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"Godard-Warhol This would be in short what the video is about: One minute of carrying One double minute One minute of silence One minute of rock One minute of star : gowar"

Jon Mikel Euba est né en 1967 à Bilbao, Espagne. Il vit et travaille à Berlin et à Bilbao.Il s`apprête à présenter à Bucarest ses vidéos, dont la dernière intitulée "One minute of Silence" mais aussi des plus anciennes comme "K.Y.D." (2001). Il travaille actuellement sur sa prochaine vidéo. Jon Mikel Euba a à la fois recours au texte et à l`image dans ses ?uvres "utilisant la vidéo, le dessin et les mots pour construire des récits ambigus et mettre en scène des incidents ou des situations mystérieuses dans lesquelles le paysage suscite des fragments d`actions récurrentes, qu`une répétition à l`infini transforme en icônes abstraites. À partir du montage d`images provenant de ses archives personnelles, d`arrêts sur image, de phrases et des passages récupérés, il génère un nouveau texte cinématique, une nouvelle structure qui transcende de telles unités informationnelles pour décrire de nouveaux modes de comportements." (Nuria Enguita Mayo).

Parallel (work in progress demo) tells the story of the fissure–the modes of blindness and longing, of not seeing and being unseen, of being together yet also apart–at the heart of an intimate exchange. The installation is constructed of an elongated strip of portraits which can be viewed from both front and back. On either side of the installation are displayed close-up faces of a range of individuals. Each of the individuals stares at a parallel figure sitting across from them, their back to the camera. The parallel figure’s face is visible from the reverse side of the installation, as is the back of the person we saw on the front side. Beyond the more immediate scene of the gaze exchange between the figures, we can see, through cracks in the wall behind them, a hint of an open landscape. At an almost undetectable speed, the two rows of portraits–those who are facing us and those who are not–drift along, and then off of the edge of the screen. New pairs continue to slip in endlessly. The pace of the rows’ drift (front and back), however, is slightly mismatched. This gap in the rate of their movement results in a subtle dissonance: the parallel figures slip away from each other as well as away from us. As they drift, they intermittently obscure the individuals they face. Short texts–segments of online messages written to an unknown other–are, at irregular intervals, read out loud by one of the visible characters. The same text might be performed by different people. Several distinct texts might be read by a few characters at once. The link between who we see and the story we associate with them is, thus, like their image, unsettled, interrupted and displaced. The video attached is a work in progress edit demonstrating two possible scales for the project's display.

An experimental documentary maker for over twenty years, Even has produced work which ranges from feature-length documentaries to multi-channel installation and interactive video work, and which, relying on almost imperceptible digital manipulation of slow and extended moments, aims to depict the less overt manifestations of complex, and at times extreme, social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has been shown at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many galleries, museums and festivals in the U.S., Canada and Europe, including Doc Fortnight at MoMA, NY, Rotterdam Film Festival, RIDM Film Festival, Montreal, New York Video Festival, Lincoln Center. It has won numerous grants and awards, including 3ARTs Visual Arts and Next Level Awards, Fledgling Distribution Fund, Artadia Award, Media Arts Award, the Jerome Foundation, Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY) and the Jewish Museum (NY) among others. Even has been an invited guest at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Open Doc Lab at MIT, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia and others. Her work is distributed by Heure Exquise, France and Video Data Bank (VDB). Even is Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department.

