Catalogue > Liste par artiste

Full Burn (20min, 2014), features U.S. war veterans who have all continued to test the limits of their physical abilities as civilians. Theses veterans, working as Hollywood stunt men, and one as massage therapist, describe relationships to the body, and how their experiences as soldiers have been carried back into their lives now. Named for the stunt restaged in the opening scene of this film, Full Burn pictures an ex-special ops marine set on fire in extreme slow motion, transforming the stunt into a ritualized reenactment of trauma. Full burn serves as a meditation on masculine duty and the emotional stakes of transcending fear. In 2014 it was exhibited as part of the Hammer Muesum`s Los Angeles Biennial, Made in LA, curated by Connie Butler and Michael Ned Holte. It was funded in part by The Hammer Museum and an FCA Emergency Grant.

Mariah Garnett mixes documentary, narrative and experimental filmmaking practices to make work that accesses existing people and communities beyond her immediate experience. Using source material that ranges from found text to iconic gay porn stars, Garnett often inserts herself into the films, creating cinematic allegories that codify and locate identity. Garnett holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. Her work has been screened internationally including: REDCAT (LA), White Columns (NY), SF MoMA (SF), Venice Bienniale (Swiss Off-site Pavillion), Rencontres Internationales (Paris, Madrid, Berlin, Beirut), Midway Contemporary Art (Minneapolis), Ann Arbor Film Festival (Ann Arbor), Kerstin Engholm Galerie (Vienna). In 2016 she has her first institutional solo show at the MAC in Belfast, Northern Ireland and her first solo show at a commercial art gallery in Los Angeles at ltd los angeles. In 2014, she was in residence at The Headlands Center for the Arts in Marin, and featured in Made in LA, the Hammer Museum`s biennial exhibition. The LA Times called her piece "Best in Show." She was awarded the Rema Hort Mann and CCF Emerging artist fellowships in 2014 and 2015.

The script for Signal, a 7-minute, 16mm film, attempts to narrativize a collection of spam emails gathered over a 3-year period, and is staged in or near ?sacred spaces?. The landscape of Pyramid Lake, on the Paiute Indian reservation is populated by 10,000-year-old rock formations, many of which are off limits to the public. They loom in the background as characters banter in the sometimes awkward, sometimes solicitous, sometimes nonsensical dialog of spam. The Black Rock Desert Playa, while vacant most of the year, is home to close to 60,000 people annually during Burning Man. These locations were chosen because they act as both mirror and foil for the internet - at once wastelands and gathering sites for millions of people, while maintaining an ancient physicality that transcends any inhabiting group.

Mariah Garnett is an experimental filmmaker and artist living and working in Los Angeles. Her work seeks to occupy a space between convention and experimentation - or, rather, to experiment with convention. The boundaries of adaptation, documentary and fiction are continually being drawn and re-drawn in her work. A big part of her practice involves finding people or thing out in the world to inhabit for a spell. For the most part, these figures are significant, though many times unknown, players in queer history. These twisted homages go so far as to ingest and regurgitate identities to the point where the maker?s motivation is called into question. Garnett holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. Her work has been screened internationally including the following venues: Venice Biennial (Swiss Offsite Pavillion), Rencontres Internationales (Paris, Madrid, Berlin, Beiruit), Outfest (Los Angeles), Midway Contemporary Art (Minneapolis), Mix NYC, Girl Monster (Hamburg). In 2012 she took part in a 2 person show Common Era at ltd los angeles. In 2011 she had a solo show at Human Resources Gallery in Los Angeles titled Encounters I May or May Not Have Had With Peter Berlin and has had work in group shows at Acuna Hansen Gallery (Los Angeles), Montehermoso Cultural Center (Vittoria, Spain) and Workspace Gallery (Los Angeles). She has collaborated with artists Guillermo Gomez-Pena, Zackary Drucker, A.L. Steiner and Chiara Giovando. She is represented by ltd los angeles.

Garbage, The City, And Death is an eight-minute, single-channel video. It consists of three scenes from a Fassbinder play of the same title, which was banned from the stage in Germany in 1985. My adaptation consists of the scenes between Roma, the prostitute and Franz, her boyfriend/pimp. I play Franz and my half-sister, Joanna Coleman, plays Roma. The couple bickers over money problems, her undying love for him, and his general disgust with her (produced by his latent homosexuality). The film moves from the city, where they are living in their car, to the Salton Sea, to a hot tub in the night. This project was born out of a month-long visit between long-lost sisters who did not grow up together. I use Fassbinder?s text as a means of exploring concepts relating to sibling-hood that do not exist in my actual relationship with my sister. Sibling rivalry is warped here into a lovers? quarrel. As Franz and Roma?s relationship deteriorates, their surroundings become progressively more intangible. They end in a vaccum, engulfed by the blackness of night, as they are drawn hopelessly closer together despite Franz? clear disdain for her and desire to get away from her.

Mariah Garnett, 30, lives and works in Los Angeles and is pursuing her MFA at Calarts in Film/Video. Often using markers from a multitude of genres, Garnett`s work addresses gender and performativity and blurs lines between "fiction" and "reality". She has worked with A.L. Steiner, Zackary Drucker, Peter Berlin, Wu Ingrid Tsang, Stanya Kahn, and Cheryl Dunye. Her work has shown internationally in festivals and galleries (Outfest, Los Angeles Film Festival, Rencontres Internacionales). She graduated with a BA in American Civilization from Brown University in 2003.

La performance vidéo « You Will Never, Ever Be A Woman... » montre une conversation entre deux personnes transsexuelles, Zackary Drucker et Van Barnes. La pièce traite des relations interpersonnelles entre les protagonistes, de leurs positions culturelles et politiques en tant que « femmes ».

L?artiste Zackary Drucker est âgé de 25 ans et vit à Los Angeles. Il infuse dans son ?uvre des éléments de l'installation, la performance, la photographie et la vidéo. Il est titulaire d'un MFA (Master of Fine Arts) du California Institute of the Arts (USA), et d?un BFA (Bachelor of Fine Arts) de la School of Viusal Arts.La cinéaste Mariah Garnett a 28 ans et vit à Los Angeles. Ses travaux vont de la musique vidéo aux films expérimentaux. Son travail emploie souvent l'absurde ou le grotesque, remplaçant le jeu de genre par un jeu de « gender ». A. L. Steiner utilise des constructions réalisées à partir de la photographie, la vidéo, l'installation, la collaboration, la performance ainsi qu?à partir d??uvres conservées, pour réaliser des assemblages séduisants canalisés à travers la sensibilité d'un androgyne féministe, étrange et cynique. Elle enseigne à la School of Visual Arts de New York (USA).

