FROM THE 6TH TO THE 14TH OF MAY
12H A 20H

DATA MEANINGS

Christophe BRUNO : Dadamètre
Multimedia Installation , net art |
France |  [•]

Claude CLOSKY : +1
Multimedia Installation |
France |  [•]

Mindaugas GAPSEVICIUS : Bookshelf
Multimedia Installation |
Lithuania |  [•]

JODI : CompositeClub
Installation |
Pays-Bas |  [•]

Ricardo IGLESIAS Mario RUIZ : Evolutional machine, un robot autista
Multimedia Installation |
Spain |  

Joan LEANDRE : At my Limit : In the Name of Kernel!
Installation | color |
Spain |  [•]

Michael Takeo MAGRUDER : Endless wall
Multimedia Installation | color |
United Kingdom |  [•]

RYBN, Marika Dermineur, Kevin BARTOLI, Jean-Marie BOYER : Antidatamining
Multimedia Installation | pure data | color |
France |  [•]

UBERMORGEN.COM : Sound of Ebay
Multimedia Installation |
Autriche |  [•]

The Dadameter is a global index that allows us to measure the distance separating a given discourse from Dada. Whereas every one of our behaviors (work, desire, ideology, risk, etc.) are recorded and tallied by global indices and in the markets of globalized finance, Christophe Bruno constructs new global indices, now in the domain of art. The Dadameter index seeks to measure the evolution of the density of Dadaism through time, in the perpetual movement of discourse, as it is stored on the internet. This is a task inspired by the work of Raymond Roussel. First and foremost an artistic object, a unit of measure corresponding to the lapse of language's aura, the Dadameter constitutes a parody of itself, all the while using rigorous scientific tools. It also seeks to question the status of Science, which has gradually come to serve global marketing and a generalized form of surveillance.

With his installation entitled "+1," Claude Closky changes the course of the ideology of interactivity, and brings together in one device customary technological tools and an elementary mathematical operation. The only possible action has only one possible outcome: the addition of a unit to a number, with a wholly unsurprising solution. With each click, the number increases by 1. The operation that takes place in "+1" allows for no intervention of chance, no personal or affective element. It foregrounds relation for the sake of relation. Absurd, and inherently redundant, this tautology becomes a critical tool applied to standardized behavior and automatisms. As he brings the reader face-to-face with the simplest expression of the principle of causality, one click = +1, Claude Closky redirects our expectations, as well as our belief in the potential of our actions to make effective changes in the real world.
The monitors of Mindaugas Gapsevicius' installation make up a contemporary library, one containing an infinity of digitized visual and textual materials described by a continuous flux of numbers and letters. In this descriptive form, the installation shows the invisible side of the circulation of information in the network, which thus becomes readable, which is not to say comprehensible. This rapid flux of letters and numbers on the monitors has no connection with chaos theory, a potential factor in large disruptions, nor with the realm of hackers. The installation "Bookshelf" is more similar to tcpdump, software that collects data transiting through a network, and which obtains, through a network interface, details on visible traffic.
In this installation, JoDi redirects and reinterprets mass-market video games that use optical reconnaissance and systems for recording movement, technologies that themselves come from military research in the 1980s. JoDi rewrites the code of the video games, then puts them in visual situations that were not taken into account by the game's original scenario. Just as it constitutes a reflection on the strategies of control and the archaic nature of the gaming devices offered by the video gaming industry, CompositeClub also reflects upon the video game's narrative device and its strategies for interaction. The player becomes an observer of the device, and the video game is faced with a complex scenario that brings to light the limits of the initial game's scheme of interaction.
Ricardo Iglesias and Mario Ruiz's device, "Evolutional machine, an autistic robot," looks into the confrontation of two worlds and the interferences they produce: that is, the world of technology and the world of living beings. The technological sphere is inhabited by a series of robots, each of which has been programmed to have diverse functions, independent of the influence of living beings. The boundary separating these two worlds is hazy. A recording and retransmission device establishes a relationship that contradicts the expected relationship between observer and observed. In space, on the screen, and on the internet. "Evolutional machine, an autistic robot" establishes a man-machine relationship based on a reciprocal interaction. The two elements belong to one logical system, as opposed to what usually happens in a logic of subjugation and the subjugated. From our status as agents, we become an integral part of the logic of relation.
In this installation, the kernel, which is at the heart of most computer systems, becomes the myth around which a symbolic event coagulates. It combines travel literature, the alchemy tradition, science fiction, terrorism and conspiracy theories, computer programming, mountain climbing, 3-D modeling, satellite mapping, hallucinations and revelations. John Leandre explores the troubled imagination of a fundamental principle of computer science, without regard for its potential uses, be they military or dreamlike. The image itself, which is created by manipulating computers, changes its status. Along with the images, the blind power of the Kernel appears, the kernel in whose name all technological usages become possible.
As we enter into the world of "Endless Wall," we find ourselves in a surface contained by an insurmountable wall, one that extends as far as the eye can see. The principle of wandering in a virtual space, so crucial to video games, comes to be diverted into other directions here, bringing us face to face with the absurd and the arbitrary. The endless wall refers to a society divided. Between those who are on one side and those who are on another. That is, the good and the bad side. "Endless wall" suggests a parallel with the walls our computers use, firewalls, which are designed to block potential intrusions from the other side, and which are sold to us as a form of protection.
"Antidatamining" is an online research project, based on the collection of market and financial data, as well as a number of socio-economic indicators. These data are archived and categorized, then submitted to the algorithmic calculations that are part of data mining. The data are then visualized in written audiovisual environments, inputted and refreshed in real time. The project's aim is to bring to light and predict the phenomena of socio-economic imbalances, and it seeks to establish a general cartography of imbalance.
Ebay has become the largest market on the earth, a million times larger and more effective than any market in the world. The installation "The Sound of Ebay" is Ubermorgen's contribution to the soundtrack of the new ultracapitalism in peer-to-peer. Ubermorgen sends millions of bots, or virtual robots, off to analyze the market and create songs. The machines create songs, and they replicate them by the millions in various networks. These are songs of synesthesia, and each has its own history.

