange of The Third Man, an advertisement for Prince Barrack Hussein?s sports water/ penis combo, strip club dance montages, mysterious villains and co-conspirators, and a certain fast food restaurant on Asstropolis. It pays homage to movie remakes and sequels, franchise food, dumbed-down politics, and mundane beauty. It is a portrait of contemporary South Africa, through the eyes of a deranged cat dictator bent on world domination.

Cameron Platter (born 1978 Johannesburg) His work is an intoxicating vision of Good vs. Evil, documenting contemporary morality through the telling of simple stories drawn and appropriated from the media, TV, films, art, history, pornography, battle scenes, politics, music, and religion. His targets and influences include Lamborghinis, Kawasakis and beautiful women in fishnets; megalomania and the mass media; James Bond and Richard Pryor; corrupt politicians; penis extension machines and strip clubs; children?s stories, crime fiction and gangster films; Southern African woodcut and craft masters; tabloid horror stories; wildlife, real life and things falling apart? Mixing traditional and new mediums, Platter creates a tableau that is a sincere homage to historical themes, an ironical take on contemporary Africa, and an ultra primitive, anti-aesthetic view on what it means to be alive today in South Africa. Recent projects include: Hard Times Great Expectations, Whatiftheworld Gallery, Cape Town; I Am Lonelyness, Hilger Contemporary, Vienna; The Old Fashion, Volta NY, New York; Black Up That White Ass II, Youngblackman, Cape Town; Dak?Art, Biennale de Dakar, 1910-2010: Pierneef to Gugulective, South African National Gallery and Art 39 Basel, Switzerland. His work is included in the permanent collection of the Museum of Modern Art (MoMA) New York.

Catalogue : 2013YOU | Vidéo expérimentale | dv | couleur | 15:59 | Afrique du sud | 2012
Cameron platter
YOU
Vidéo expérimentale | dv | couleur | 15:59 | Afrique du sud | 2012

A video made up of a collage of Pastor Chris Oyakhilome?s sermon on the ?Power of Thoughts? as well as use sources such penis extension advertisements, visionary fast food chicken outlets, sex websites, eternal happiness, instant cash, waterfalls, abdominal machines, life solutions international, dancing dolphins, mass builder, fireworks, slogans, sub-tropical bondage, and celestial landscapes; all directed in my crude, minimalist filmic technique. The video should be viewed as an expanded, absurdist, collage; part documentary and part commentary.

Cameron Platter was born in 1978, Johannesburg. Recent exhibitions include ?Imaginary Fact, Contemporary South African Art and the Archive?, 55th Venice Biennale; ?Impressions from South Africa, 1965 to Now,? Museum of Modern Art, New York; Le Biennale de Dakar 2010, Dakar, Senegal; ?Coca- Colonization,? Marte Museum, El Salvador; and ?Absent Heroes,? Iziko South African National Gallery. Platter fills the ordinary and marginal, with incendiary new meaning. Working from everyday experience with subjects overlooked or considered delinquent, sordid and lowbrow, he reconnoiters notions and concepts on the outside fringes of South Africa?s popular culture. His work appears in the permanent collection of MoMA, New York; The FRAC des Pays de la Loire, France; and the Iziko South African National Gallery. His work has been highlighted in The New York Times, The Wall Street Journal, Vice Magazine, NKA Journal of Contemporary African Art, Artforum, and Art South Africa.

Michael poetschko
Catalogue : 2014Zona (Fragment I und II) | Fiction expérimentale | hdv | couleur | 51:16 | Autriche | 2012
Michael poetschko
Zona (Fragment I und II)
Fiction expérimentale | hdv | couleur | 51:16 | Autriche | 2012

The topological narrative follows the routes of an itinerant photographer and a young philosophy student, their searching movements in-between the fractures and folds of the spatio-temporal fabric of the contemporary city. These fragments started with a rereading of Andrei Tarkovsky and the brothers Strugacky’s concept of the zone, as depicted in their late 1970s science fiction script Сталкер (Stalker). We suggest that the zone — a structure outside and closed off in Сталкер — has now entered the very heart of the urban fabric. We aim to explore the precarity, porosity and violence of this biopolitical space-time, as an immanent part of the city, our bodies and desires. The narrative presents itself as an open structure, in which staged miniatures, image and sound collages, dialogue, and different searching movements meet each other; open, rampant, unresolved and contradictory — oscillating constantly between poetic meditation and discourse, diversion and gravity, quotation and philosophical speculation.

Michael Poetschko explores narratives of living/laboring/traveling/resisting within post-fordist and transnational realities, working with experimental forms of filmmaking and installation. His work has been exhibited and projected internationally, most recently at the Wexner Center for the Arts in Columbus, the Uferhallen in Berlin and Temp Art Space in New York City.

Sascha pohle
Catalogue : 2012Reframing the Artist | Vidéo | hdv | couleur | 35:0 | Allemagne | Pays-Bas | 2010
Sascha pohle
Reframing the Artist
Vidéo | hdv | couleur | 35:0 | Allemagne | Pays-Bas | 2010

REFRAMING THE ARTIST deals with the stereotypical representations of visual artists in movies. The role of the artist both in fictional films and in biopics, classics of the twentieth century or recent popular films, is focused on the artist?s idiosyncratic behavior, his love affairs, his self-destruction associated with a mystification of his creative production or on encounters with other protagonists of the art world such as the collector, the art dealer, the model or the art student. Artists are almost solely painters, which reconfirms a predominant inadequate representation of visual artists in movies. In the video REFRAMING THE ARTIST fragments from approximately 50 different movies such as ?The Moderns? ?Surviving Picasso? or Vincent and Theo? are reset in the Dafen Oil Painting Village. Dafen, situated in Shenzhen, China, is the world`s largest producer of mass-produced handmade oil-on-canvas copy paintings supplying a global market. The video takes place in unmodified settings of the painters` own homes, studios, shops or galleries. There we see Dafen painters re-enacting movie scenes, in which they take over the role of a Picasso, a Van Gogh, a Pollock or several fictional artists, art collectors, critics, muses and lovers. In the ?Reframing the Artist? mass reproduction of oil paintings from Dafen and the recurrent use of artist stereotypes in the mass media film converge to a new narrative overlapping fiction and documentary. The Chinese painter is neither represented as a mere copyist nor does he apply to the notion of the ?original? artist according to our predominant definitions. REFRAMING THE ARTIST raises questions about authenticity in the context of global cultural exchange and it challenges the view of the ?exotic? Other, both the visual artist and the Chinese copy painter. The video is structured into five chapters: Artist and Authenticity, Artist and Market, Artist and Crisis, Artist and Student, Artist and Model. Painting props taken from the same original movies re-appear as copies in REFRAMING THE ARTIST.