Full Burn (20min, 2014), features U.S. war veterans who have all continued to test the limits of their physical abilities as civilians. Theses veterans, working as Hollywood stunt men, and one as massage therapist, describe relationships to the body, and how their experiences as soldiers have been carried back into their lives now. Named for the stunt restaged in the opening scene of this film, Full Burn pictures an ex-special ops marine set on fire in extreme slow motion, transforming the stunt into a ritualized reenactment of trauma. Full burn serves as a meditation on masculine duty and the emotional stakes of transcending fear. In 2014 it was exhibited as part of the Hammer Muesum`s Los Angeles Biennial, Made in LA, curated by Connie Butler and Michael Ned Holte. It was funded in part by The Hammer Museum and an FCA Emergency Grant.

Mariah Garnett mixes documentary, narrative and experimental filmmaking practices to make work that accesses existing people and communities beyond her immediate experience. Using source material that ranges from found text to iconic gay porn stars, Garnett often inserts herself into the films, creating cinematic allegories that codify and locate identity. Garnett holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. Her work has been screened internationally including: REDCAT (LA), White Columns (NY), SF MoMA (SF), Venice Bienniale (Swiss Off-site Pavillion), Rencontres Internationales (Paris, Madrid, Berlin, Beirut), Midway Contemporary Art (Minneapolis), Ann Arbor Film Festival (Ann Arbor), Kerstin Engholm Galerie (Vienna). In 2016 she has her first institutional solo show at the MAC in Belfast, Northern Ireland and her first solo show at a commercial art gallery in Los Angeles at ltd los angeles. In 2014, she was in residence at The Headlands Center for the Arts in Marin, and featured in Made in LA, the Hammer Museum`s biennial exhibition. The LA Times called her piece "Best in Show." She was awarded the Rema Hort Mann and CCF Emerging artist fellowships in 2014 and 2015.

The script for Signal, a 7-minute, 16mm film, attempts to narrativize a collection of spam emails gathered over a 3-year period, and is staged in or near ?sacred spaces?. The landscape of Pyramid Lake, on the Paiute Indian reservation is populated by 10,000-year-old rock formations, many of which are off limits to the public. They loom in the background as characters banter in the sometimes awkward, sometimes solicitous, sometimes nonsensical dialog of spam. The Black Rock Desert Playa, while vacant most of the year, is home to close to 60,000 people annually during Burning Man. These locations were chosen because they act as both mirror and foil for the internet - at once wastelands and gathering sites for millions of people, while maintaining an ancient physicality that transcends any inhabiting group.

Mariah Garnett is an experimental filmmaker and artist living and working in Los Angeles. Her work seeks to occupy a space between convention and experimentation - or, rather, to experiment with convention. The boundaries of adaptation, documentary and fiction are continually being drawn and re-drawn in her work. A big part of her practice involves finding people or thing out in the world to inhabit for a spell. For the most part, these figures are significant, though many times unknown, players in queer history. These twisted homages go so far as to ingest and regurgitate identities to the point where the maker?s motivation is called into question. Garnett holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. Her work has been screened internationally including the following venues: Venice Biennial (Swiss Offsite Pavillion), Rencontres Internationales (Paris, Madrid, Berlin, Beiruit), Outfest (Los Angeles), Midway Contemporary Art (Minneapolis), Mix NYC, Girl Monster (Hamburg). In 2012 she took part in a 2 person show Common Era at ltd los angeles. In 2011 she had a solo show at Human Resources Gallery in Los Angeles titled Encounters I May or May Not Have Had With Peter Berlin and has had work in group shows at Acuna Hansen Gallery (Los Angeles), Montehermoso Cultural Center (Vittoria, Spain) and Workspace Gallery (Los Angeles). She has collaborated with artists Guillermo Gomez-Pena, Zackary Drucker, A.L. Steiner and Chiara Giovando. She is represented by ltd los angeles.

Garbage, The City, And Death is an eight-minute, single-channel video. It consists of three scenes from a Fassbinder play of the same title, which was banned from the stage in Germany in 1985. My adaptation consists of the scenes between Roma, the prostitute and Franz, her boyfriend/pimp. I play Franz and my half-sister, Joanna Coleman, plays Roma. The couple bickers over money problems, her undying love for him, and his general disgust with her (produced by his latent homosexuality). The film moves from the city, where they are living in their car, to the Salton Sea, to a hot tub in the night. This project was born out of a month-long visit between long-lost sisters who did not grow up together. I use Fassbinder?s text as a means of exploring concepts relating to sibling-hood that do not exist in my actual relationship with my sister. Sibling rivalry is warped here into a lovers? quarrel. As Franz and Roma?s relationship deteriorates, their surroundings become progressively more intangible. They end in a vaccum, engulfed by the blackness of night, as they are drawn hopelessly closer together despite Franz? clear disdain for her and desire to get away from her.

Mariah Garnett, 30, lives and works in Los Angeles and is pursuing her MFA at Calarts in Film/Video. Often using markers from a multitude of genres, Garnett`s work addresses gender and performativity and blurs lines between "fiction" and "reality". She has worked with A.L. Steiner, Zackary Drucker, Peter Berlin, Wu Ingrid Tsang, Stanya Kahn, and Cheryl Dunye. Her work has shown internationally in festivals and galleries (Outfest, Los Angeles Film Festival, Rencontres Internacionales). She graduated with a BA in American Civilization from Brown University in 2003.

La performance vidéo « You Will Never, Ever Be A Woman... » montre une conversation entre deux personnes transsexuelles, Zackary Drucker et Van Barnes. La pièce traite des relations interpersonnelles entre les protagonistes, de leurs positions culturelles et politiques en tant que « femmes ».

L?artiste Zackary Drucker est âgé de 25 ans et vit à Los Angeles. Il infuse dans son ?uvre des éléments de l'installation, la performance, la photographie et la vidéo. Il est titulaire d'un MFA (Master of Fine Arts) du California Institute of the Arts (USA), et d?un BFA (Bachelor of Fine Arts) de la School of Viusal Arts.La cinéaste Mariah Garnett a 28 ans et vit à Los Angeles. Ses travaux vont de la musique vidéo aux films expérimentaux. Son travail emploie souvent l'absurde ou le grotesque, remplaçant le jeu de genre par un jeu de « gender ». A. L. Steiner utilise des constructions réalisées à partir de la photographie, la vidéo, l'installation, la collaboration, la performance ainsi qu?à partir d??uvres conservées, pour réaliser des assemblages séduisants canalisés à travers la sensibilité d'un androgyne féministe, étrange et cynique. Elle enseigne à la School of Visual Arts de New York (USA).

