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RECODE est une vidéo réalisée à partir d?une ligne d?un code ADN. Le séquençage de l?ADN a été réalisé par Tom Kritensen, professeur de biochimie. Ce projet a reçu le soutien du Norwegian Art Council (Art and New technology) Cette vidéo a été montrée dans les principaux festivals d?arts numériques et de nouveaux médias, à Séoul lors de ExiS 2005 ? festival de la vidéo et du film expérimental, à Rio de Janeiro lors de festival international d?art électronique et numérique, à Toronto au NFF 05: Inner Ecologies - New Forms, festival international d?arts média, à Sao Paulo, au festival international d?art numérique.

Lasse Raa est un jeune artiste qui vit et travaille à Oslo, Norvège. Il utilise différents médiums et appareils de communication. Il présente le plus souvent ses pièces et ses recherches sous forme de vidéos retravaillées numériquement. Il a étudié au Robert Meyer Art College d?Oslo.

MAGMA is a method driven and improvisation based film project produced and directed by Julian Rabus. The shoot consists of long situations that last up to several hours and are filmed with up to four cameras. Actors are given space to behave without dramatic functions. Following intuitions opens a way to engage with certain psychological patterns and find narrative structures, which then manifest themselves in the editing and the viewer’s perception. In the film couples and peer groups try to find their way in everyday situations: they perform, reveal themselves, make themselves vulnerable, are insecure, fall in love or pretend to the others.

Julian Rabus works as a director and producer in the field of media art and narrative film since 2016. After he graduates from Academy of Fine Arts Munich in the class of Julian Rosefeldt he studied Film Directing at the California Institute of the Arts in Los Angeles and moved back to his hometown Berlin to finish his studies at the University of Arts in the Narrative Film class of Thomas Arslan.

SUNSTROKES is a method-driven and improvisation based film project produced and directed by Julian Rabus. Twenty-year-old Rachel moves from New York to Los Angeles in order to reinvent herself. Still attached to classical role models at first, she increasingly comes into conflict with them in her new environment and, in conversations with her new friends, begins to redefine her expectations of life and discover other sides to herself. This film was created in close collaboration between the director and the actors over a period of two years and a total of 32 days of shooting in Los Angeles and the surrounding area. The work consists of several chapters, of which this one focuses on the relationship between Rachel and Kevin.

Julian Rabus, born and raised in Berlin, Germany, was an assistant cameraman and assistant director in film and television before beginning a degree in fine arts / media art under Prof. Julian Rosefeldt at the Academy of Fine Arts Munich, which he received with honours in 2021. Since then he has been studying at the Berlin University of the Arts in Prof. Thomas Arslan’s class on narrative film. In between, he also attended the Karlsruhe University of Arts and Design under Prof. Serpil Turhan and the California Institute of Arts under Prof. James Benning.

"Civilians. Invasion", created in 2023. The film documents the experiences of Ukrainians during the Russian aggression against Ukraine. This invasion led to extensive documentation by civilians, soldiers, and journalists, resulting in a wealth of photo and video materials that made their way onto social media platforms. While some of this content went viral through Telegram channels and other social networks, many photos and videos remained relatively unknown with minimal views. The film is structured around a specific storyline, starting from the initial days of the invasion and unfolding the events related to how people navigate a new reality: how to live and survive, the risks faced by civilians during the conflict, episodes of housing destruction, and stories of those who have lost their loved ones. In 2024 "Civilians. Invasion" represents Ukraine at the 60th Venice Biennale.