Education 2002 B.A. Staatliche Hochschule für Bildende Künste (Städelschule), klasse Ayse Erkmen, Frankfurt am Main, DE 2007 Rijksakademie van beeldende kunsten, NL (Selected) solo exhibitions 2013 Rongwrong, Amsterdam, NL 2012 Art space Apguyeong, open in November en gecureerd door Ji Yoon Yang (De Appel CP 2008/09), Seoul, KR, (aanstaand) (exhibited works: Noire et Blanche + new production) 2012 Lothringer_13_Halle, gecureerd door Felix Ruhöfer, München, DE (exhibited works: Noire et Blanche, Statues Also Die, German Indian, Reframing the Artist, The Mad Masters) 2012 Gallery Weingrüll, Karlsruhe, DE (exhibited works: Noire et Blanche, Reframing the Artist, Statues Also Die) (Selected) group exhibitions 2013 ?Transfer Korea-NRW?, Kunsthalle Düsseldorf and Kunstmuseum Bonn, National Museum of Korea, Arko, (upcoming) - new production: Ornaments of Property 2012 Monitoring/ Kasseler Dokumentarfilm und Videofest, (upcoming), DE - Statues Also Die 2012 ?Generation Loss?, Green Papaya Art Projects, Manila, PHL 2012 ?Signals: For Real?, IFFR, 41st International Film Festival Rotterdam, gecureerd door Edwin Carels, NL - Reframing the Artist 2011 Museum der Moderne Salzburg, ?role models-role playing?, AUT - The Mad Masters 2010 Arti et Amicitae, Amsterdam, ?Villains and Heroes?, Sascha Pohle/Marco Pando, NL - German Indian 2010 Dafen International Contemporary Art Exhibition, ?Convection? Dafen Sub-Venue, Shenzhen Case Pavillion, 2010 Shanghai EXPO, CN - Reframing the Artist 2010 Taipeh International Art Center, Urban Nomad Video Art Section, TW - Reframing the Artist 2010 ?works?, basis, Frankfurt, DE 2008 PARA/SITE art space, ?Terminus?, gecureerd door Christina Li (De Appel CP 2008/09), Hong Kong - The Swimmer 2008 ?Beyond Paradise?, SMBA Stedeljik Museum Bureau Amsterdam, gecureerd door Delphine Bedel and Ayako Yoshimura , NL - The Swimmer 2008 ?Vertrautes Terrain?, ZKM - Center for Art and Media, Karlsruhe, gecureerd door Gregor Jansen and Thomas Thiel - German Indian 2008 Schirn Kunsthalle, Frankfurt am Main, DE, `All-Inclusiv A Tourist World - The Swimmer (Selected) Filmfestivals 2012 BIEFF, Bukarest, RO, Reframing the Artist 2012 58. Internationale Kurzfilmtage Oberhausen, DE, Reframing the Artist 2012 41st International Film Festival Rotterdam, NL, Reframing the Artist 2011 HomeShop, Jue Festival, Beijng, CN, Reframing the Artist 2009 Videonale 12, Bonn, DE, The Mad Masters¬ 2008 International Film Festival, 16th Curtas Vila do Conde, PT, If I were you ? LAS VEGAS NEW YORK BLACKPOOL, The Mad Masters 2008 37th International Filmfestival Rotterdam, NL If I were you ? LAS VEGAS NEW YORK BLACKPOOL Residencies 2006-2007 Rijksakademie van beeldende kunsten/Dutch Ministry of Education, Culture and Science, 2009 Meetfactory, Prague, CZ 2011 Incheon Art Platform, KR 2012 Changdong Studios, Seoul, KR (upcoming) Prices, Awards 2012 Principal Price, 58th International Short Film Festival Oberhausen, for Reframing the Artist, Netherlands, 2010 Fellowships/stipends 2011/12 The Netherlands Film Fund, research subsidy on DVD movie piracy 2011/12 Fonds BKVB, standard werkbudget for Noire et Blanche in combination with a residency in Incheon Art Platform, Korea 2010 Fonds BKVB, werkbudget for Detective project ? The Student of Prague 2009 Fonds BKVB, standard werkbudget for MeetFactory artist residency 2009 The Netherlands Film Fund, NL for Reframing the Artist 2008 Fonds BKVB, basis stipend, NL 2007 Hessische Kulturstiftung, DE, for The Mad Masters and If I were you ? LAS VEGAS NEW YORK BLACKPOOL 2006 DAAD, Berlin, DE 2006 Kunststiftung NRW, DE 2003 Kunststiftung NRW, DE, for Safety Hour 2003 Kulturstiftung Dresden der Dresdner Bank, DE, studio stipend `dynamo.eintracht`

Ben pointeker
Catalogue : 2007. ..... .:.:...:::ccccoCCoooo:: | Film expérimental | dv | couleur | 9:30 | Autriche | 2006
Ben pointeker
. ..... .:.:...:::ccccoCCoooo::
Film expérimental | dv | couleur | 9:30 | Autriche | 2006

Solution bien pratique au problème de l?orientation dans une salle de théâtre ou de cinéma, de petites lampes dissimulées ça et là montrent aux gens où mettre les pieds et où ne pas les mettre, leur indiquant leur fauteuil ou la sortie. Imagine maintenant l?obscurité totale. Entre. Arrête d?imaginer et regarde . ..... .:.:...:::ccccoCCoooo:: Alors qu?on regarde, la question se pose de ce que c´est regarder. Les petites balises de guidage nous reviennent à l?esprit. D?habitude, c?est en regardant que nous nous orientons. En réaction à cela, ou peut-être par conséquence, maintes formes d?art se proposent de nous désorienter. Mais la question de l?essence même du « regard » reste sans réponse. Or cette question est au centre de l??uvre de Ben Pointeker. Pour y répondre, tout en gardant ses distances vis-à-vis du langage conventionnel du cinéma et de la photographie, il renoue néanmoins avec celui-ci. La manière dont il procède rappelle la poésie concrète. Mais il ne s?agit ici que d?une réminiscence. La poésie concrète n?était dans l?ensemble qu?une réaction à quelque chose d?autre : ce que nous connaissions déjà. Et de ce fait, elle était limitée sur le plan dialectique à ce que nous connaissions déjà. Dans son approche cinématographique, Pointeker sait comment sortir de cette ornière. Mais il ne le montre pas. Ce qu?il montre, c?est ce qui apparaît. Nous nous trouvons dans l?obscurité totale. Une lumière brille. Plusieurs lumières brillent : une voiture se fraie son chemin. Au sens littéral du terme : une voiture se fraie son chemin. Cette voiture n?amène personne de A à B. En projetant sa lumière, elle se fraie son propre chemin. D?autres images suivent, qui se fraient leur propre chemin. Nous regardons, captivés par la lumière de ce qu?on nous montre, et nos sens commencent à deviner ce que c´est regarder. (Frans-Willem Korsten)


Ben Ponteker studierte u.a. Literaturwissenschaft und Kunst in Wien, Kopenhagen und Rotterdam, zuletzt MA Fine Art, Piet Zwart Institute Rotterdam; experimentelles Kino und filmische Installationen, Textpublikationen; daneben Bühnenvideos für Theater- und Tanzproduktionen und dramaturgische Beratung; in der Beschäftigung mit suggestiven Bildsphären interessiere ich mich für Rhetorik und Substanz des visuellen Erzählens

Catalogue : 2017Impassenger | Vidéo expérimentale | hdv | couleur | 6:0 | Autriche | 2017
Ben pointeker
Impassenger
Vidéo expérimentale | hdv | couleur | 6:0 | Autriche | 2017

Impassenger présente un espace de résonance émotionnelle et, ce faisant, permet au cinéma de devenir haptique. Ce film explore la relation entre la proximité et la distance, et permet à l’objet de l’enquête de figer sa soumission.