"Night Life" provides a glimpse into the behavior of wildlife after dark and serves as a reminder of the unwitting persistence of nature. For this piece a trail camera was moved periodically to capture various angles and shots at night throughout the seasons. The animals (mostly deer) were then framed within circles against a black background and choreographed into compositions that follow their relationships with one another while creating new interactions by compressing a year’s worth of footage into fourteen minutes. "Night Life" is a meditative portal through which a nocturnal world parallel to ours reveals the resolve of its inhabitants within an everchanging environment. In the process, our relationship to the rhythms of nature is linked to personal associations, memories and metaphors.

Matthew Garrison was born in Albany, NY, and grew up in Chicago. After living and working in New York City for eleven years, he moved to Pennsylvania to teach art and technology at Albright College. His work is exhibited and screened internationally including New York City, Korea, India, Panama, Brazil and Singapore. Garrison's art explores a dialog among intimate space, landscape and the environment.

It is install_plantation or instant_plant or augmented plant. It is collection of objects and plants connected with moving mechanisms and multimedia devices like routers, usb hubs, lights, speakers. First, Im composing flora objects. Finding flowers, moss, bark, elements of nature and grow them in unusual pots, together with technology, electricity, lights. The goal is to create co-working life organism from different environments. Then, Im constructing kind of stage or altar from lost and found, DIY, elements, ready made objects, old fashion, destroyed furniture, audio-video recorders, computers etc. Next, Im adding projection mapping on interesting surfaces of composed objects (installation). Fitting animations to situations. Extending installation with another dimension and living structure - projection.

Born in 1988 in Krakow. He has graduated from Intermedia Department at Academy of Fine Arts in Krakow, Poland. Author of many multi-dimensional installations, immersive projects, install_plantations and digital flora. Works in the fields of postproduction, 3D mapping, interaction, objects collection, movement and design. Organizes, exhibitions and audio-visual performances. He marked the beginning of projection mapping movement in Poland and become influential and active person in new media community till now-days. He is trying to connect and explore all of the various codes of visual communication and their ability to process in order to apply them in specific urban spaces and/or exhibitions. Within the flexibility of visual language he creates multi-dimensional contemporary and site specific installations. Currently lives and works in Warsaw. His art was exhibited in galleries, festivals and other special events around Poland, Germany, Czech Republic, Slovakia, Israel, Great Britain, Sweden, Denmark. He is moderating audio visual experiences and animating people around visual art platform and gallery called K105K in Warsaw. He is co-founder of postproduction studio Locomotive.pl and flora and art lovers Project Utopia.

Claire découvre qu’elle apparaît dans un film de mauvaise qualité trouvé sur internet. Elle se voit à la fenêtre de sa maison, accompagnée d’un homme qu’elle ne connaît pas. Ils ont l’air amoureux. Elle décide de partir à la recherche de cet inconnu, vers Traunstein.

Julie Gasemi vit et travaille à Bruxelles. Originaire du Hainaut en Belgique.

Ce jour là, la château de la belle au bois dormant était en feu. L`occasion était trop belle pour julie de prendre en photo son joli modèle avec son 24/36. Ce souvenir restera gravé dans son coeur pour l`éternité.

Je suis Julie Gasemi, j`ai 15 ans, je suis née en Belgique.

Claire découvre qu’elle apparaît dans un film de mauvaise qualité trouvé sur internet. Elle se voit à la fenêtre de sa maison, accompagnée d’un homme qu’elle ne connaît pas. Ils ont l’air amoureux. Elle décide de partir à la recherche de cet inconnu, vers Traunstein.

Julie Gasemi vit et travaille à Bruxelles. Originaire du Hainaut en Belgique.

Ce jour là, la château de la belle au bois dormant était en feu. L`occasion était trop belle pour julie de prendre en photo son joli modèle avec son 24/36. Ce souvenir restera gravé dans son coeur pour l`éternité.

Je suis Julie Gasemi, j`ai 15 ans, je suis née en Belgique.

Die Kurzfilmtage haben sich im Verlauf von mehr als fünf Jahrzehnten zu einer der angesehensten Filmveranstaltungen der Welt entwickelt - ein Ort, wo FilmemacherInnen und KünstlerInnen wie Martin Scorsese, George Lucas, Roman Polanski, Alexander Kluge oder Werner Herzog, in jüngerer Zeit Ulrike Ottinger, Romuald Karmakar, Pipilotti Rist, Jean-Pierre Jeunet oder François Ozon ihre ersten Filme präsentiert haben. Bis in die Gegenwart hinein konnten die Kurzfilmtage immer wieder Filmemacher auf den Weg bringen und Trends setzen - sei es die frühe Anerkennung von Videos, die Beschäftigung mit Musikvideos, die Reflektion neuer digitaler Formate oder die Offenheit für die Interaktionen zwischen Kunst und kurzer Form. Durch ihre unkonventionelle Sicht des Kurzfilms entzogen die Kurzfilmtage sich immer mit großem Erfolg einer Festlegung auf ein bestimmtes Image, obschon durch das Festival viele politische und ästhetische Entwicklungen angestoßen wurden, wie etwa durch das Oberhausener Manifest, dem vielleicht wichtigsten Gruppendokument des deutschen Films. Durch sorgfältige Programmgestaltung und zukunftsweisende Themenwahl konnten die Kurzfilmtage ihre bemerkenswerte Alleinstellung in einem immer unüberschaubarer werdenden Markt ausbauen. Darüber hinaus konnten die Kurzfilmtage in Kooperation mit ihren Medienpartnern, ARTE, 3sat, Ki.Ka und INTRO dem Kurzfilm neue Zuschauerschichten erschließen. ARTE und 3sat kooperieren für ihre Kurzfilmprogramme seit Jahren mit den Kurzfilmtagen, MTV strahlte im Jahr 2001 insgesamt 25 Kurzfilme aus Programmen der Kurzfilmtage aus.

Lars Henrik Gass est directeur du Festival international du court-métrage d`Oberhausen. Son appréhension du cinéma se singularise par son exigence et son refus de considérer le film comme un bien de consommation. Sa perception de l`?uvre cinématographique en fait un sujet et non pas un objet pour une nouvelle économie consumériste. Le sens de l`?uvre cinématographique n`est pas dans l`image en mouvement dont on peut maîtriser le flux mais dans cet absolument autre qu`elle donne à voir, dans ce qui s`y dit et s`y montre et qui est passible d`ébranler le spectateur au plus profond de lui-même. L`expérience cinématographique doit demeurer une expérience de l`étrangeté.