FROM THE 6TH TO THE 14TH OF MAY
FROM 12H TO 20H

HYPER CINEMA

Franziska CORDES : O.T.
Installation | 5.1, DMX, Profiler | 0:01:35
Germany |  [•]

Camille HENROT : King Kong addition
Installation vidéo | dv | color | 01:33:00
France |  [•]

Francis NARANJO : Acto frívolo
Installation vidéo | dv | color | 0:08:46
Spain |  [•]

Mario OPAZO : Triptico del odio
Installation vidéo | dv | color and b&w | 0:08:00
Colombia |  [•]

Norbert PFAFFENBICHLER : Mosaik mécanique
installation, film expérimental | 35mm, num. | black and white | 0:09:30
Autriche |  [•]

Francis Naranjo dramatizes the watcher and the watched, showing us an intermediate relation between that which is on the stage, and (s)he who watches. A critical meditation on the gaze, on the origin of things, one that invites us to leave behind our customary way of seeing things as if they came out of the void and had neither cause nor origin. Here, the protagonist at the center of the stage becomes our equal, and the drag queen breaks away from her attributes, before our eyes. One clue, among others, that can help us to understand the mechanism of vision.
Franziska Cordes undertakes a reduction of the mechanism of projection, transforming it into a mental space where only the trace of the light's intensity remains. The phosphorescent material of the frame is filled with light. No image will appear, except for the phosphorescent trace, a sensory echo of the silver film from the film's fabrication, similar to the inverted and complex relationship of memory and the trace. There is neither beginning nor end; and whatever might happen during this projection of light, it will be the sole and unique thing that could happen. We find ourselves faced with an unnerving device, one that operates like a threshold, a condition for perception.
Norbert Pfaffenbichler arranges, in a symmetrical grill, simultaneously and in a loop, each shot of a 1914 comedy. He thus spatializes duration, giving a temporal status to the general frame of the image. The film "A Film Johnnie" (USA , 1914) is here completely reread. Every one of the film's shots is put into a loop, making a mosaic of images. The film's original shots are not modified, and the film is shown in its entirety. The way in which the original montage was transformed becomes the structuring principle of the installation. The montage becomes an architecture, and time becomes space. The simultaneous horizontal and vertical arrangements of images in movement, the spaces and the characters of the original are multiplied. Each shot becomes a separate piece in a structure that has become architectural. The characters are imprisoned, stuck, condemned to an endless mechanical repetition.
Camille Henrot superimposes and reconstructs the three versions of the mythical Hollywood film King Kong (1933, 1976, 2005). The opacity of the images makes a literal "screen," one on which any fantasies may be projected. The visual conjunctions and disjunctions inform a narrative sub-text, one in which two opposed yet simultaneous figures exist, figures that we would like to stop believing in: that is, the figure of a terrifying, savage state and that of a civilized world that replaces it.
Mario Opazo reinterprets fragments from "Kill Bill" through variations on light, space and time. He explores the structure of the image and affirms the work of montage as sole signifier. An exercise based on light, time, and space. This is an attempt to do away with narration, to dive into the very structures of the image, with no other tool but montage. It reveals who it is that is at work in the image as the actor of the image, in a performative, appropriative gesture, and interrogates the relationships between cinema and video.