Ben Pointeker is a visual artist and filmmaker based in Vienna. His work often sets in between film and photography and is concerned with poetics, patterns of narrative cinema, the notion of time, ambiguous realities and fantasy. Previously based in The Netherlands he graduated from Piet Zwart Institute and won the Prix de Rome basic award. He is also a graduate of the University of applied arts Vienna and was artist in residence at Wiels in Brussels, in Shanghai and most recently at Bòlit in Girona in the framework of The Spur. He has exhibited at institutions such as Secession Vienna, Kunstpavillon Innsbruck, Contemporary Art Center Vilnius, Filmmuseum Amsterdam and major film festivals.

Marie poitevin
Catalogue : 2007Julien Blaine, l'éléphant et la chute | Doc. expérimental | 16mm | couleur | 13:45 | France | 2006
Marie poitevin
Julien Blaine, l'éléphant et la chute
Doc. expérimental | 16mm | couleur | 13:45 | France | 2006

Julien Blaine est poète « performer » il écrit, il hurle, il agit : « L?acte comme poème. Ce film est une rencontre avec deux de ses performances : « la chute dans les escaliers de la gare Saint Charles » et sa première « l?interview des éléphants. » Ce film est l?interprétation de sa création, de ses actions par sa fille. Ici , elle confronte le passé et le présent, elle invite le spectateur à déchiffrer, à ressentir, à créer du sens.


Après une formation aux Beaux ? Arts de Cergy et une formation aux métiers de l?image à la fémis, j?ai participé en tant que chef opératrice à plusieurs court métrages : Le ravissement de Raphaël Jacoulot ; Enceinte jusqu?aux dents de Marie Donnio ; A bright Interval d?Emilie Lamoine? J?ai été cadreuse sur plusieurs documentaires : Arthur Penn ; Jean François Laguioni, un cinéaste animé de Jean Jacques Bernard pour ciné cinéma classic. Et Résistants de la première Heure de Pholippe Costantini. J?ai réalisé plusieurs films vidéos accompagnant des lectures de poètes : Jacques Sivan et Vanina Maestri. Ainsi que des vidéos pour une compagnie de théâtre Alzhar et des musiciens Diabolicus. J?ai réalisé trois films sur la performance : Last Festival ; Bye bye la perf et ce dernier sur Julien Blaine. J?ai dirigé la lumière pour la compagnie Alzhar à la friche de la belle de mai et pour Diabolicus au théâtre des Bouffes du Nord.

Esther polak, ivar van bekkum and esther polak
Catalogue : 2016A Collision of Sorts | Doc. expérimental | hdv | couleur | 17:0 | Pays-Bas | USA | 2017
Esther polak , ivar van bekkum and esther polak
A Collision of Sorts
Doc. expérimental | hdv | couleur | 17:0 | Pays-Bas | USA | 2017

In A Collision of Sorts, inhabitants of the City of Philadelphia, (Pennsylvania, US) go there way, as discontinuous moving dots on a flat surface. The world in which this film plays is Google Earth: an alienating landscape of almost seamlessly stitched-together satellite images of the familiar planet we humans are moving around on. On Google Earth, nothing moves. Buildings, bridges and cars seem warped and flattened and compete for attention with the black weirdness of their own shadows. A virtual camera shows this frozen flattened landscape, reconnoitring the cityscape of the city. Meanwhile we hear sounds and voices. People and animals are down there, crossing the country. It is them who share a physical reality: we hear very intimately their breath, the rustling of clothes, traffic, their vehicles. They travel from one place to another giving the suggestion of a destination. They talk about encounters, visual, economic, political, social and personal but never the main characters seem to meet. Until a bad dream of one of them seems to come true.

Esther Polak and Ivar van Bekkum work together as artist-couple under the name PolakVanBekkum. Routed in the history of the Dutch realistic landscape depiction, they express personal experiences of moving and space. Their projects are often informed by collaborations with participants, be it humans, animals, or even the rays of the sun. Their work has been shown at amongst others: FID Marseille, Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, Media-Lab Prado Madrid; INIVA London, IMAL Brussels, Rento Brattinga | Galerie Amsterdam, Pixelache Helsinki, Lagos, Biennale Marrakech, Philadelphia and Los Angeles. 2016 Special Mention for the film Once We Get There Riga 2015  Expanded Media Preis For Network Culture at Stuttgarter Filmwinters - for “The Mailman’s Bag” 2005 Golden Nica for Interactive Art at Ars Electronica together with Ieva Auzina, with MILKproject. Esther Polak studied at the Rijksakademie for visual Arts in Amsterdam and the Royal Academy of Visual Arts in The Hague, NL Ivar van Bekkum studied journalism at the School for Journalism, Kampen, NL

Catalogue : 2015Once We Get There | Film expérimental | hdv | couleur | 49:50 | Pays-Bas | USA | 2015
Esther polak , ivar van bekkum and esther polak
Once We Get There
Film expérimental | hdv | couleur | 49:50 | Pays-Bas | USA | 2015

This film introduces an alienating yet familiar landscape of satellite images, tracks and sound. We follow the minute by minute movements and sounds of animals and machines, the chatting of people in Philadelphia. Although we constantly hear reality, we experience the movements within an abstract, two dimensional world of satellite photography. Without any crew present, the protagonists recorded their trajectories, sounds and private readings of the streets, allowing the filmmakers to access their experiences only afterwards. The film positions the audience as unwitting voyeurs. The meditative approach questions our contemporary techno-society, where social connectivity and eavesdropping coexist and balances between empathic co-traveling and voyeurism. The film resulted from a 7 month “Art in Public Space/Percent For Art” residency of Dutch visual artists Esther Polak and Ivar van Bekkum in Philadelphia.