Andrii Rachynskyi and Daniil Revkovskyi are the Kharkiv (Ukraine) artists who are fusing different formats of artistic practices (installations, reenactment, video, archives), researching the contexts and landscapes of the industrial regions of Ukraine. They graduated from the Kharkiv State Academy of Design and Art with a degree in graphic design. Nominated for the PinchukArtCentre Prize in 2018, 2020 and 2022, the winners of the 2020 PinchukArtCentre Prize Audience Award for the project “Hooligans.” Allegro Prize 2022 winners. In 2024, Andrii Rachinskyi and Daniil Revkovskyi represent Ukraine at the 60th Venice Biennale. https://revkovskyirachynskyi.com

La scène sur la plage peut être reconnue du premier regard comme celle venant de la célèbre peinture de Manet : ?Déjeuner sur l?herbe?. Mais qu?est ce qui rend cette version de la célèbre composition si provocatrice ? C?est l?inversion des genres. La projection de cette vidéo dans l?espace publique serait une provocation d?une attitude voajeristique sur des territoires consommés inattendus. Cette errance dans le temps ne fait pas face à un corps féminin, mais à la place, il révèle un corps masculin. Une contextualisation de ce changement radical pourrait être une déviance.

La zone de Tchernobyl – le site de la pire catastrophe nucléaire de l’histoire – a été occupée par les troupes russes le 24 février 2022, dans les toutes premières heures de leur invasion totale de l’Ukraine. Les Russes avaient transformé le territoire de la centrale nucléaire de Tchernobyl en base militaire pour leurs troupes, dans une tentative d’occuper la capitale ukrainienne, Kyiv, située à seulement une centaine de miles. Ils avaient capturé le personnel de la centrale, contraint de poursuivre ses fonctions sans repos ni sommeil. Le plan russe était de rester à Tchernobyl seulement trois jours : c’était le délai qu’ils imaginaient pour la chute de l’Ukraine. Au lieu de cela, les Russes sont restés coincés sur le site radioactif pendant cinq semaines, pour finalement voir leur armée s’effondrer dans la bataille pour Kyiv. La plupart de leurs activités illégales durant ces cinq semaines ont été enregistrées par le système de vidéosurveillance de la centrale, que les Russes n’ont pas réussi à empêcher de filmer. Special Operation est entièrement constitué de ces enregistrements. Ce film offre une perspective unique sur le fonctionnement interne de la machine militaire russe en Ukraine – et sur l’un de ses échecs les plus retentissants. Les caméras de vidéosurveillance ont enregistré chaque aspect de la présence criminelle russe sur le site contaminé de la centrale nucléaire de Tchernobyl – des violations flagrantes des règles de sûreté nucléaire aux visites mises en scène par les propagandistes de la télévision russe. Nous avons obtenu ce matériau exceptionnel – jamais rendu public auparavant – auprès des forces de l’ordre ukrainiennes dans le cadre de notre effort de longue durée pour documenter les crimes de guerre russes à Tchernobyl, et pour contribuer à mener leurs responsables devant la justice. Chaque plan de ce film est une pièce à conviction représentant un crime de guerre relevant du terrorisme nucléaire. Avec ce film, nous souhaitons rendre ces preuves visibles – et, ce faisant, exposer l’incompétence profonde, et inquiétante, de l’armée russe.

Oleksiy Radynski est un cinéaste et écrivain basé à Kyiv. Son travail filmique explore des formes documentaires expérimentales ainsi que des pratiques relevant du cinéma politique. Ses films ont été présentés dans des festivals et expositions à travers le monde, notamment la Berlinale, l’International Film Festival Rotterdam, Doclisboa, le Thessalonique IFF, Dokufest, l’Institute of Contemporary Arts (Londres), e-flux (New York), la Taipei Biennial, Docudays (Kyiv), Sheffield DocFest, le Krakow IFF, DOK Leipzig, entre autres. Ses œuvres ont reçu de nombreuses distinctions, dont le Grand Prix du Festival International du Court Métrage d’Oberhausen pour Chornobyl 22. Depuis le début de l’invasion russe à grande échelle en Ukraine, il collabore avec The Reckoning Project.

A car travels through a desolate industrial area at night. It stops near an overturned truck that was carrying pigs. Dead animals lie scattered across the road; a fatal incident, a huge loss of animal life. A premature death ironically, since the pigs had been on their way to the slaughterhouse. The subtle camera movement switches from the subjective view of the handheld camera to the objective and contemplative view of the rising camera that is mounted on a crane and surveys the scene from a great height. Finally, a big firework is set off, seemingly dedicated to the dead animals, as though it was a requiem. The scene is a recreation from news coverage.