FROM THE 6TH TO THE 14TH OF MAY
FROM 12H TO 20H

SPACES

Peter DOWNSBROUGH : AS] IN
Video | dv | color | 0:11:22
USA |  [•]

Hans OP DE BEECK : The Building
Installation vidéo, animation | dv | color | 0:04:19
Belgium |  [•]

Peter ROSE : Odysseus in Ithaca
Video | dv | color | 0:05:15
USA |  [•]

In "As] in", Peter Downsbrough passes through the empty spaces of an office building. Hans Op de Beeck describes a nocturnal wander through a medical complex, confronting an objective point of view with a subjective perspective. Peter Rose takes us through a strange architectural machine, a labyrinth, a place of mystery and power where rules of perspective are challenged.

FROM THE 6TH TO THE 14TH OF MAY
FROM 12H TO 20H

MOVEMENTS

Daniel CROOKS : PAN NO.5 (tangential acceleration)
Video | dv | color | 0:04:54
New Zealand /Australia |

Johanna DOMKE : Sleepers
Video | dv | color | 0:13:40
Germany /United Kingdom |  [•]

Lisa KLAPSTOCK : Ambiguous Landscape : Helsinki
Video | dv | color |
Canada /Finland |  [•]

Thomas KÖNER : Pneuma Monoxyd
Video | dv | color | 0:10:30
Germany |  [•]

Marcellvs L. : 0434
Video | dv | color | 0:06:56
Brazil |  [•]

Charly NIJENSOHN : Después del final - The polar project
Video | dv | color | 0:07:05
Argentina /Groenland, Germany |  [•]

Erik OLOFSEN : Public Figures
Video | hdv | color | 0:10:22
Pays-Bas/Belgium |  [•]

Daniel Crooks decomposes urban space and recomposes a new temporality. The expansion and contraction of spatial representation become a slowing and acceleration of time.
Johanna Domke films late at night, in slow shot sequences, the sleeping travelers of Stansted Airport in London as they wait for their morning flights. The video image veers toward a standstill, becoming almost photographic, with the images of these sleeping travelers, suspended in their unconscious state.
Thomas Köner questions the invisible fluctuations and boundaries present in each moment. In his video, a still shot of a market in the Balkans becomes an open window onto the flip side of things, revealing a porous boundary of the world.
With "0434," Marcellvs L. films two boats anchored at sea, as they move slowly in a strange synchronicity, creating a fortuitous choreography that suggests a dialogue or a strange ritual.
Charly Nijensohn films silhouettes as they hold themselves still in the immensity of an arctic landscape. Lone men, isolated in space, become an existential metaphor of resistance and otherness.
Erik Olofsen films, in extreme slowness, a crowd on a subway platform, capturing the imperceptibility of their gestures, and creating a hypnotic space of perception. The slow motions of the camera and the immobility of the characters allow us to freely associate the elements of the image.