In a pattern matching of sequences, an ever-shifting multi-screen composition creates a momentum of unending suspense. Shadow filled rooms, corridors, doorways and staircases form an inescapable labyrinth of domestic interiors, in which each thread acts as an incomplete story. Unrelenting claustrophobia is contrasted with the continual threat from an unseen world. Is the intruder assassin or saviour? As the shadow persistently tries to visit - there is an absence of any denouement. In a failing chain of communication, the buzz of the intercom, the ring of the telephone, the knock at the door, cannot awake the dreamer.

Andrew Gaston is a video artist and creative director based in London. His art is regularly toured by the Visor Gallery, Valencia and he is currently directing commercials and music videos for some of the UK`s biggest production houses.

The title signifies the Native American name for Assateague Island, a national seashore and natural landmark located off the coast of Maryland. A passive bay and pristine beach compose the barriers of this subtle yet stunning passage. Distractions amongst the dunes awaken development of the ecological and departure of the artificial. The film culminates in close proximity to a small band of feral horses that share a common territory and domesticated ancestry.

Lorenzo Gattorna is a filmmaker and programmer originally from New York now residing in Baltimore. He received a BFA from Tisch School of the Arts at NYU in 2007. His short films have screened in exhibitions associated with ARKIPEL, Artsfest Film Festival, Baltimore City Paper, CCNY, Chicago Underground Film Festival, Colour out of Space, EMP Collective, Haverhill Experimental Film Festival, LMAKprojects, Maryland Film Festival, Maysles Cinema, Microscope Gallery, Onion City Experimental Film and Video Festival, Plug Projects, Rencontres Internationales, Sonic Circuits, Spectacle Theater, TULCA Festival of Visual Arts, UnionDocs, Utopia Film Festival, VIDEOMEDEJA and Views from the Avant-Garde at the New York Film Festival. He has programmed screenings for NYC microcinemas Maysles Cinema, Spectacle Theater and UnionDocs as well as Antimatter [Media Art] in Victoria, BC. Recently he received the 2012 Creative Alliance Media Makers` Fellowship for Falling Out and was selected as a Semi-Finalist for the 2013 Janet & Walter Sondheim Artscape Prize for Coupled Vision. Currently Lorenzo is running a roaming monthly screening series in Baltimore called Sight Unseen cofounded by Kate Ewald and Meg Rorison and supported by the 2012 MICA LAB Award.

Musiciens, Pascal Battus, Bertrand Gauguet et Eric La Casa engagent des sessions improvisées sur des sites de chantier depuis 2010. Ces sessions ne sont pas destinées à être données devant un public, elles se caractérisent plutôt comme des instants de recherche intuitifs avec le milieu dans lequel ils se trouvent alors. Jouant avec la rumeur des espaces, avec les multiples sons des machines qui tournent, avec les gestes produits par les ouvriers et les paroles entendues, ils suivent une ligne indéfinie qui peut pencher d’un côté ou de l’autre de l’approche acousticienne, psycho-acousticienne, du paysage sonore, de la musique ou encore (mais plus rarement) de l’anthropologie. Ils espèrent ainsi concevoir un dispositif d’attention à partir duquel intervenir. En 2013, ils ont exploré le site de la Philharmonie Cité de la musique à Paris. S’écartant d’une approche documentariste, le film Chantier 3 déplie davantage une cartographie subjective donnant à voir et à entendre des moments de “ présence discrète ”. Ou comment, en ouvrant des interactions avec une architecture en devenir, l’écoute et l’improvisation sont à même de proposer d’autres seuils perceptifs du chantier.

Bertrand Gauguet chemine dans une pratique impliquant sans hiérarchie le sonore et le musical : comme saxophoniste improvisateur, comme compositeur de musique électronique et comme collecteur de sons. Il est engagé depuis 2010 dans une recherche intuitive aux côtés d’Eric La Casa et Pascal Battus en conduisant des sessions improvisées sur des sites de CHANTIER. Ces sessions ne sont pas destinées à être données devant un public, elles se caractérisent plutôt comme des instants d’improvisation avec le milieu dans lequel les trois musiciens se trouvent alors. En 2018, deux albums (Chantier 1 et Chantier 4), un texte (Chantier II) et un film (Chantier III) constituent les marqueurs cartographiques de ce projet.

First triangles, then hexagons, the hexagon as the geometric DNA of an erratic architectural structure with an eerie lack of scale. Slowly, in the succession of hallways, apertures, views, and spaces, an enormous construction is disclosed. Already in its first images, Beyond Metabolism conveys a fascination for an utopia of architecture that imagines life in future societies in flexible, large structures, expandable at will. We find ourselves in the interior of the International Conference Center in Kyoto, which was built in 1966 by the Japanese architect Sachio Otani, a student of the famous Kenzo Tange. Fragments of documentary archive material recall what may be the most significant event ever to occur at this place, the 1997 World Climate Change Conference. What remains in the memory is Al Gore, environmental activist and filmmaker, who almost become the American president. The heart of the film, however, is made up of interviews conducted in situ and observations on the preparations and operations of such conferences. For instance, a simultaneous interpreter with a peaceful voice remembers the difficulties of that huge environmental conference with participants and observers from over 158 countries. She had accompanied the course of the meeting in small booths hidden in the walls, equipped with hexagonal windows. The conference ended with the decision on the first and to date only treaty under international law on climate protection, the so-called Kyoto Protocol. Otani died in 2013 at the age of 89. The spiritual optimism of his generation has gotten lost. Calm, clear shots finally show the building from the outside, harmoniously integrated despite its monumental size into a landscape that couldn't be more ideal. (Maria Morais/Thorsten Klooster)

The filmmaker Stefanie Gaus studied at Academy of Media Arts in Cologne. Her interest in poltical and socio-cultural impacts, also seen as matter of representation, and her distinctive view on architectural dimensions, are already evoked in her essayistic documentary End of an Elephant (2006) or Laufhaus (2006), both works shown at many international film festivals including Visions Du Réel, Nyon, Kurzfilmtage Oberhausen, Vancouver International Film Festival or Duisburger Filmwoche. She is currently teaching at the University of the Arts, Berlin. Volker Sattel is a filmmaker, writer, and cameraman who studied at Baden-Württemberg Film Academy in Ludwigsburg. He has made various films, which have been shown at festivals, on television and in exhibition spaces, eg. Unternehmen Paradise (2003) or the documentary Unter Kontrolle ? Eine Archäologie der Atomkraft (2011), premiered at the Forum of the Berlinale, followed by many festivals worldwide and winning several prices. He also collaborated on projects with the artist Olaf Nicaolai and Daniela Klein, musician Tim Elzer (don't dolby/Cologne) and author Mario Mentrup/ on several experimental features, or lately with Stephan Geene (b-books) doing cameraworks for Umsonst (2014). Their common work "Beyond Metabolism" was developed and shot during a residency at Villa Kamogawa, Goethe Institut Kyoto in 2013. They both work and live in Berlin.