Lives and works between Amsterdam and Athens. She completed her education in Fine Art (BA, MA, PhD) at the University of Leeds in Britain with scholarship by the Arts & Humanities Research Council. Her body of work spans from experimental-documentary practices, to video-essays, archival footage and most recently cinematic narratives and medium length films. She has recently completed the Rijksakademie van beeldende kunsten residency (2013-2014) in Amsterdam, with a scholarship by Onassis Foundation (GR). Her first solo exhibition was presented at Martin van Zomeren Gallery, Amsterdam, 2014. Currently her work will be presented at EYE Film Institute, Close-Up: A New Generation of Film and Video Artists in the Netherlands (Jan-May 2015). She has participated in group exhibitions: VISIO European Program on Artists’ Moving Images 2015; 1st Research Pavilion, Venice Biennial, 2015; Art Rotterdam Projections, Kunstvereniging Diepenheim, 2015; Ce que raconte la solitude, ART-O-RAMA, 2014; Rijksakademie OPEN, 2013 – 2014, Manifesta 8, 2010; No Soul For Sale, Tate Modern, 2010. Her films and video works were screened at: Netherlands Film Festival, International Film Festival Rotterdam, BFI London, Cinema de la Nouvelle Lune, Curtas Vila do Conde, Gulf Film Festival Dubai, Capalbio Cinema, Project Space Leeds, and as part of Rencontres Internationales, 2010, at Centre National d’Art Moderne – Centre Georges Pompidou, Reina Sofia National Museum and Haus der Kulturen der Welt. Her work is part of Stedelijk Museum Amsterdam collection. Her films and videos balance between an empirical perception of landscapes and events and an authentic representation of them. Her narratives are located at the margins of the urban, haunted by stray dogs, roadkills, fatal accidents and dissipated death. The cryptic and universal nature of these cinematic worlds is initiated by a certain realism that has very little to do with its usual representation. Dead and living, human and non-human coexist in an accord of dream and sensuality. This is the land of her semi-autobiographic narrations; returns to personal histories that reveal something of the subsequent carving of a place’s fiction and not necessarily of the place itself.

SYNOPSIS Three Farewells: The Last Burial Janis Rafa The Last Burial proposes a visual approach on the concept of death and the fear of losing, outside the rigid anthropocentric understanding on human / non-human existence. It describes the moment of loss within the intimate space of a family house. The father and mother of this familial environment are silenced, in a state of mourning. Their sorrow is expressed through the form of water, rain or onions; visual symbolisms that take the characters into a timeless state of being and awareness, reflecting on the house’s past. The Last Burial consists part of the Three Farewells (2013), a trilogy of burials produced by Janis Rafa, with the support of Amsterdams Fonds voor de Kunst Alexander S. Onassis Foundation Rijksakademie van beeldende kunsten.

BIO Janis Rafa Lives and works between Amsterdam and Athens. She completed her education in Fine Art (BA, MA, PhD) at the University of Leeds in Britain with scholarship by the Arts & Humanities Research Council. Her body of work spans from experimental-documentary practices, to video-essays, archival footage and most recently cinematic narratives and medium length films. She has recently completed the Rijksakademie van beeldende kunsten residency (2013-2014) in Amsterdam, with a scholarship by Onassis Foundation (GR). Her first solo exhibition was presented at Martin van Zomeren Gallery, Amsterdam, 2014. She currently presents work at EYE Film Institute, Close-Up: A New Generation of Film and Video Artists in the Netherlands (Jan-May 2015). She has participated in group exhibitions: VISIO European Program on Artists’ Moving Images 2015; 1st Research Pavilion, Venice Biennial, 2015; Art Rotterdam Projections, Kunstvereniging Diepenheim, 2015; Ce que raconte la solitude, ART-O-RAMA, 2014; Rijksakademie OPEN, 2013 – 2014, Manifesta 8, 2010; No Soul For Sale, Tate Modern, 2010. Her films and video works were screened at: Netherlands Film Festival, International Film Festival Rotterdam, BFI London, Cinema de la Nouvelle Lune, Curtas Vila do Conde, Gulf Film Festival Dubai, Capalbio Cinema, Project Space Leeds, and as part of Rencontres Internationales, 2010, at Centre National d’Art Moderne – Centre Georges Pompidou, Reina Sofia National Museum and Haus der Kulturen der Welt. Her work is part of Stedelijk Museum Amsterdam collection.