Icarus / Tirtza Even Icarus fut abattu à Cartagène, en Espagne. La ville de Cartagène située sur la côte Méditerranéenne, a été un site de grandeur et de décadence (où alternaient manifestations de pouvoir et troubles politiques), site idéal pour un déploiement de cultures et de régimes. Romains, Byzantins et Ottoman, tout comme l'Église Épiscopsale et la République Espagnole s'y sont mêlés. Durant cette période la ville servait (entre de longs moments de décrépitude, d'épidémies, de guerres, de destruction puis de récupération) de port fructueux, de base militaire à valeur stratégique et de centre industriel et commercial riche en minerais, mines de plomb et d'argent. De nos jours, c'est une petite ville périphérique, habitée en grande partie par une communauté émigrante du Maroc, des travailleur d'un jour, elle aboute pour élargir le tourisme et l'attrait culturel de ses exhumations avec des restes d'un théâtre romain, et d'un amphithéâtre situé sous des arènes, et d'un grand nombre militaires, marines et sites culturels historiquement pointus , tout comme son Université renommée (qui réside dans un hôpital militaire rénové) -- une série de maisons sont démolies, sous surveillance, dans des sites par intermittence dispersés dans le centre de la ville, afin d'être ré-occupés dans un futur proche par des appartement-hotel de luxe. Au moment de la réalisation d'Icarus, les signes variés de pouvoir et d'entropie, de centralité et de marginalité, qu'elle soit militaire, politique, éthnique, économique, culturelle ou sociale, étaient exposés de façon éclectique dans l'architecture superposée et fracturée et dans l'arène humaine. La vidéo éditée pour Icarus, consiste en 12 min. de plan inversé- un impossible re-tour ou "torchon temporel" -- à travers des sites circulaires filmés à Cartagène, chacun cousu ensemble comme rapiécés, dans l'espace et le temps, du paysage urbain d'une ville. L'acte de tisser: des moments et des en- et hors- scènes , trahit des fissures inédites dans lesquelles différents personnages glissent, dans lesquelles ils convergent, ou disparaissent. Ainsi le paysage pêle et se déplie, se retournant sans vraiment arriver à ce moment intact d'aspiration et d'origine. L'oeuvre est formellement engagée dans le louvoiement de paysages fragmentés, utilisant les mouvements de la caméra comme moyen pour commenter - ou occuper et ainsi interrompre -- ces déterminants politiques et sociaux du paysage.

Tirtza Even, Bio Vidéaste en pratique et documentariste durant ces dix dernières années, Even a réalisée des travaux vidéo à la fois linéaires et intéractifs représentant des manifestations complexes peu évidentes et quelquefois des dynamiques socio-politique extrêmes, dans des endroits spécifiques (comme par exemple la Palestine, la Turquie,l' Espagne, les États Unis, et l'Allemagne parmi tant d'autres). Son oeuvre est parue au Musée d'Art Moderne de New York, à la Biennale de Whitney, Johannesburg ainsi que d'autres festivals, galeries, et musées aux États-Unis, en Israël, et en Europe, et a été acheté pour des collections permanentes par le Musée d'Art Moderne (New York), le Musée Juif (New York), Le Musée d'Israël (Jérusalem), pour ne citer qu'eux. Elle a été invitée et oratrice lors de nombreuses conférences et de programmes universitaires, dont "the Whitney Museum Seminar series", "the Digital Flaherty Seminar", "Art Pace annual panel", "ACM Multimedia"," The Performance Studies International conference" (PSI), "The Society for Literature, Science", and "the Arts conference" (SLSA) et autres.

Tygers (2014) is a glance at the fancy moves by the Mansfield Senior High football team in Mansfield, Ohio, the alma mater of the filmmaker.

Kevin Jerome Everson: Filmmaker Biography Kevin Jerome Everson (b.1965) was born and raised in Mansfield, Ohio. He has a MFA from Ohio University and a BFA from the University of Akron. He is currently a Professor of Art at the University of Virginia, Charlottesville. Everson was awarded the prestigious 2012 Alpert Award for Film/Video and was the subject in spring 2012 of a mid-career retrospective at Visions du Reel, Nyon Switzerland, a solo exhibition at the Whitney Museum of American Art in 2011 and a retrospective at Centre Pompidou in 2009. He is slated for a solo exhibition at the Cleveland’s MoCA in late 2014. His films have screened at 10 consecutive IFFR editions, since 2005. His artwork--paintings, sculptures, and photographs--and films, including six features (Spicebush, 2005; Cinnamon, 2006; The Golden Age of Fish, 2008; Erie, 2010; Quality Control, 2011; The Island of St. Matthews, 2013) and over 100 short form works, have been exhibited internationally. From April-September 2011, a solo exhibition of 17 short form works, More Than That: Films of Kevin Jerome Everson, was featured at the Whitney Museum of American Art. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011. The feature film Quality Control (2011) was included in the 2012 Whitney Biennial and the short Emergency Needs (2007) in the 2008 Whitney Biennial. Everson has received numerous fellowships and academic awards including the Guggenheim, NEA, American Academy Rome Prize, and grants and residences from Creative Capital, Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony.

Workers Leaving the Job Site is another take on the Lumiere Brothers classic 1895 film. Shot in Columbus, Mississippi, the hometown of the filmmaker's parents.