Et in Arcadia ego Vidéo, filmée sur une île grecque, été 2011 "Et in Arcadia ego" est une locution latine qui signifie : « Moi (la Mort), je suis aussi en Arcadie (le pays des délices). » Elle a été illustrée par plusieurs peintres, dont deux fois par Nicolas Poussin (1594-1665).

Jakob Gautel, né en 1965 à Karlsruhe, en Allemagne, vit et travaille à Paris et ailleurs. Il travaille avec la photo, la vidéo, l?installation, les projections, le livre, les interventions dans l`espace public etc. Le fil conducteur dans son travail n?est pas une technique ou un sujet, mais plutôt une recherche, sur la lisière entre la réalité et la fiction, entre le monde des apparences et ce qui se cache derrière, entre l?être et le paraître, et entre le monde extérieur et le monde intérieur. Pour plus d`information : jakob.gautel.net

Ville nouvelle ? Installation vidéo, Jakob Gautel 2010 Dans le cadre des interventions urbaines du projet artis?cité, coordonné par Le 19 ? Centre régional d?art contemporain de Montbéliard. Projet culturel inscrit dans le cadre du Programme de rénovation urbaine de l?ANRU porté par la Communauté d?Agglomération du Pays de Montbéliard, avec le soutien de la Ville de Valentigney. En 1961, Philippe Bardinet a réalisé, sur commande de Peugeot, un film sur le nouveau quartier des Buis, un quartier modèle qui vient d?être construit à Valentigney, près de Montbéliard, pour héberger les milliers de nouveaux ouvriers et employés de Peugeot venant de différentes régions de France, d?Espagne, d?Italie ou d?Algérie, pour travailler à l?usine de Sochaux. Ce film, bien qu?une commande, pose des questions toujours d?actualité sur la nature de ce type de quartier : « Sauront-ils tous s?adapter, enfants et parents ? S?agit-il d?une une cité d?habitation ou bien d?une ville ? » « L?homme ne se satisfait pas seulement de sommeil et de nourriture. Il lui faut ? Il lui faut ... ». Il questionne la place des jeunes, l?intégration, le commerce, et présente des grandes qualités cinématographiques. Entretemps le quartier a beaucoup changé. Baisse de population, chômage augmentant, danger de ghettoïsation etc. On est loin de la cité idéale de 1961. 50 ans après, à l?occasion de la fête de l?anniversaire du quartier, j?ai réalisé un « film-miroir », projeté en vis-à-vis, opposant aux images anciennes des vues du quartier d?aujourd?hui, barres délabrées ou vouées à la démolition, magasins fermés, mais aussi de la vie sociale du quartier, des enfants et des jeunes, mêlées à des vues de spectateurs du film, prises lors de trois projections publiques du film, organisées par la MJC. Ces projections ont été suivies de débats, animés par Guy Vandeneeckhoutte. Remerciements à Maxime Fraissinet pour son assistance précieuse.

Jakob Gautel, né en 1965 à Karlsruhe, en Allemagne, vient à Paris pour faire ses études à l?Ecole nationale supérieure des Beaux-Arts, où il travaille le dessin, les arts graphiques, la photographie, et des démarches d?installation avec Christian Boltanski. Il vit et travaille à Paris et ailleurs. Il expose en France et à l?étranger, et expérimente des formes d?art hors des espaces convenus : affichages, action, performances, interventions ? Il participe à de nombreuses expositions dans des galeries, des musées et centres d?art, dans des espaces d?artistes et espaces associatifs, participe à des biennales d?art en France et à l?étranger, des actions dans l?espace urbain, des interventions dans des villes et quartiers ainsi qu?à des projets et interventions cherchant à redéfinir le rapport de l?artiste à son public, travaille avec des metteurs en scène et chorégraphes, fait des projets avec des enfants. Il réalise des ?uvres d?art pour l?espace public, fait des propositions de 1 %, collabore avec des artisans, part, entre 1995 et 1997, pendant six mois en Indonésie, et de 1999 à 2000 à la Villa Médicis à Rome. En 2008 il est nommé Chevalier de l?ordre des Arts et des Lettres. Il travaille avec la photo, la vidéo, l?installation, les projections, le livre etc., choisissant à chaque fois la technique la plus appropriée pour son sujet. Le fil conducteur dans son travail n?est pas une technique ou un sujet, mais plutôt une recherche, sur la lisière entre la réalité et la fiction, entre le monde des apparences et ce qui se cache derrière, entre l?être et le paraître, et entre le monde extérieur et le monde intérieur. Depuis 2001 il est aussi enseignant à l?école d?architecture, d?abord à Versailles et depuis plusieurs années à La Villette, en premier cycle et au cycle mastère dans le pôle « Art, scénographie et architecture ».

Flash Info (Les habits neufs de l?empereur) Vidéo, 1 min 03 sec. Strasbourg, 2008 Avec Nathalie Georges Production ARTE Il y a plus de 170 ans Hans Christian Andersen écrit « Les habits neuf de l`empereur », un conte qui est aujourd?hui mondialement connu. Il y est question de vanité, de pouvoir, de duperie, de manipulation et de vérité. Ce conte était déjà basé sur une version plus ancienne du recueil « El Conde Lucanor » de Don Juan Manuel de 1335. Je me suis posé la question de l?effet produit par une telle histoire de nos jours, retransmise par nos médias. Grâce à la complicité d`ARTE, nous avons tenté d?y donner une réponse. Jakob Gautel, 2008