Esther Polak and Ivar van Bekkum work together under the name PolakVanBekkum. Their work focusses on landscape and mobility. Routed in the history of the Dutch realistic landscape depiction, they engage with new technologies like GPS and data collection, to express individual experiences of spaces like the contemporary city and countryside. They search for changing ways to be in landscapes and how this influences the human understanding of space and the stories we tell to explain our lives. Besides the digital and technological innovative, they use very concrete means of visualisation, like drawings in sand or light, which makes their work very tangible and direct. Their projects are often informed by collaborations with participants, be it humans, objects, or even the rays of the sun. They have worked and exhibited internationally, at Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, London, IMAL Brussels, Rento Btattinga | Gallery Amsterdam, Museo for Image and Sound Sao Paolo, Nairobi, Lagos, Marrakech, Paris, Philadelphia and Los Angeles. In 2005 Esther Polak did receive a Golden Nica for interactive Art at Ars Electronica together with Ieva Auzina, for their MILKproject. Esther Polak is educated at the Rijksacademie in Amsterdam. Ivar van Bekkum is educated as journalist.

Wiktor polak
Catalogue : 2010Blisko | Art vidéo | dv | couleur | 5:49 | Pologne | 2008
Wiktor polak
Blisko
Art vidéo | dv | couleur | 5:49 | Pologne | 2008

?Blisko? (?Close?) ? about alienation in the big city. The artificial light inside the night trams creates a new reality.

I was born in 1979. Between 1998 and 2004, I studied at the Władysław Strzemiński Academy of Fine Arts in Łódź. In 2004, under the tutelage of prof. Grzegorz Przyborek, I obtained the certificate and title of Master of Fine Arts in asvertising photography. Since 2003, I have also participated in multimedia workshops held by prof. Konrad Kuzyszyn and Łukasz Ogórek, MFA. I was a post-graduate, free participant there. Since that time, my interests hav revolved around film and video. In 2007, I went on a three-month scholarship to France, organised by the Strasbourg Klub, the City of Strasbourg as well as the CAAC.

Esther polak, ivar van bekkum
Catalogue : 2016A Collision of Sorts | Doc. expérimental | hdv | couleur | 17:0 | Pays-Bas | USA | 2017
Esther polak , ivar van bekkum
A Collision of Sorts
Doc. expérimental | hdv | couleur | 17:0 | Pays-Bas | USA | 2017

In A Collision of Sorts, inhabitants of the City of Philadelphia, (Pennsylvania, US) go there way, as discontinuous moving dots on a flat surface. The world in which this film plays is Google Earth: an alienating landscape of almost seamlessly stitched-together satellite images of the familiar planet we humans are moving around on. On Google Earth, nothing moves. Buildings, bridges and cars seem warped and flattened and compete for attention with the black weirdness of their own shadows. A virtual camera shows this frozen flattened landscape, reconnoitring the cityscape of the city. Meanwhile we hear sounds and voices. People and animals are down there, crossing the country. It is them who share a physical reality: we hear very intimately their breath, the rustling of clothes, traffic, their vehicles. They travel from one place to another giving the suggestion of a destination. They talk about encounters, visual, economic, political, social and personal but never the main characters seem to meet. Until a bad dream of one of them seems to come true.

Esther Polak and Ivar van Bekkum work together as artist-couple under the name PolakVanBekkum. Routed in the history of the Dutch realistic landscape depiction, they express personal experiences of moving and space. Their projects are often informed by collaborations with participants, be it humans, animals, or even the rays of the sun. Their work has been shown at amongst others: FID Marseille, Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, Media-Lab Prado Madrid; INIVA London, IMAL Brussels, Rento Brattinga | Galerie Amsterdam, Pixelache Helsinki, Lagos, Biennale Marrakech, Philadelphia and Los Angeles. 2016 Special Mention for the film Once We Get There Riga 2015  Expanded Media Preis For Network Culture at Stuttgarter Filmwinters - for “The Mailman’s Bag” 2005 Golden Nica for Interactive Art at Ars Electronica together with Ieva Auzina, with MILKproject. Esther Polak studied at the Rijksakademie for visual Arts in Amsterdam and the Royal Academy of Visual Arts in The Hague, NL Ivar van Bekkum studied journalism at the School for Journalism, Kampen, NL

Catalogue : 2015Once We Get There | Film expérimental | hdv | couleur | 49:50 | Pays-Bas | USA | 2015
Esther polak , ivar van bekkum
Once We Get There
Film expérimental | hdv | couleur | 49:50 | Pays-Bas | USA | 2015

This film introduces an alienating yet familiar landscape of satellite images, tracks and sound. We follow the minute by minute movements and sounds of animals and machines, the chatting of people in Philadelphia. Although we constantly hear reality, we experience the movements within an abstract, two dimensional world of satellite photography. Without any crew present, the protagonists recorded their trajectories, sounds and private readings of the streets, allowing the filmmakers to access their experiences only afterwards. The film positions the audience as unwitting voyeurs. The meditative approach questions our contemporary techno-society, where social connectivity and eavesdropping coexist and balances between empathic co-traveling and voyeurism. The film resulted from a 7 month “Art in Public Space/Percent For Art” residency of Dutch visual artists Esther Polak and Ivar van Bekkum in Philadelphia.

Esther Polak and Ivar van Bekkum work together under the name PolakVanBekkum. Their work focusses on landscape and mobility. Routed in the history of the Dutch realistic landscape depiction, they engage with new technologies like GPS and data collection, to express individual experiences of spaces like the contemporary city and countryside. They search for changing ways to be in landscapes and how this influences the human understanding of space and the stories we tell to explain our lives. Besides the digital and technological innovative, they use very concrete means of visualisation, like drawings in sand or light, which makes their work very tangible and direct. Their projects are often informed by collaborations with participants, be it humans, objects, or even the rays of the sun. They have worked and exhibited internationally, at Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, London, IMAL Brussels, Rento Btattinga | Gallery Amsterdam, Museo for Image and Sound Sao Paolo, Nairobi, Lagos, Marrakech, Paris, Philadelphia and Los Angeles. In 2005 Esther Polak did receive a Golden Nica for interactive Art at Ars Electronica together with Ieva Auzina, for their MILKproject. Esther Polak is educated at the Rijksacademie in Amsterdam. Ivar van Bekkum is educated as journalist.

Ulrich polster
Catalogue : 2005Frost (I) | Art vidéo | dv | couleur | 5:51 | Allemagne | Russie | 2003
Ulrich polster
Frost (I)
Art vidéo | dv | couleur | 5:51 | Allemagne | Russie | 2003

Urszula pontikos
Catalogue : 2009CHINA'S WILD WEST | Documentaire | 16mm | couleur | 10:50 | Pologne | Chine | 2008
Urszula pontikos
CHINA'S WILD WEST
Documentaire | 16mm | couleur | 10:50 | Pologne | Chine | 2008

Every winter the Yurungkash River in western China dries up, revealing an expanse of river-worn stones. There, hidden within the rock, lies a buried treasure forty times more valuable than gold?jade. Hundreds of people gather in the riverbeds, endlessly scrabbling at rock in search of a jewel they are unlikely to find. Still, the small glimmer of hope prevails over weary backs and frozen figures. As we watch the countless poverty-stricken men and women in unrequited pursuit, we are perhaps left to ponder our own failed quests for diamonds in the rough, as well as the extraordinary?and quixotic?measures we`ll resort to in pursuit of wealth.