The film is based on forms of experimental documentary practice. Its title reflects the distance between Pakistan and Greece that clandestine migrants have to cover through their movement from the East to the West. The opening and closing scenes of the film take place inside a car and present footage of the journey that Pakistani men and myself made to the centre of Athens to covertly receive a newly arrived migrant who entered the country through smuggling networks. The narrative of the film is located on the outskirts of Athens where Pakistani male communities live and work undercover within a horse-riding club next to the city?s airport. The project attempts to question notions of travel, movement and distance outside a westernised perspective by concentrating on a terrain vague. Through the travelling camera, the film documents the ?invisible? sub-geographies of the urban landscape in one of Europe?s capitals.

Janis Rafailidou (1984, Athens) the last nine years lives in UK. She studies as a PhD researcher on contemporary forms of video-installation art and experimental documentary practice in Fine Art, at the University of Leeds; awarded by the Arts and Humanities Research Council. She has participated in exhibitions in Greece and UK, with her latest participation at the Thessaloniki Biennial of Contemporary Art 2009. Her practice-based PhD research is presented this year in Manifesta 8, Murcia. Further information on her work can been found at: www.janisrafailidou.co.uk

Jon Rafman’s Poor Magic is a vision of a post-human dystopia featuring animated 3-D bodies continuously tortured in abstract digital space. The video presents the viewer with a haunting programme of repeating motifs: a blue featureless avatar, a view from a colonoscopy, and ranks of identical figures crashing and toppling over each other, made with the help of crowd-simulation software. While a poetic lament, Poor Magic addresses the fragmented consciousness of a post-physical existence. The film shows a terrifying image of a future where all humanity is uploaded to a virtual purgatory and endlessly abused. Or perhaps it is also a brutal representation of the present moment and the effect that technology has on our flesh and psyche.

Jon Rafman est né en 1981 au Canada, il habite et travaille à Montréal. Artiste, réalisateur et essayiste, il est diplômé de l’Institut des Arts de Chicago et de l’Université McGill (Montréal) en philosophie et littérature. Son travail est centré sur l’impact émotionnel, social et existentiel de la technologie sur la vie, présentant une vision mélancolique des relations sociales dans des communautés et réalités virtuelles contemporaines. Ses vidéos mettent en exergue la manière dont le caractère éphémère de la pop culture et des subcultures façonnent les désirs individuels et définissent ceux qui en sont les sujets. Le travail de Jon Rafman a été exposé lors d’expositions individuelles , notamment au Stedelijk Museum d’Amsterdam (2016), au Westfälischer Kunstverein de Münster (2016), au Musée d’art contemporain de Montréal (2015), à la Zabludowicz Collection, Londres (2015), et au Centre d’art contemporain de Tel Aviv. Il a également participé à de nombreuses expositions collectives, notamment à la 9ème Biennale de Berlin ; à la Manifesta 11 (2016) ; à la Kunsthalle de Vienne, dans l’exposition « The Future of Memory », (2015) ; au Fridericianum à Kassel dans l’exposition « Speculations on Anonymous Materials » (2015) ; à la Biennale de Lyon (2015) et à la Biennale de Moscou (2015). Il a également été présenté à la Saatchi Gallery de Londres et au Palais de Tokyo (2012). Il a obtenu le Prix d’excellence en arts visuels au Musée des Beaux-Arts de Montréal (2015), et son court métrage « Mainsqueeze » a été nominé au Tiger Award du festival de film de Rotterdam.