Jakob Gautel, né en 1965 à Karlsruhe, en Allemagne, vient à Paris pour faire ses études à l?Ecole nationale supérieure des Beaux-Arts. Il commence vite à exposer, en France et à l?étranger, et à expérimenter des formes d?art hors des espaces convenus. Il participe à des expositions dans des galeries, des musées et centres d?art, autant que dans des espaces d?artistes et espaces associatifs, participe à des actions dans l?espace urbain et à des projets et interventions cherchant à redéfinir le rapport de l?artiste à son public. Il réalise des ?uvres d?art pour l?espace public, collabore avec des artistes (notamment Jason Karaïndros, et la chorégraphe Sandra Martinez) et des artisans, part, entre 1995 et 1997, pendant six mois en Indonésie, sur les traces de son aïeule, et de 1999 à 2000 à la Villa Médicis à Rome. Il travaille le dessin, la photo, la vidéo, l?installation, les projections, les installations, le livre etc., choisissant à chaque fois la technique la plus appropriée pour son sujet. Le fil conducteur dans son travail n?est pas une technique ou un sujet, mais plutôt une recherche, sur la frontère entre la réalité et la fiction, entre le monde des apparences et l?essence, « zwischen Sein und Schein », entre l?être et le paraître,. Quelques dernières expositions et réalisations : 2004 place du Préfet Claude Erignac, Paris, 2005 Triennale d?art contemporain, Yokohama, Japon 2006 La Maréchalerie Versailles, 2006 Musée Zadkine, Paris, 2007 ZKM, Karlsruhe, 2008 ARTE, Strasbourg ?

Une œuvre d’animation de synthèse s’inscrivant dans une série d'œuvres contemplatives et portant sur l’archéologie des intérieurs. Cette œuvre pose un regard archéologique et architectural sur une ère théâtrale de la décoration intérieure. Exposant une tension fictionnelle presque non-résolue entre, d’un côté, le confort moderne construit et édifié par l’économie tonitruante et, d’un autre, la menace sourde de la nature, du climat changeant et de leurs forces cataclysmiques sous-entendues. Une première rencontre des collages faits main de St-Pierre et des images de synthèse créées en duo avec Gauthier. Cette œuvre a été produite grâce au soutien du Conseil des arts et des lettres du Québec et du Grand Théâtre de Québec (Canada) pour une présentation au Studio Telus du Grand Théâtre de Québec (commissariat : Ariane Plante).

Philippe-Aubert Gauthier est ingénieur mécanique, maître ès sciences, docteur en génie mécanique (acoustique) et professeur à l'Université du Québec à Montréal, à l'École des arts visuels et médiatiques. Il travaille à la croisée des arts, sciences et technologies. Il a produit plus d'une cinquantaine d'œuvres en arts sonores et numériques. Gauthier est actuellement directeur associé du Centre for Interdisciplinary Research in Music, Media and Technology. Tanya St-Pierre est artiste en arts visuels, sonores et médiatiques. Elle explore les relations possibles entre arts visuels ou médiatiques et narration. À travers divers systèmes d'altération de la narration en propositions poétiques et conceptuelles, elle déjoue et questionne les notions de représentation et d’artefacts culturels. Détentrice d’un baccalauréat en arts plastiques de l’Université du Québec à Trois-Rivières, (Québec). Depuis 2003, leurs démarches se rencontrent dans des projets collaboratifs. Leurs intérêts et engagements respectifs sont abordés dans des échanges découlant vers des propositions artistiques hybrides qui résultent de joutes autocritiques et d'inventions en duo. Leur travail fut présenté au Canada, aux États-Unis, au Mexique, en Europe et au Japon. Tous les deux vivent et travaillent actuellement à Montréal, au Québec (Canada).

"La production fantôme - The Phantom Production" est une oeuvre vidéo sous forme de diptyque. Un double écran présente en simultané une vidéo filmée et une vidéo de synthèse. Inspiré par le photo-réalisme (comment les marques ou imitations de caméra augmentent le réalisme des images de synthèse), c`est le mouvement de la caméra de la vidéo filmée qui est imitée par la vidéo de synthèse. Avec cette oeuvre et installation vidéo diptyques, les tensions entre séquences vidéo tournées et synthètiques proposent un processus de production cinématographique interrompu, ouvert à l`analyse critique. "La production fantôme - The Phantom Production" se décline de plusieurs façons : installation vidéo dyptique ou projection.

La pratique artistique de Philippe-Aubert Gauthier est consèquente de ses profils : artiste sonore, artiste en arts numériques, ingénieur mécanique junior, docteur en acoustique et professeur à lUniversité de Sherbrooke. Méthode artistique et savoir scientifique ou technique deviennent des matières brutes pour une démarche artistique réflexive liée aux implications et influences sociales, culturelles et historiques des technologies de communication et des médias. Tanya St-Pierre est artiste en arts visuels, sonores et numériques. En explorant les relations possibles entre les arts visuels ou numériques et la narration, elle transforme divers systèmes d'altération de la narration en propositions politiques et conceptuelles. On trouve dans ses oeuvres des traces déchirées de narrations et de fictions. Depuis 2003, leurs démarches se rencontrent dans des projets collaboratifs. Leurs intéréts et engagements respectifs sont abordés dans des échanges amenant des propositions artistiques hybrides qui résultent de joutes d'autocritiques et d'inventions en duo.

Une ballade nocturne improvisée dans Paris la nuit.

L'Artiste Fabienne Gautier réside et travaille à Paris. Elle utilise divers média notamment la photographie, la vidéo et le film. Née en 1967, elle obtient un diplôme supérieur d'art plastique en 1991 à Dijon. Elle a collaboré avec Tom Jarmusch sur plusieurs projets. Son travail a été montré au niveau international dans des galeries et des festivals, parmi lesquels le New Museum of Contemporary Art de New York, le Kitchen de New York, le festival du Film de Locarno, de Rotterdam, Videoformes de Clermont?Ferrand, les Rencontres Paris-Berlin, Media City au Canada et le festival underground de New York...

Le diptyque vidéo de "sol a sol" dresse le portrait d`Antonio Preciado, un poète équatorien. Sa poésie est fortement liée à son pays et plus particulièrement à sa ville natale, Esmeraldas. En 2003, il était ambassadeur de l'Equateur à Paris. Cette vidéo relate l'histoire de quelqu'un qui est déplacé, d'un individu inscrit en dehors de son contexte habituel. Dans l'écran de gauche défilent les paysages de sa ville Esmeraldas, tandis que celui de droite présente des fragments d'un entretien réalisé dans sa résidence parisienne. Les images mettent en relation et rapprochent deux espaces de la vie de ce même homme. Antonio Preciado nous raconte en images, sa vie, ses souvenirs d'enfance et son futur de poète. Il parvient à donner à ce sujet spécifique une dimension beaucoup plus vaste, conter l'histoire de la communauté noire de la ville d'Esmeraldas et son expérience d'ambassadeur équatorien en France.