Kevin Jerome Everson (b.1965) was born and raised in Mansfield, Ohio. He has a MFA from Ohio University and a BFA from the University of Akron. He is currently a Professor of Art at the University of Virginia, Charlottesville. Everson was awarded the prestigious 2012 Alpert Award for Film/Video and was the subject in spring 2012 of a mid-career retrospective at Visions du Reel, Nyon Switzerland, a solo exhibition at the Whitney Museum of American Art in 2011 and a retrospective at Centre Pompidou in 2009. He is slated for a solo exhibition at the Cleveland’s MoCA in late 2014. His films have screened at 10 consecutive IFFR editions, since 2005. His artwork--paintings, sculptures, and photographs--and films, including six features (Spicebush, 2005; Cinnamon, 2006; The Golden Age of Fish, 2008; Erie, 2010; Quality Control, 2011; The Island of St. Matthews, 2013) and over 100 short form works, have been exhibited internationally. From April-September 2011, a solo exhibition of 17 short form works, More Than That: Films of Kevin Jerome Everson, was featured at the Whitney Museum of American Art. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011. The feature film Quality Control (2011) was included in the 2012 Whitney Biennial and the short Emergency Needs (2007) in the 2008 Whitney Biennial. Everson has received numerous fellowships and academic awards including the Guggenheim, NEA, American Academy Rome Prize, and grants and residences from Creative Capital, Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony.

Hazel (dual) is a split screen film, shot in 16mm b/w, inspired by the legendary recording of the underrated guitarist Eddie Hazel’s (1950-1993) ten-minute guitar solo on “Maggot Brain”, the title track to Funkadelic’s 1971 album . The film is the fictitious moment when bandleader George Clinton “misleads” the guitarist Eddie Hazel to record what is considered one of the greatest guitar solos ever recorded. Performed by actor and musician Ricky Goldman whose previous collaborations with the artist include leading roles in the short films It Seems to Hang On (US, 2015, Venice Film Festival); We Demand, co- directed with Claudrena N. Harold (US, 2016, Berlinale 'Forum Expanded' and Gospel Hill. co-directed with Claudrena N. Harold (US, 2022, Chicago Intl FF).

Kevin Jerome Everson (b. 1965 Mansfield, Ohio U.S.) B.F.A. University of Akron; M.F.A. Ohio University. Lives and works in Charlottesville, Virginia, US. Commonwealth Professor of Art and Director of Studio Arts, University of Virginia Everson's work and practice encompasses photography, printmaking, sculpture and film – 12 features and more than 200 solo and collaobrative short form works. He has been recognized with the Guggenheim Fellowship, the Alpert Award in Film/Video, the Heinz Award in Arts and Humanities, the American Academy in Rome Prize, the American Academy in Berlin Prize and artist grants from Creative Capital, National Endowment of the Arts, Hallwalls Contemporary Arts Center, Wexner Center for the Arts and the Ohio Arts Council. His artwork has been the subject of retrospectives and solo exhibitions at The Whitney Museum of American Art, Tate Modern/Film, Cinema du Reel/Centre Pompidou, BlackStar, Halle fur Kunst Steiermark, Graz, Art Windsor-Essex, Windsor, Ontario, Museum of Modern and Contemporary Art, Seoul, Museum of Contemporary Art, Novi Sad, Serbia, Harvard Film Archive, Cinematek Brussels/Courtisane and presented at international film festivals and art institutions including Berlin, Sundance, Rotterdam, Toronto, Venice, BFI/London, NYFF, BlackStar, Oberhausen, Jeonju, Carnegie Museum of Art, Pittsburgh, MOCA, Los Angeles, Walker Art Center, Minneapolis, MoMA, NY and the Smithsonian National Museum of African American History & Culture, Washington D.C.. His films have been featured at the 2008, 2012 and 2017 Whitney Biennial, the 2013 Sharjah Biennial, the 2018 Carnegie International and the 2023 Contour Biennale in Mechelen, Belgium. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011 and a DVD dedicated to films focusing on the rituals and gestures of labor, I Really Hear That: Quality Control and Other Works was released by VDB in summer 2017. The DVD contains the feature film Quality Control (2011), included in the 2012 Whitney Biennial. The two disc blu-ray How You Live Your Story: Selected Works of Kevin Jerome Everson was released by the UK based boutique label Second Run DVD in Fall 2020. Everson's films are represented and/or distributed by Picture Palace Pictures, New York.