Paris is not necessarily the first choice as the setting for a ghost story. The excessive romance of the French metropolis’ cultural symbols renders them simply unsuitable as backdrop for horror stories. But that’s not the case in Ella Raidel’s four-minute short film, which arose in the course of her extensive research project Of Haunted Spaces and refers to an upcoming feature film project. In We’ll always have Paris, the Eifel Tower, Champs-Élysées, magnificent fountains, and trimmed hedges stand as faux French in the hazy rain of Tianducheng. The residential complex located in the suburbs of the Chinese megapolis Hangzhou is one of the countless, largely unpopulated pop-up sites that sprung up overnight through high-speed real-estate speculation. In Raidel’s film, the Eifel Tower is the anti-gravity center of a phantom zone furnished with stark high-rises, parking areas, and gardens—an urban proposition that amounts to nothing. As the camera focuses on the building clone and its surroundings from various perspectives, the film suddenly changes tone. A woman who at first is visible only from behind enters the urban planning remake. Through a construction site corridor, she enters a conference space, improvised by partition walls, from which the view of the tower’s base condenses to an image of the uncanny. Like the pastiche in Tianducheng, We’ll always have Paris also contradicts the logics of representation; the film itself becomes a simulation of an architecture film, of a capitalism critique, of a ghost story: as they say in the film classic Casablanca, "We’ll always have Paris." But what do we have here? (Esther Buss)

Ella Raidel, is an Austrian filmmaker, artist and researcher who has lived in Taiwan for the past 20 years. In her interdisciplinary works – films, videos, research and discourses – she focuses on the socio-cultural aspects of globalization, urbanization and the representation of images. Her hybrid practice is to create a discursive space for filmmaking, art and research. She is currently Asst. Professor at NTU Singapore, lives and works in Singapore. In recent years, she has been concerned with China’s unprecedented growth and rapid urban changes, in experimenting with new documentary modes, narrations and methods. Raidel’s works has participated in international biennials, exhibitions, conferences, and presented at numerous International film festivals.

Ella Raidel’s video Play Life Serie exposes its own methods right from the start. We see film shoots and film sites where Chinese soap operas are produced. As the camera pans to film teams and cameramen, the fictional content of the rehearsed scenes is interrupted and revealed as the process of making-of. At the same time, through editing, Raidel replays particular movements, handholds, and gestures of the characters, thus intensifying their serial level. The repetitions make clear the extent to which sword fights, wine, love, and revolt are part of a medially represented repertoire of gestures. Ella Raidel’s work deals ironically with the Chinese soap opera as fake-factory of collective desires, which in the interplay of fiction and making-of, forces its way through reality, scrutinizing it—as site of image making and image controlling.

Ella Raidel, born 1970 in Austria, studied at Art University Linz, lives and works in Taipei. She is currently Post-doc Researcher at Academia Sinica in Taipei/Taiwan. Ella Raidel is artist, filmmaker, presents her works internationally at Video- and Filmfestivals as well as exhibitions, such as Transmediale 2013 (Haus der Kulturen der Welt, Berlin), Floating Islands (Shanghai Biennale 2012/13 Kinmen/Taiwan), Asian Triennale Manchester, Discovering the Other (National Palace Museum Taipei), Based Upon: True Stories (Witte de Wit Rotterdam) Filmfestivals: CPH:DOX, Dok Leipzig, International Filmfestival Rotterdam, Crossing Europe, Duisburger Filmwoche, etc.