Je suis née à Quito, Equateur. J`habite en France depuis 8 ans et je parle le français, l`anglais et bien sûr l`espagnol. J`ai étudié à l`Ecole d'Arts de l'Université Centrale d'Equateur ainsi qu`à l`Institut Supérieur d`Art à La Havane, à Cuba. J`ai poursuivi mes études à l`Ecole Nationale Supérieure d`Arts de Cergy, à Paris, où j`ai obtenu le DNSEP avec les félicitations du jury. J`ai participé l`année dernière au programme du Post-diplôme à l`Ecole nationale des Beaux-Arts de Lyon et je réalise actuellement une maîtrise à l`UFR Arts, Philosophie et Esthétique à l`Université Paris VIII.

Sixteen years after the war, in the main square of Zagreb several thousand people gathered to watch a live broadcast of the verdict to Croatian generals. Through a series of close-ups, the film documents the eruption of emotions caused by the verdict.

Đuro Gavran (Bjelovar - Croatia, 1982.) Đuro Gavran was born in 1982 in Bjelovar. He graduated from the Academy of Dramatic Arts in Zagreb MA film and television directing. He graduated also from the Faculty of Graphic Arts at the University of Zagreb. He is the author of five documentary features (Bojan; Kelts; We Wanted Workers and All We Got Were People; The Big Day; The Verdict) and two experimental films (Glassballetdancer and Our Beautiful Homeland). As a cinematographer he worked on documentary films Above average (dir. Igor Bezinović; Restart prod, 2008), Irreversible (dir. Igor Bezinović, Restart, 2009) and The Blockage (dir. Igor Bezinović, Factum and Restart, 2012). In addition to film, he is involved in other forms of visual art (photography, graphics and installations). He has held three individual and about thirty collaborative national and international exhibitions. Since 2008 he is a member of ULUPUH (Croatian Association of Artists in Applied Arts), multimedia department. Together with Miljenka Čogelja and Boris Vido?ević, in 2012 he started Pipser d.o.o., a film production company and a design studio.

When spending a lot of time at home in isolation, the walls begin to move. The sense of time fades, the days pass quietly, everything seems to repeat itself endlessly. Spaces, conversations, visual impressions and sounds merge and make everything seem like a long dream.

Nicolas Gebbe was born in London in 1986. He currently lives and works in Frankfurt am Main / Germany as a 3D artist, filmmaker and sound designer. 2018 he receives his art diploma at Hochschule für Gestaltung Offenbach with a film major. He focuses on experimental 3D animation and hybrid film formats. Since graduation, his animated short films have been screened on a variety of festivals such as Locarno Film Festival, Festival du Nouveau Cinèma Montreal and Ann Arbor Film Festival.

The construction of the controversial Three Gorges Dam on the Chinese Yangtze River has been completed in 2009. In the context of a general research on the landscape as a bearer of meaning Pieter Geenen explores the ?sunken? universe of the flooded Three Gorges Reservoir behind the dam in his video `atlantis`.

Pieter Geenen (°1979) lives and works in Brussels, Belgium. After his Master Photography he studied at Transmedia Postgraduate Program in Brussels. In his audio and video works he examines the landscape as a bearer of meaning, the way landscape and man relate to each other, and how we experience time and space via the landscape. His work has been presented, amongst others, at the International Film Festival Rotterdam (NL), Argos (Brussels, BE), MuHKA_media (Antwerp, BE), Azad Art Gallery (Tehran), Art Rotterdam (NL), All Art Now International Video Art Festival (Damascus, SY), Images Festival (Toronto, CA), EMAF (Osnabrück, DE), Media City Festival (Windsor, CA) and at the Venice Biennial.

Punctuated Vasarely paintings could not be more perfect for a cover of a candy box on a coffee table. Rasters stand for poppy-seeds. ?Patterns? is a 10 min. film from the perspective of patterns telling about the search, appropriation and translocation of various patterns and fonts by artists that worked in the first Experimental Bureau of Artistic Construction in Soviet Union. In 1964, the first Experimental Office of Artistic Construction in Soviet Union was established in Vilnius, Lithuania, and worked until the collapse of the Communist regime in 1991. Photographers, graphic designers, artists and printing-house worked under one roof creating logos and graphic design for different parts of the Union. The artists (unconsciously) appropriated works of other artists in West in order to use parts of the ornaments and patterns they liked for the applied graphic design they created. The project tells this social life of the patterns ? their appropriation and displacement from the Western high art to applied arts in Soviet Union. Fragments of op-art painting by Vasarely became patterns for candy boxes, and entire meaningful texts were deconstructed and re-constructed enjoying only the formal beauty of a linear character. However, the constant search of patterns in the film flips ? the ornaments and underlying geometric shapes start to haunt the viewer eventually taking over the film itself. Artist looking for patterns: Juozapas Antanas Gelguda

Ugnius Gelguda and Neringa Cerniauskaite started collaborating in 2009. They are represented by gallery VARTAI, Vilnius. Since their first project, the artists have been interested in visual memory and how it can be manipulated through usage of certain mediums. Their latest works include 16 mm films, photo slides, neon objects, vinyl, and are strongly influenced by material history and language of cinema. Both artists are based in Vilnius and Brooklyn, New York. Ugnius Gelguda?s (born 1977, Lithuania) artistic portfolio includes photography, time-based media art projects. Neringa Cerniauskaite (born 1984, Lithuania) is an art critic, curator, editor. She contributes texts for Lithuanian cultural press, exhibitions? catalogues and international magazines (Flash Art, Mousse Magazine, Parkett, ARTMargins.com, MAP). She is a M.A. candidate, 2014, at Bard College Center for Curatorial Studies, NY. Artists will present their latest solo projects at NADA NEW YORK 2014, ART BRUSSELS 2014, Contemporary Art Centre (CAC, Vilnius), Contemporary Art Centre kim? (Riga).