A graduate of the National Film & Television School, Urszula is a Polish-born, London-based cinematographer/director and stills photographer. With a continuing career in feature film drama she is also currently developing a feature length documentary which tackles similar issues to ?China?s Wild West?, but this time across several continents.

Zahra poonawala
Penka popova
Catalogue : 2005On the 16-th of February 2005 | Art vidéo | dv | couleur | 11:8 | Bulgarie | 2005
Penka popova
On the 16-th of February 2005
Art vidéo | dv | couleur | 11:8 | Bulgarie | 2005

Le travail de vidéo "On the 16-th of February 2005" ressemble à une peinture basée sur le temps (documentaire) décrivant une femme assise à une table. Au premier regard, le regard semble complètement immobile. L?image éveille la curiosité et la contemplation plus que ce qui se passe vraiment, plus le temps avance. Par conséquent, le spectateur pourrait déceler que les objets changent de place, bien que leur processus de mouvement reste inaperçu. Á la fin, le temps bouge ?plus vite?, révélant un peu de ce qui l?entoure et de l?auteur en train d?enregistrer ce qui se passe devant ses yeux. La pellicule vidéo n?a pas été retouchée afin d?atteindre cet effet "immobile", tout est absolument véridique au lieu réel et au temps.


Je suis né et j?ai été élevé à Plovdiv, en Bulgarie. J?ai commencé ma formation aux beaux-arts à l?âge de douze ans avec des cours de peinture et de dessin. J?ai été diplômé du College of Theater and Fine Arts à Plovdiv, en Bulgarie en 1991. Plus tard, j?ai étudié à la National Academy of Fine Arts, à Sofia en Bulgarie où je me suis spécialisé en esthétique de la scène dans le cours du professeur Svetoslav Kokalov. Je me suis concentré principalement sur la dramaturgie classique comme Sophocle, Shakespeare et Tchekhov. J?ai été diplômé en 2001 du MFA Photo and Digital Imaging program du Maryland Institute College of Art, à Baltimore aux Etats-Unis. J?y ai suivi la classe du professeur William Larson et du théoriste des médias Timothy Druckrey. J?explore dans mon travail actuel les limites de la perception, tentant d?exprimer les différentes formes de présence du visible et de l?invisible. Depuis 2001, je vis à Chicago, dans l?Illinois.

Pere portabella
Catalogue : 2010Mudanza | Documentaire | betaSP | couleur | 20:0 | Espagne | 2008
Pere portabella
Mudanza
Documentaire | betaSP | couleur | 20:0 | Espagne | 2008

Catalogue : 2010Miró, Aides l?Espagne | Documentaire | 16mm | noir et blanc | 8:0 | Espagne | 1969
Pere portabella
Miró, Aides l?Espagne
Documentaire | 16mm | noir et blanc | 8:0 | Espagne | 1969

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrspective exhibit in 1969. There wew heated discussions on whether it would be rudent to screen the film during the exhibit. Portabella took the following stante: "either both films are screened or ther don`t screen any" and, finally, both Miro l`Altre and Aidez l`Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter`s "pochoir" known as Aidez l`Espagne.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010Miró l?altre | Doc. expérimental | 16mm | noir et blanc | 12:0 | Espagne | 1969
Pere portabella
Miró l?altre
Doc. expérimental | 16mm | noir et blanc | 12:0 | Espagne | 1969

As publicity for the exhibit Miró L`altre, organized by the Colegio de Arquitectos de Catalunya in 1969, the Board commissioned Pere Portabella to film Miró painting the "poster" for the exhibit on the ground floor windows of the building. Portabella was not interested in simply filming a testimonial documentary. However, he said he would do the film if after the exhibit Joan Miró himself, with the help of the cleaning staff erased his own painting. Joan Miró accepted the idea without a doubt. The complicity between the film maker and the painter is evident in the filming.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010Play Back | Doc. expérimental | 16mm | noir et blanc | 8:0 | Espagne | 1970
Pere portabella
Play Back
Doc. expérimental | 16mm | noir et blanc | 8:0 | Espagne | 1970

Playback is presented as a short rehearsal in a double sense. It is a satellite of the constellation of works that Portabella dedicates to the analysis of the "materiality" of aesthetic and cultural languages (Vampir-Cuadecuc and Miró l`Altre among others can also be understood in this manner). At the same time, he analyzes the rehearsals that Carles Santos carries out for the playback recording of a film on the work of Antoni Gaudi. The choir of the Gran Teatro del Liceu of Barcelona reads fragments from Wagner`s Tannhauser, Lohengrin and the Valkyries. The film was shot in the theater "Lluïsos de Gràcia".

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010Miró Tapís | Doc. expérimental | 16mm | couleur et n&b | 22:0 | Espagne | 1973
Pere portabella
Miró Tapís
Doc. expérimental | 16mm | couleur et n&b | 22:0 | Espagne | 1973

The film was commissioned by the Galeria Maeght for the Joan Miró exhibit organized by the French Ministry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film was shot in six days in Montroig del Camp (the Miró country home) and in Tarragona during the process of elaboration of an original tapestry for eight months using 1200 kilos of wool and 600 kilos for the warp. The tapestry was 6 meters wide and 11 meters long and weighed a total of 3,500 kilos. A special loom had tobe built to weave it. The day the twin towers of the World Trade Center in New York were attacked, September 11, 2001, the tapestry was hanging in the hall of the one of the towers and was destroyed along with it.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010Miró forja | Doc. expérimental | 16mm | couleur et n&b | 24:0 | Espagne | 1973
Pere portabella
Miró forja
Doc. expérimental | 16mm | couleur et n&b | 24:0 | Espagne | 1973

The film was conmissioned by the Galeria Maeght to commemorate the Joan Miró exhibit organized by the French Minsitry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film, that took five days to shoot, shows the smelting and casting process of the work known as Puertas Mallorquinas by Joan Miró. The filming team travelled to the foundry owned by the Parellada family in Llinars de Munt. The bronze sculptures weigh 1200, 800 and 650 kilos respectively and were cast in one piece in a kiln specially constructed for the occasion.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010La tempesta | Doc. expérimental | 35mm | couleur et n&b | 3:0 | Espagne | 2003
Pere portabella
La tempesta
Doc. expérimental | 35mm | couleur et n&b | 3:0 | Espagne | 2003

Naked bodies are buffeted by water accompanied by the music Il Temporale from the opera La Cenerentola and the overture to Il Barbiere di Siviglia both by Gioacchino Rossini. The film is part of a show by Carles Santos: El compositor, la cantante, el cocinero y la pecadora (The composer, the Singer, the Cook and the Sinner).