Commandé par le festival du film de Rotterdam de 2007 en hommage à l'oeuvre de Gus Van Sant, "Emergency Needs", réalisé par Jerome Everson, est une réinterprétation sous forme de pastiche d'un événement de l'histoire afro-américaine: les émeutes de Cleveland de 1968. En utilisant à la fois des séquences d'archives et des images originales, le film déconstruit la chaîne d'événements dans laquelle est pris le maire Carl Stokes. Assailli de questions par la presse locale et nationale, Stokes lutte pour garder la face. L'actrice qui incarne Stokes reproduit ses mots, sa façon de s'exprimer et ses gestes, dirigeant le film vers la fiction / reconstitution historique. Comme dans d'autres oeuvres d'Everson, les histoires de la diaspora africaine sont réexaminées de façon à révéler des stratégies et des rythmes de travail. Les séquences d'archives de la conférence de presse et des émeutes révèlent un homme engagé dans l'art politicien, quelque chose se rapprochant du jeu d'acteur. Les séquences originales avec l'actrice récréant la conférence de presse en split screen ajoutent une qualité répétitive, étrangement Warholienne, à l'oeuvre.

Kevin Jerome Everson est né à Mansfield Ohio, où il a grandi. Il est réalisateur et artiste visuel. Son oeuvre étudie les conditions, les tâches, les gestes des communautés de travailleurs noirs. Il enseigne actuellement à l'université de Virginie, Charlottesville. Everson est diplômé de l'université de l'Ohio et de l'université d'Akron. Il a réalisé deux longs- métrages salués par la critique et plus de quatante courts- métrages couronnés de prix. En 2006, il a été élu par Filmamaker Magazine comme l'un des vingt-cinq nouveaux visages les plus importants du cinéma indépendant. En 2005, son premier long- métrage "Spicebush", une enquête sur les rythmes de travail et le passage du temps dans les communautés de travailleurs noirs, a été montré pour la première fois au festival international du film de Rotterdam et remporté le prix du jury du meilleur documentaire au festival du film underground de New York. "Cinammon" (2006) a été découvert au festival du film de Sundance et au festival de Rotterdam, ainsi que dans d'autres festivals internationaux. Avec sa compagnie Trich Arts, Everson développe actuellement deux projets de longs- métrages avec la productrice Madeleine Molyneaux de Pictures Palace Pictures, dont "The Golden Age of Fish" (en post-production), une étude scientifique sur la culture de consommation à la fois meurtrière et suicidaire, et le biopic expérimental "Rhino", sur les vies et mythes entourant le Duc de Florence du XVIe siècle Alessandro della Medici, né d'une servante africaine, et sur l'actrice afro-américaine Gail Fisher ("Mannix"). Everson développe également "Lowndes County", en collaboration avec la dramaturge Talaya Delaney, sur une communauté d'adolescents noirs dans les années 50, au Mississippi, à la veille de la déségrégation de l'école. Ses photos, sculptures et films ont été montrés à travers le monde, au MOMA de New York, au Whitney Museum of American Art, au Cleveland Museum of Art, au Studio Museum de Harlem, au Armand Hammer Museum de Los Angeles, au REDCAT (L.A.), au Palm Beach Institute of Contemporary Art, à la William Busta Gallery de Cleveland, Ohio, à la Spaces Gallery de Cleveland, à la Whitechapel Gallery de Londres, l'American Academy de Rome, en Italie, en France, en Chine et en Allemagne. Ses films ont été présentés au festival de Sundance en 1998, 2000, 2003, 2004, 2006, au festival de Rotterdam en 2003, 2005, 2006, au Festival International du Documentaire de Marseille, au Munich International, au Cinematexas, au Ann Arbor Film Festival, au LA Film Festival, au New York Underground Film Festival, à l'International Center of the Arts de Londres, à la New School of Social Research, au Black Maria Film Festival (meilleur film 2004), à l'Athens International Film Festival, au Shorts International de New York, au Siskel Theater de Chicago, au Virginia Film Festival de Charlottesville, à l'université de Floride Centrale, à l'université de Princeton, et au South by Southwest Film Festival (prix du meilleur film expérimental pour "Thermostat").