The video work by Ugnius Gelguda titled A Paradise Tree documents the rise of a new neighbourhood of artists in Vilnius, Lithuania, which is often artificially compared to the New York?s SoHo. A Paradise Tree explores the boundaries of documentary and tells about the first forced steps of a new urban community. The story is ?told? through a hypertext link with the less known video work A Walk by Jonas Mekas created in 1990. During this one hour walk across the rainy SoHo neighbourhood, Mekas gives an intimate and chaotic recital of neighbourhood creation, tells about the first tree planted in the then industrial area by himself and his colleague Machiunas, and notes the transformation of SoHo streets and their inhabitants. Ugnius Gelguda?s video work revisits a community sustained by the relationship of an urban space and a uniting idea, and the inevitable change of this relationship under the influence of time and strong commercial mechanisms. The video camera slowly follows the shapes of lofts that are being set up on Shevchenkos Street as well as the carcass of a former factory which still exists but has already changed its function, combining the views of rough and dull buildings with the hopes of future settlers and thus transplanting real spaces into a fictional or potential story.

Ugnius Gelguda (born 1977, Vilnius) was granted a degree of art licentiate by Vilnius Art Academy in 2010, but he has been active in exhibitions since 2000. He has participated in many shows in Lithuania (Lithuanian Art 2000?2010: Ten Years, Contemporary Art Centre, Vilnius, 2010; ARTscape: Italy, Vartai gallery, Vilnius, 2009; Lithuanian Art 08. Photography, Contemporary Art Centre, Vilnius, 2008, etc.) and other countries (Gender check, Zachęta National Gallery of Art, Warsaw, 2010; Three, Fotohof gallery, Salzburg, Austria, 2010; Gender check, MUMOK, Vienna Kunsthalle, Vienna, 2009; Prague biennale 3, Baltic Mythologies programme, Prague, Czech Republic, 2007, etc.) He has received various awards and recognitions: two awards from the Ministry of Culture of the Republic of Lithuania ? one for the audiovisual installation Zalgiris in 2010 and one for the Best Professional Artist?s Debut Award in 2006, Moscow International Art Festival Prize in 2007 for the installation ?Zalgiris?. Since 2000, Ugnius Gelguda is successfully working as an individual artist and collaborating with other artists in various interdisciplinary projects. Photography and video is the primary media that Ugnius Gelguda uses to express his ideas; however his artistic portfolio audio-visual installations as well.

Punctuated Vasarely paintings could not be more perfect for a cover of a candy box on a coffee table. Rasters stand for poppy-seeds. ?Patterns? is a 10 min. film from the perspective of patterns telling about the search, appropriation and translocation of various patterns and fonts by artists that worked in the first Experimental Bureau of Artistic Construction in Soviet Union. In 1964, the first Experimental Office of Artistic Construction in Soviet Union was established in Vilnius, Lithuania, and worked until the collapse of the Communist regime in 1991. Photographers, graphic designers, artists and printing-house worked under one roof creating logos and graphic design for different parts of the Union. The artists (unconsciously) appropriated works of other artists in West in order to use parts of the ornaments and patterns they liked for the applied graphic design they created. The project tells this social life of the patterns ? their appropriation and displacement from the Western high art to applied arts in Soviet Union. Fragments of op-art painting by Vasarely became patterns for candy boxes, and entire meaningful texts were deconstructed and re-constructed enjoying only the formal beauty of a linear character. However, the constant search of patterns in the film flips ? the ornaments and underlying geometric shapes start to haunt the viewer eventually taking over the film itself. Artist looking for patterns: Juozapas Antanas Gelguda

Ugnius Gelguda and Neringa Cerniauskaite started collaborating in 2009. They are represented by gallery VARTAI, Vilnius. Since their first project, the artists have been interested in visual memory and how it can be manipulated through usage of certain mediums. Their latest works include 16 mm films, photo slides, neon objects, vinyl, and are strongly influenced by material history and language of cinema. Both artists are based in Vilnius and Brooklyn, New York. Ugnius Gelguda?s (born 1977, Lithuania) artistic portfolio includes photography, time-based media art projects. Neringa Cerniauskaite (born 1984, Lithuania) is an art critic, curator, editor. She contributes texts for Lithuanian cultural press, exhibitions? catalogues and international magazines (Flash Art, Mousse Magazine, Parkett, ARTMargins.com, MAP). She is a M.A. candidate, 2014, at Bard College Center for Curatorial Studies, NY. Artists will present their latest solo projects at NADA NEW YORK 2014, ART BRUSSELS 2014, Contemporary Art Centre (CAC, Vilnius), Contemporary Art Centre kim? (Riga).

The video work by Ugnius Gelguda titled A Paradise Tree documents the rise of a new neighbourhood of artists in Vilnius, Lithuania, which is often artificially compared to the New York?s SoHo. A Paradise Tree explores the boundaries of documentary and tells about the first forced steps of a new urban community. The story is ?told? through a hypertext link with the less known video work A Walk by Jonas Mekas created in 1990. During this one hour walk across the rainy SoHo neighbourhood, Mekas gives an intimate and chaotic recital of neighbourhood creation, tells about the first tree planted in the then industrial area by himself and his colleague Machiunas, and notes the transformation of SoHo streets and their inhabitants. Ugnius Gelguda?s video work revisits a community sustained by the relationship of an urban space and a uniting idea, and the inevitable change of this relationship under the influence of time and strong commercial mechanisms. The video camera slowly follows the shapes of lofts that are being set up on Shevchenkos Street as well as the carcass of a former factory which still exists but has already changed its function, combining the views of rough and dull buildings with the hopes of future settlers and thus transplanting real spaces into a fictional or potential story.

Ugnius Gelguda (born 1977, Vilnius) was granted a degree of art licentiate by Vilnius Art Academy in 2010, but he has been active in exhibitions since 2000. He has participated in many shows in Lithuania (Lithuanian Art 2000?2010: Ten Years, Contemporary Art Centre, Vilnius, 2010; ARTscape: Italy, Vartai gallery, Vilnius, 2009; Lithuanian Art 08. Photography, Contemporary Art Centre, Vilnius, 2008, etc.) and other countries (Gender check, Zachęta National Gallery of Art, Warsaw, 2010; Three, Fotohof gallery, Salzburg, Austria, 2010; Gender check, MUMOK, Vienna Kunsthalle, Vienna, 2009; Prague biennale 3, Baltic Mythologies programme, Prague, Czech Republic, 2007, etc.) He has received various awards and recognitions: two awards from the Ministry of Culture of the Republic of Lithuania ? one for the audiovisual installation Zalgiris in 2010 and one for the Best Professional Artist?s Debut Award in 2006, Moscow International Art Festival Prize in 2007 for the installation ?Zalgiris?. Since 2000, Ugnius Gelguda is successfully working as an individual artist and collaborating with other artists in various interdisciplinary projects. Photography and video is the primary media that Ugnius Gelguda uses to express his ideas; however his artistic portfolio audio-visual installations as well.