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010No al no | Doc. expérimental | 35mm | couleur | 3:0 | Espagne | 2006
Pere portabella
No al no
Doc. expérimental | 35mm | couleur | 3:0 | Espagne | 2006

Carles Santos plays one of his pieces on the piano. This film was made for the exhibit on Carles Santos ¡Visca el piano! held at the Miro Foundation in the summer of 2006.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010Uno de aquellos | Doc. expérimental | 35mm | couleur | 5:0 | Espagne | 2009
Pere portabella
Uno de aquellos
Doc. expérimental | 35mm | couleur | 5:0 | Espagne | 2009

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Marianela portillo, ignacio iasparra, marianela portillo, stecconi bruno, nicolas dominguez bedini and guillermo ueno
Catalogue : 2015Sinuosos y dorados médanos | Doc. expérimental | hdv | couleur | 61:14 | Argentine | 2015
Marianela portillo , ignacio iasparra, marianela portillo, stecconi bruno, nicolas dominguez bedini and guillermo ueno
Sinuosos y dorados médanos
Doc. expérimental | hdv | couleur | 61:14 | Argentine | 2015

11 years happens in Medanos, a town of 5,000 inhabitants of the Province of Buenos Aires, an unprecedented event. A group of boys and girls with artistic interests, decided to get together and organize actions to not migrate. From cooking pig in a field, until the sale of raffles to pay future expenses Médanos Cultural Center, they began with their own initiatives. This group takes one of the greatest works of political activism in the Argentine art scene, show that you can work in a class without having to constantly look outside is one of the objectives of the documentary. When we learned that for various reasons the last "Spring Season" would take place was born the idea of making a documentary film project the history of Medanos and traveled Group. Record the lives and experiences of a generation that cultural alternatives proposed for years and also show how they live some historical villagers who were able to access and frequent. Who create Winding & golden Médanos: Ignacio Iasparra, Marianela Portillo, Stecconi Bruno, Nicolas Dominguez Bedini and Guillermo Ueno, we think of a documentary sketch experience local cultural management. That assumed a commitment to its people. Through self-management and the pursuit of aesthetic deliver.

Guillermo Ueno, Buenos Aires 1968 Photographer, Video maker. Between 1999 and 2015 he showed his work in Gallery Benzacar .Belleza y felicidad. Malba .Mamba .Macro. Museum of Contemporary Art Niteroi, Brazil. Cultural Center Medanos .Vasistas Gallerie, Montpellier , France. FNA . Printed Matter , NY. Argentine Consulate NY. Museum of Contemporary Art Santiago de Chile. Catena Gallery. Gallery TL OAS , Washington. He published regularly in Purple , Purple Journal, Les Chronicles Purple, iD magazine , Lápiz Japonés, Masterbox , Hawaii, Otso. Director of photography and camera Hachazos Andrés Di Tella , 2011 , 327 cuadernos Andrés Di Tella 2015 . Davidovski (one day in Medanos ), 2015 . Co-direction (Sergio Subero ) Alter Sapukai ! Bafici 2012. Sinuosos y dorados Médanos 2015 , with Ignacio Iasparra , Marianela Portillo, Bruno Stecconi and Nicolas Dominguez Bedini .

Clément postec, delwaulle pauline
Catalogue : 2011Linescape | Documentaire | dv | couleur | 30:0 | France | 2010
Clément postec , delwaulle pauline
Linescape
Documentaire | dv | couleur | 30:0 | France | 2010

Une ligne-frontière divise la Bosnie-Herzégovine en deux entités autonomes et dépendantes.
Nous partons à la recherche de cette ligne mais peu à peu les traces de sa présence viennent troubler l?enquête...


Clément Postec, réalisateur, 24 ans, né le 8 février 1986 Après un baccalauréat scientifique option cinéma audiovisuel, Clément Postec poursuit sa formation en classe préparatoire littéraire option études cinématographiques au Lycée de Sèvres (92). En 2007, il obtient une licence de lettres modernes et une licence de cinéma à l?Université de Paris 3, Sorbonne Nouvelle. Il passe une année au sein du département des Film Studies à l?Université de Kent à Canterbury au Royaume-Uni, puis poursuit son parcours en master recherche études cinématographiques à l?Université de Paris 3. En parallèle, il a réalisé un court métrage, à propos d?e., mise en fiction de moments de danse contemporaine. Il travaille régulièrement la vidéo, moins comme objet définitif que comme laboratoire de ses projets de films (www.etcaeteraprod.org). Diplômé de l?IEP Sciences-Po Strasbourg (Politique et Gestion Culturelles), il est actuellement assistant de direction artistique pour pointligneplan.
Pauline Dewaulle(co-réalisatrice), 22 ans, née le 2 décembre 1988. Elle s?intéresse au cinéma depuis une durée indéterminée, et a fait quelques films en super 8, dont Portrait de Jean Rolin (commande du musée portuaire de Dunkerque et de la Drac nord ? Pas-de-Calais) et La bête à rêves. Avant de quitter la mer du Nord et ses dunes pour rejoindre Paris, elle prend part à divers ateliers de création, et notamment participe à la réalisation d?un court-métrage avec Jean-Charles Fitoussi. Ainsi, après un baccalauréat littéraire en classe européenne, elle entre en 2006 à l?Ensa Paris-Cergy. Elle y fait des dessins et des films d?animation dont Personne ne peut exiger de la mer qu?elle porte tous les bateaux (grattage sur pellicule 16 mm) ; Les oiseaux (dialogue avec cage), installation de projecteurs 16 mm projetant un même film divisé en deux pellicules ; Le grand sommeil, film réalisé à partir de dessins fixes d?un dormeur. En parallèle, elle prend part à de nombreux projets, dont Je m?appelle Hélène d?Hélène Motteau et Le dernier voyage de Maryse Lucas d?Artus de Lavilléon et David Ledoux en tant que cadreuse.

Stuart pound
Catalogue : 2005Tehran Trace | Art vidéo | dv | couleur | 7:25 | Royaume-Uni | 2005
Stuart pound
Tehran Trace
Art vidéo | dv | couleur | 7:25 | Royaume-Uni | 2005

Tehran Trace emprunte le même chemin en mouvement, le pas lent et silencieux, à travers quatre photographies figées: le vestibule de l'Hotel Laleh, le Mirror Hall of the Golestan Palace, un arche en pierre tourné vers le nord de la ville et un bazar avec vue sur des montagnes. Chaque "piste" commence en gros plan, s'éloigne en courbe de son sujet d'ouverture et finit avec l'image initiale cadrée intégralement.