FROM THE 6TH TO THE 14TH OF MAY
FROM 12PM TO 8PM

PUBLIC ESTATES

Kader ATTIA : Oil and Sugar
Video | dv | color | 0:05:00
France |  [•]

François BUCHER : The case of K. gun
Video | 35mm | color | 0:10:30
Colombia /Germany |  [•]

Tony COKES : Evil.15.1: On Teflon
Video | dv | color | 0:05:55
USA |  [•]

Immo LUEDEMANN : Estate
Doc. expérimental | dv | color | 0:09:34
Germany /USA |  [•]

Armand MORIN : Keep off displays 2 (missile range)
Video | dv | color | 0:06:17
France /USA |  [•]

Lawrence WEINER : Inherent in the Rhumb Line
Animation | dv | color | 0:07:00
USA |  [•]

Kader Attia's displacement of perspective unleashes the significance of objects and images up to a political dimension. François Bucher stages the voice of the interpreter who, during the vote for the UN resolutions on Iraq, unveiled the pressures exerted by the British and American governments. Tony Cokes analyses and distances the manipulating effects of speech and the political language as a war machine. Immo Luedemann films a suburb in Southern California. Something like a narrative appears but then the image is reversed and we hear marines talking of their living conditions in Iraq. Armand Morin films the missile museum in Nevada using a camera mounted on a remote-controlled motor. Lawrence Weiner offers a conceptual reading of the "rhumb line", a line of constant navigation, which in a certain way justified systemized pillaging on voyages of discovery.

FROM THE 6TH TO THE 14TH OF MAY
FROM 12PM TO 8PM

MONITORING SURVEY

Alex CAMPOY : Sin Rumbo
Video | dv | color | 0:21:02
Spain |  

Wayne CLEMENTS : The Most Wanted
Net art | Internet | color |
United Kingdom |  [•]

Jérôme JOY : nocinema.org
Net art | html/javascript | color and b&w |
France |  [•]

Philipp LACHENMANN : SHU (blue hour lullaby)
Installation vidéo | hdv | color | 0:12:02
Germany /USA |  [•]

Veit LANDWEHR, Florian ZWISSLER : Saariselkä
Video | dv | color | 0:04:41
Germany /Finland |  [•]

Ed OSBORN : Wandering Eye Studies
Experimental video | dv | color and b&w | 0:05:00
USA /Germany |  [•]

Alexander SCHELLOW : Still lives
Animation | dv | black and white | 0:03:36
Germany /United Kingdom |  [•]

Alex Campoy thwarts the security mechanisms of an airport by placing a camera in the base of a suitcase. He takes us along on his journey, from checking in to the plane's baggage hold.
"The Most Wanted" by Wayne Clements is an online work that brings together Jpeg images found on the internet and taken from surveillance cameras, upon which are superimposed names of the terrorists listed as "most wanted" by the FBI. The title is a nod to Andy Warhol's "Thirteen Most Wanted Men."
Nocinema.org, by Jérôme Joy, is an online application, a documentary/fictional project and a series of interludes for the internet. It is something of an improbable cinema, a movie without beginning or end, with neither actors nor scenario, with the exception of the stories that we can make for ourselves as we follow the succession of streaming images and sounds.
Philipp Lachenmann films a high security prison in the Mojave desert at nightfall. Lifetime solitary confinement is used in this prison. In the skies above the buildings, glimmering, blurry lights appear.
Using 40,000 video surveillance images that were created to observe the state of the roads in Finland, Veit Landwehr et Florian Zwissler recreate sound and visual material.
Ed Osborn explores the visual texture of video images drawn from the surveillance of public spaces. He questionins the ambivalence of our perception of this imagery, representative of our contemporary media environment.
Alexander Schellow reworks and reassembles fragments of memory, using images taken during a subway ride.

FROM THE 6TH TO THE 14TH OF MAY
FROM 2PM TO 9PM

CARLOS PAZOS

Carlos PAZOS : En blanc i negre, une vez mas
Video | dv | color | 0:10:30
Spain |  [•]

I have worked since 1984 with the images of Copito de Nieve (Snow Flake), the white gorilla (albino) who lived in the Zoo of Barcelona for 30 years, until his death in 2003, and of the Virgin of Montserrat, the black virgin who is the patron saint of Catalonia. These two icons represent, for me, the contradictions, the mix, the tenderness, the fusion which characterize Barcelona, my home town.A city of port and mountain, of bourgeoisie and rabble, liberal and bigot, both open and very closed. Contradictions that are inherent to the human condition and that bring to the fore the humanity of these two characters, the chimpanze and the Virgin, that the artist loves.

LE 13 MAI
FROM 12PM TO 9PM

CLAUDIO ZULIAN

Claudio ZULIAN : A través del Carmel
Doc. expérimental | hdv | color | 1:30:00
Italy /Spain |  [•]