" A Free Moment was made in Tell el-Full in Jerusalem. The site, which before 1967 was in Jordan, had been chosen as the location for King Hussein?s summer palace. The framework of the palace was constructed before the occupation of East Jerusalem after the Six Day War and it remains a kind of ruin to this day. Evron gained access to the site and eventually determined to make a film within the building with a camera which would simultaneously perform three operations: it would pan in a 360 degree circle; it would tilt in another 360 degree circle, and it would undertake these two motions while traveling along a dolly track on a north-south axis. In other words, the camera would exhaust the repertoire of its mechanical motions and ?see? everything possible around it. The film also would last four minutes, being the length of one 400 foot film cartridge. In order to make this work, Evron worked with technical advisors to construct a track within the shell of the abandoned 1967 palace, and to programme the motions of the camera. The resulting film begins simply enough, with a view over Jerusalem. It is a view from a summit, and one we associate with notions of control and ownership ? the kind of view that we could well expect a king to enjoy from a palace. We would not be surprised if this view were accompanied or followed by a panoramic movement, so that the landscape all around was surveyed, but as Evron?s camera begins its journey, a completely unfamiliar motion begins since the camera starts looking up and around while moving backwards. Soon enough it points towards the rough concrete blocks of the floor above it, which, because of the way they are filmed, seem to lose their material identity. It seems as if we are looking down at a strange landscape, rather than upwards at rough breezeblocks. A few seconds later, the initial viewpoint out to the city reappears, but this time it is inverted. As the camera continues its backwards journey, it begins to record the track on which it is moving and the floor beneath the track, another rough surface that appears like a desert or lunar surface. Eventually the motion stops with a return to the orientation with which the film opens. ‏Evron?s film relates to the late 1960s in more ways than the date of the palace: this was the moment of structuralist film, when artists such as Michael Snow, Anthony McCall, Paul Sharits and others began to interrogate the apparatus of cinema, looking at the nature of a zoom or panning movement, the conical shape of a projected film, and the material properties of celluloid. A Free Moment is deeply indebted to this legacy and throughout the film, however unworldly the motion of the camera, Evron emphasizes the construction that has to be in place for this motion to occur: the camera necessarily records the track along which it moves, and even the mechanism between it and the track. But what is much more interesting than its structuralist credentials is the way Evron deploys these formal ideas in order to re-imagine the site in which he works. Through its elaborate structures, the film produces another way of seeing and thinking about the space in which it is set. We are not invited to ?see? Jerusalem as the Jordanian king once hoped to see it, nor as many Israelis now hope to see it, panning around a ?united Jerusalem?, all of which is hoped will remain under Israeli control. Instead, we are invited to loosen our ways of looking at architecture and landscape, to turn our way of looking on its head. The invitation and utopianism of this work is the idea that this way of looking might mean thinking about the city and its future in completely new ways. " excerpt from a text by Mark Godfrey

Nir Evron, born 1974 is a video artist and film maker. He graduated from the Bezelel Academy of Art and Design in Jerusalem in 2001 and completed a MFA degree at The Slade School of Art in London in 2005. Since then he exhibited extensively in Europe and Israel. He participated in the 2010 Berlin Biennale, The Jerusalem Film Festival (2011) where he won The Ostrovsky Family Fund Award for his piece `A Free Moment`. His solo Show `Here-Afrer` at the Tel Aviv Center for Contemporary Art was received with critical acclaim. His video works and film were purchased by museums and private collections, among them The Israel Museum, Jerusalem, The Tel Aviv Museum and The Zabludovicz Collection, London. He teaches video art at the Bezalel Academy and Hamidrasha College.

After living together for more than thirty year, a woman decided to leave her husband suddenly. The man sits in grieve contemplating what’s next as he looks back.

After his fellowship at the prestigious LaRochelle Film Festival in 2002, Simo Ezoubeiri directed two short films ( Terrace & Under the table) that both became an international artistic hits, being widely screened in Santa Monica Art Center in Barcelona, LaSala Una in Roma and chosen as the best film of the month by videoart.net editor in New York. In 2007, Simo moved to live and work in Chicago and directed a short thriller “Popcorn” that received The Second Best award by Chicago Filmmakers. Between 2009 and 2014, Simo received wide acclaim for his film trilogy (The Daily Show, Inner Marrakech and A Day in Life). These projects were a representation of artistic themes on experimental films particularly his portrayals of the Marrakech he knows and loves. In June 2015, He wrote, edited and directed his first narrative film “Ladder”. The film has already received accolades in accomplished film festivals such as les Inattendus Film Festival in Lyon, Wiper Film festival in New York and Goldensun festival in Malta.