Stuard Pound a reçu une formation en réalisation et en informatique,la vidéo numérique réunissant les deux activités. Il fait ses débuts dans la réalisation en 1970 comme membre de la London Film-makers Co-op et enseigne par la suite la réalisation à la Nottingham Trent University jusqu'en 1979. Son oeuvre a été présentée dans des festivals à Londres et ailleurs ainsi que via internet. Des projections ont eu lieu notamment à MoMA (Paris),Tate Modern, Impakt Festival Utrecht, London Film Festival, Split International Festival of New Film, VIPER (Basel), International Media Art Biennale Wroclaw, Vidéoformes Clermont-Ferrand , Media Forum, Moscow International Film Festival , prog:ME, Centro Cultural Telemar, Rio de Janeiro, KunstFilmBiennale Köln, Microwave International Media Art Festival, Hong Kong

Catalogue : 2006Birdsong Marimba | Vidéo expérimentale | dv | couleur et n&b | 7:5 | Royaume-Uni | 2005
Stuart pound
Birdsong Marimba
Vidéo expérimentale | dv | couleur et n&b | 7:5 | Royaume-Uni | 2005

Après une décision irréversible, un débat politique est plongé dans une ambiance de marimba, chants d´oiseaux, et de photographies.


Stuart Pound a un passé de réalisateur et travaillait sur le calcul par ordinateur. La vidéo numérique lui a permis de conjuguer ces deux domaines. Il débuta la réalisation en 1970 en tant que membre de la London Film-makers Co-op et enseigna la réalisation à l´Université Nottingham Trent par la suite, jusqu´en 1979. Ses oeuvres ont été exposé lors de festivals à Londres entre autres.

Yvan pousset
Catalogue : 20069°N | Vidéo expérimentale | dv | couleur | 4:30 | France | 2006
Yvan pousset
9°N
Vidéo expérimentale | dv | couleur | 4:30 | France | 2006

La fenêtre de la video s`ouvre sur un personnage vêtu de rouge, errant dans une forêt, en quête d`un quelque chose dont le commencement serait antérieur à celui de la video. Aveugle de l`oeil qui le scrute, le personnage poursuit son activité sans relâche tel un Sisyphe d`une époque récente. L`épaisseur de la forêt s`insère entre une perception éloignée du personnage et une proximité enveloppante produit par la netteté des bruits de son déplacement (craquement de branches, respiration). La fenêtre balaye l`espace de la forêt autour du personnage qui se révèle être un point fixe dans la surface de projection. Cet espace, cette distance créée entre sa perception éloignée et sa présence sonore (et celle de l`outil de projection) laisse apparaître le flottement d`une image et de son auteur (celui qui filme) semblant plus être perdu dans son intention de filmer que le protagoniste assumant tel Sisyphe sa destinée. Déstructurer, disloquer chacun des éléments composant une illusion, serait une façon de replacer le spectateur dans sa position réelle.


Né en 1977 à Rennes, après des études dans le milieu artistique, Yvan pousset a poursuivi aux Beaux-Arts d'Angers en tant que sculpteur et s'exprime depuis 4 ans avec la vidéo. Tout son travail est larecherche d'une matérialité dans la vibration des pixels de ce médium.

Catalogue : 2011Solanus ad solana | Vidéo expérimentale | dv | couleur | 1:11 | France | 2011
Yvan pousset
Solanus ad solana
Vidéo expérimentale | dv | couleur | 1:11 | France | 2011

Une caméra embarquée voit se débattre à contre-jour et en contre-plongée, un homme muni de son arme/outil.


Formé aux Beaux-Arts de 1999 à 2005, mes réalisations questionnent le corps et ses pratiques dans des installations-vidéos et vidéos expérimentales. Vidéaste indépendant, je confronte mon travail de recherche à d`autres disciplines artistiques (théâtre, musique, danse), ainsi qu`au contact de populations diverses (écoles, démarches participatives, instituts d`études) et dans la volonté de lier création plastique et citoyenneté.

Catalogue : 2012ANNA ET ROBBIE | Vidéo | dv | couleur | 1:30 | France | 2012
Yvan pousset
ANNA ET ROBBIE
Vidéo | dv | couleur | 1:30 | France | 2012

Un personnage en gros-plan fait face à un paysage sauvage, se dessinant au fur et à mesure derrière lui. Des spasmes le submergeront de plus en plus, jusqu`à le projeter dans la matière des lieux. La condition d`Anna et Robbie n`en est pas moins banale qu`ils sont denses et périssables.


Formé aux Beaux-Arts de 1999 à 2005, mes réalisations questionnent le corps et ses pratiques dans des installations-vidéo et vidéos expérimentales. Vidéaste indépendant, je confronte mon travail de recherche à d`autres disciplines artistiques (théâtre, musique, danse), ainsi qu`au contact de populations diverses (écoles, démarche participative, instituts d`études) et dans la volonté de lier création plastique et citoyenneté.

Txuspo poyo
Catalogue : 2007DELAY GLASS | Animation | dv | couleur | 8:30 | Espagne | 2007
Txuspo poyo
DELAY GLASS
Animation | dv | couleur | 8:30 | Espagne | 2007

Delay Glass 2007 animation vidéo 3D 8''30'. Couleur. Stéréo. Bilbao Delay Glass fait référence à l'?uvre inachevé de Marcel Duchamp, "The Large Glass" dans une simulation ou les contributions scientifiques, technologiques, mécaniques et érotiques acquièrent un mouvement rotatif et onaniste des différents artefacts, entre les faits et la fiction.


Txuspo Poyo was born in Alsasua-Navarra, Spain. He studied in Basque Country University(Bilbao), Where he received his B:F:A. He then spent two years in Toronto-Canada with a grand to continue education. After that he moved 1991 to New York City with a grand fron Basque Country where is living and sharing place with Bilbao. 2001 he was awarded a grant from Marcelino Botin Fundation for a ISCP residential program NY and CADA at the New York University. 2005 he got a grand from Bilboarte Fundation. 2006 he got a grand from Arte y Derecho, Madrid and he was a Gure Artea awarded, Basque Country. 2007 He got a residential at FAAP, Sao Paulo, Brasil. Where he show at File Festival, Sao Paulo.

Catalogue : 2010U.N(INVERSE) | Animation | dv | couleur | 19:0 | Espagne | 2010
Txuspo poyo
U.N(INVERSE)
Animation | dv | couleur | 19:0 | Espagne | 2010

U.N(Inverse) is a project that delves into mechanisms of historical complexity from tracks of fragmentation as questions of interpretation, narration and fiction that has surrounded the construction of the United Nations, specifically the architectural complex of the New York headquarters. Constant changes of reference models have taken me to the crossroads between the idealism of the moment and the symbolism, the architecture and the cinema, sharing the limelight at a time of collapse. In terms of architecture, the decongestion and suspension proposed by Le Corbusier compared to the ideological vacuum of Wallace (the architect in vogue at that time), the backdrop of the cinema in the middle of the Cold War and as now the UNO is surrounded by Hollywood stars to promote themselves abroad; in this way Peter Pan?s Tinkerbell is the new ambassadress of the United Nations.

Txuspo Poyo was born in Alsasua-Navarra, Spain. He studied in Basque Country University(Bilbao), Where he received his B.F.A. He then spent two years in Toronto-Canada with a grand to continue education. After that he moved 1991 to New York City with a grand fron Basque Country where is living and sharing place with Bilbao. 2001 he was awarded a grant from Marcelino Botin Fundation for a ISCP residential program NY and CADA at the New York University. 2005 he got a grand from Bilboarte Fundation. 2006 he got a grand from Arte y Derecho, Madrid and he was a Gure Artea awarded, Basque Country. 2007 He got a residentian at FAAP, Sao Paulo, Brasil. Where he show at File Festival, Sao Paulo. 2008 he was awarded the first price at the international Union Fenosa competition, Spain. Txuspo has participated in the XV simposion of the study of the image, Madrid. 2010 invited artist in a master talk at the Cuenca University. Spain.

Catalogue : 2017Expediente: Tunel de la Engaña (File: La Enagaña Tunnel) | Installation vidéo | hdv | couleur et n&b | 46:2 | Espagne | 2016
Txuspo poyo
Expediente: Tunel de la Engaña (File: La Enagaña Tunnel)
Installation vidéo | hdv | couleur et n&b | 46:2 | Espagne | 2016

This project is an attempt at a residual image of the construction of the La Engaña tunnel. It is a fabric made from the threads of various intertwined stories expressed in fragments of memory, identity and history, inviting re-readings of an unfinished tale somewhere between fact and fiction. The La Engaña tunnel, with its 6,976 m length, was at the time the longest tunnel ever built in the Iberian Peninsula. This giant railway infrastructure lies between Burgos and Cantabria, and was the last stretch of an ambitious project to create a train link between the city of Santander and the Mediterranean coast. In 1941, the office in charge of public works deployed squads of political prisoners to the area. There they began building worker’s settlements, together with other laborers from all over Spain. The tunnel was completed in 1961, but the project was put on hold until 1985 when the government decided to abandon it. Inside the room, one screen shows the historic trepanning of a mountain and its interior bracing, rivalling in proficiency with a team of operatives who hollow out a pachyderm before mounting its inner frame. On the other screen, an elephant advances through the ruined remains of platforms, a station and the former worker’s homes before ending up inside the tunnel. The animal’s state connects with the accounts of survivors in terms of physicality, emotional charge and feelings of grief. On both screens, the actions of digging and emptying draw on the poems Digging by Seamus Heaney and The Hollow Men by T. S. Eliot, as if each were stationed Metaphorically at one of the tunnel’s extremes. A third screen in the hall depicts a recent action performed at the southern mouth of the La Engaña tunnel, now sealed off by a wall. A worker is engaged in restoring the missing letter « E ». Lodged inside the new « E » is a time capsule with the spoken testimonies of survivors who worked at both ends of the tunnel. This tunnel is a deep hole in the body of history, the inside of a belly emptied ofits organs, a cave, a dark abyss, a wound, but also the door that leads us to theunknown and an entrance to advance from, in spite of the warning.

Txuspo Poyo (1963, Alsasua, Navarra) holds a BA in Fine Arts from the University of the Basque Country (UPV). In 2001 he completed an ISCP residency sponsored by Fundación Marcelino Botín and also studied at the CADA center of New York University. In 2006 he received funding from Fundación Arte y Derecho and Fundación de las Artes de Valencia for his Delay Glass project, and the same year won the Premio Gure Artea of the Basque Government. In 2008, he was awarded first prize at the 10th Unión Fenosa International Exhibition. He has taken part in the Madrid Region’s 15th Image Symposium, and has been an invited speaker on master’s programs at the University of Cuenca and the UPV. He has held solo exhibitions in venues such as Museo Artium in Vitoria, Centre d’Art la Panera in Lleida, the Costa Rica Museum of Contemporary Art and Design and the Montcada Gallery of Fundació la Caixa in Barcelona. His group exhibitions include Geopolíticas de la animación showing at the CAAC in Seville and MARCO in Vigo; Les Rencontres Internationales Paris/Madrid/Berlin; the 2nd Angola Triennial; the FILE in São Paulo; Incógnitas at the Guggenheim Museum Bilbao; Cine y casi cine at the Reina Sofía in Madrid; Multitude at the Artist Space gallery in New York, and Fundación Sandretto Re Rebaudengo, in Guarene Turin, Italy.

Lucia prancha
Catalogue : 2015Sebastião, O Fantasma | Fiction | hdv | couleur | 14:57 | Portugal | USA | 2014
Lucia prancha
Sebastião, O Fantasma
Fiction | hdv | couleur | 14:57 | Portugal | USA | 2014

Sebastian of Portugal disappeared in the battle of Alcácer Quibir and is often referred to as The Desired by the Portuguese. The people of Lençóis believe that the ghost of Sebastian of Portugal haunts their Brazilian island. Some see themselves as direct descendants of the king. They also believe that every first Friday of every month king Sebastian visits the beach in full armour and on his horse, and that a subterranean ouroboros will swallow the island some day. A group of people who inhabit the island of Lençóis on the Northeast of Brazil and their interest in the myth of D. Sebastião I (Sebastian of Portugal ­ 1554­-1578).

Lúcia Prancha (1985, Lisbon / Portugal) received a MFA from CalArts - California Institute for the Arts (2015). Lúcia explores the tensions between aesthetics, perception and politics rethinking historical and social episodes through installation, video and sculpture. Her work has been exhibited at the Serralves Foundation, Oporto, Portugal; Galeria Leme, Sao Paulo, Brazil and Galeria Baginski, Lisbon, Portugal. In 2013, she was the recipient of a two-year Calouste Gulbenkian Foundation and the Luso-American Foundation for Development (FLAD) Scholarship. Presently practicing in Los Angeles.

Sorayos prapapan
Catalogue : 2013Boonrerm | Fiction | hdcam | couleur | 16:35 | Thaïlande | 2013
Sorayos prapapan
Boonrerm
Fiction | hdcam | couleur | 16:35 | Thaïlande | 2013

Boonrerm is a housemaid.Every day she received a weird order.

Sorayos Prapapan is a part of thai independent filmmaker. He graduated from Department of Film and Photography Thammasat University Thailand in 2009 He began his career working as Production Assistant for Uncle Boonmee Who Can Recall His Past Lives (2010 Palme D`Or Winner Festival De Cannes) Now he working as sound recordist,foley artist and sometimes sound designer for thai independent film such as 36 (2012 New Current Award Busan Winner) and just graduated from Asian Film Academy 2013. Beside that he directed his own short such as Noumena Scene,Boonrerm and Long Live the Kim.