“Without a doubt the most ambitious, most risk-taking work of Rainer’s cinematic career.”—B. Ruby Rich. Rainer’s fourth feature, inspired by her experiences living in West Berlin in 1976 and ’77, when the activities of right-wing terrorists were at their height, offers an audacious, collage-like meditation on state power, repression, violence, and revolution. Vaulting between aerial images of British landscapes, intertitles, fragments of Rainer’s teenage diary, and one unseen couple’s debate (voiced by Amy Taubin and Vito Acconci) over the demise of the RAF, the film is illuminated by a lead performance from the late art and film critic Annette Michelson as a patient undergoing psychoanalysis, whose every gesture was choreographed elaborately by Rainer over a nine-month period. (Synopsis courtesy of The Metrograph)

When Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, "The most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York. Rainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival D'Automne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking. In 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Critics' Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakers' Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996). Rainer's films have been shown extensively in the U.S. and throughout the world, in alternative film exhibition showcases and revival houses (such as the Bleecker St Cinema, Roxy-S.F., NuArt-L.A, Film Forum-NYC, et al), in museums and in universities. Her films have also been screened at festivals in Los Angeles (Filmex), London, Montreux, Toronto, Edinburgh, Mannheim, Berlin, Locarno, Rotterdam, Creteil, Deauville, Toulon, Montreal, Hamburg, Salsa Majori, Figueira da Foz, Munich, Vienna, Athens (Ohio), Sundance, Hong Kong, Yamagata, and Sydney. A half-hour video tape entitled YVONNE RAINER: STORY OF A FILMMAKER WHO... was aired on Film and Video Review, WNET-TV in 1980. THE MAN WHO ENVIED WOMEN was aired on Independent Focus, WNET-TV in, 1989, and PRIVILEGE on the same program in 1992 and during the summer of 1994. In the Spring of 1997—to coincide with the release of MURDER and murder—complete retrospectives of the films of Yvonne Rainer were mounted at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York City.

“For Rainer, drama and style aren’t innocent, and the very concept of a story, and the way it’s told, is political”—Richard Brody. One of Rainer’s most narratively complex films, Privilege shifts from a documentary about women going through the process of menopause to a deadpan and delightfully anarchic autobiographical meta-film exploring the power dynamics underpinning experience, memory, and the manner in which women’s stories are told. Synopsis courtesy of The Metrograph.

When Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, "The most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York. Rainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival D'Automne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking. In 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Critics' Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakers' Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996). Rainer's films have been shown extensively in the U.S. and throughout the world, in alternative film exhibition showcases and revival houses (such as the Bleecker St Cinema, Roxy-S.F., NuArt-L.A, Film Forum-NYC, et al), in museums and in universities. Her films have also been screened at festivals in Los Angeles (Filmex), London, Montreux, Toronto, Edinburgh, Mannheim, Berlin, Locarno, Rotterdam, Creteil, Deauville, Toulon, Montreal, Hamburg, Salsa Majori, Figueira da Foz, Munich, Vienna, Athens (Ohio), Sundance, Hong Kong, Yamagata, and Sydney. A half-hour video tape entitled YVONNE RAINER: STORY OF A FILMMAKER WHO... was aired on Film and Video Review, WNET-TV in 1980. THE MAN WHO ENVIED WOMEN was aired on Independent Focus, WNET-TV in, 1989, and PRIVILEGE on the same program in 1992 and during the summer of 1994. In the Spring of 1997—to coincide with the release of MURDER and murder—complete retrospectives of the films of Yvonne Rainer were mounted at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York City. In 2006 MIT Press published Yvonne Rainer's memoir Feelings Are Facts: A Life

The Man Who Envied Women sees Rainer, in her own words, “throw down the gauntlet to psychoanalytic feminist film theory,” interrogating and responding to contemporary debates over notions such as the male gaze with a drolly provocative hybrid essay film. Rainer’s account of the break-up of a marriage between a womanizing blowhard Manhattan professor (played alternately by William Raymond and Larry Loonin) and his artist wife, who exists only as voice-over (choreographer Trisha Brown), soon galaxy brains outwards to address concerns as divergent as the housing crisis facing New York artists and political struggles in Latin America. (Synopsis courtesy of The Metrograph)

When Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, "The most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York. Rainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival D'Automne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking. In 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Critics' Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakers' Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996). Rainer's films have been shown extensively in the U.S. and throughout the world, in alternative film exhibition showcases and revival houses (such as the Bleecker St Cinema, Roxy-S.F., NuArt-L.A, Film Forum-NYC, et al), in museums and in universities. Her films have also been screened at festivals in Los Angeles (Filmex), London, Montreux, Toronto, Edinburgh, Mannheim, Berlin, Locarno, Rotterdam, Creteil, Deauville, Toulon, Montreal, Hamburg, Salsa Majori, Figueira da Foz, Munich, Vienna, Athens (Ohio), Sundance, Hong Kong, Yamagata, and Sydney. A half-hour video tape entitled YVONNE RAINER: STORY OF A FILMMAKER WHO... was aired on Film and Video Review, WNET-TV in 1980. THE MAN WHO ENVIED WOMEN was aired on Independent Focus, WNET-TV in, 1989, and PRIVILEGE on the same program in 1992 and during the summer of 1994. In the Spring of 1997—to coincide with the release of MURDER and murder—complete retrospectives of the films of Yvonne Rainer were mounted at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York City. In 2006 MIT Press published Yvonne Rainer's memoir Feelings Are Facts: A Life.

Rainer’s last feature is also one of her most personal, inspired by the lows and highs of a breast cancer diagnosis in the early 1990s, and the surprise of a burgeoning lesbian relationship. The latter is playfully refracted here through the love story of two women from very different backgrounds: Yvonne’s sixty-something screen counterpart Doris (Joanna Merlin) who gleefully announces that she “loves eating pussy,” and the younger academic she’s soon to move in with, Mildred (Kathleen Chalfant). A comic romance whose emotions are amplified by Rainer’s structural tomfoolery and signature intellectual rigor—with the director providing running commentary and appearing intermittently to address the camera—MURDER and murder probes the pleasures, and attendant questions, of late-in-life love affairs. (Synopsis courtesy of The Metrograph.)

When Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, "The most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York. Rainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival D'Automne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking. In 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Critics' Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakers' Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996). Rainer's films have been shown extensively in the U.S. and throughout the world, in alternative film exhibition showcases and revival houses (such as the Bleecker St Cinema, Roxy-S.F., NuArt-L.A, Film Forum-NYC, et al), in museums and in universities. Her films have also been screened at festivals in Los Angeles (Filmex), London, Montreux, Toronto, Edinburgh, Mannheim, Berlin, Locarno, Rotterdam, Creteil, Deauville, Toulon, Montreal, Hamburg, Salsa Majori, Figueira da Foz, Munich, Vienna, Athens (Ohio), Sundance, Hong Kong, Yamagata, and Sydney. A half-hour video tape entitled YVONNE RAINER: STORY OF A FILMMAKER WHO... was aired on Film and Video Review, WNET-TV in 1980. THE MAN WHO ENVIED WOMEN was aired on Independent Focus, WNET-TV in, 1989, and PRIVILEGE on the same program in 1992 and during the summer of 1994. In the Spring of 1997—to coincide with the release of MURDER and murder—complete retrospectives of the films of Yvonne Rainer were mounted at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York City. In 2006 MIT Press published Yvonne Rainer's memoir Feelings Are Facts: A Life.

“What Rainer was up to, after all, was the reinvention of melodrama as a genre, accented for the contemporary psyche.”—B. Ruby Rich. Namechecking both Virginia Woolf and Jean-Luc Godard in the film’s opening segment, Rainer continues to experiment in her elegiac, hybrid third feature with unshackling narrative from conventional representation, using the paradoxical feminine figure of a lion tamer, Kristina (played by several women, including Rainer herself), and a disjunctive audiovisual syntax that pushes avant-garde film grammar into thrillingly novel, expressive realms. Kristina arrives from Budapest to 1970s New York City, harboring hopes of becoming a dance choreographer, as well as romantic affections for an elusive sailor named Raoul.(Synopsis courtesy of The Metrograph.)

When Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, "The most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York. Rainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival D'Automne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking. In 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Critics' Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakers' Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996). Rainer's films have been shown extensively in the U.S. and throughout the world, in alternative film exhibition showcases and revival houses (such as the Bleecker St Cinema, Roxy-S.F., NuArt-L.A, Film Forum-NYC, et al), in museums and in universities. Her films have also been screened at festivals in Los Angeles (Filmex), London, Montreux, Toronto, Edinburgh, Mannheim, Berlin, Locarno, Rotterdam, Creteil, Deauville, Toulon, Montreal, Hamburg, Salsa Majori, Figueira da Foz, Munich, Vienna, Athens (Ohio), Sundance, Hong Kong, Yamagata, and Sydney. A half-hour video tape entitled YVONNE RAINER: STORY OF A FILMMAKER WHO... was aired on Film and Video Review, WNET-TV in 1980. THE MAN WHO ENVIED WOMEN was aired on Independent Focus, WNET-TV in, 1989, and PRIVILEGE on the same program in 1992 and during the summer of 1994. In the Spring of 1997—to coincide with the release of MURDER and murder—complete retrospectives of the films of Yvonne Rainer were mounted at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York City. In 2006 MIT Press published Yvonne Rainer's memoir Feelings Are Facts: A Life.

Picking up where Lives of Performers left off, Rainer’s second, landmark feature tells the story of a woman whose sexual dissatisfaction masks an enormous anger, with Rainer needling at questions raised by contemporary feminism about the relationship between the representation of romantic clichés and sexual repression. Borrowing techniques from soap opera, the formally fractured yet exuberant Film About a Woman Who… combines voiceover, intertitles, simulated “still” images, and dinner-table discussions to provocative, often contradictory effect. Long silences and Babette Mangolte’s fluid black-and-white images only heighten the darting, doubt-ridden, highly dislocating drama. (Synopsis courtesy of The Metrograph.)

When Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, "The most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York. Rainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival D'Automne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking. In 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Critics' Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakers' Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996). Rainer's films have been shown extensively in the U.S. and throughout the world, in alternative film exhibition showcases and revival houses (such as the Bleecker St Cinema, Roxy-S.F., NuArt-L.A, Film Forum-NYC, et al), in museums and in universities. Her films have also been screened at festivals in Los Angeles (Filmex), London, Montreux, Toronto, Edinburgh, Mannheim, Berlin, Locarno, Rotterdam, Creteil, Deauville, Toulon, Montreal, Hamburg, Salsa Majori, Figueira da Foz, Munich, Vienna, Athens (Ohio), Sundance, Hong Kong, Yamagata, and Sydney. A half-hour video tape entitled YVONNE RAINER: STORY OF A FILMMAKER WHO... was aired on Film and Video Review, WNET-TV in 1980. THE MAN WHO ENVIED WOMEN was aired on Independent Focus, WNET-TV in, 1989, and PRIVILEGE on the same program in 1992 and during the summer of 1994. In the Spring of 1997—to coincide with the release of MURDER and murder—complete retrospectives of the films of Yvonne Rainer were mounted at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York City. In 2006 MIT Press published Yvonne Rainer's memoir Feelings Are Facts: A Life

Rainer’s debut feature film announced both her shift from the world of dance towards avant-garde cinema, and what would become a career-long interest in “women’s stories” and the teasing machinations of melodrama. The familiar tale of a man who can’t choose between two women and makes everyone suffer is reworked by Rainer as a jolting and radically austere, anti-illusionist spectacle, comprising dance rehearsals, photography, tableaux, and a flurry of fragments of text, both onscreen and not. Off-camera, multiple voices can be heard—including that of cinematographer Babette Mangolte, who was at the time just beginning work with a young Chantal Akerman. (Synopsis courtesy of The Metrograph.)

When Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, "The most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York. Rainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival D'Automne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking. In 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Critics' Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakers' Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996). Rainer's films have been shown extensively in the U.S. and throughout the world, in alternative film exhibition showcases and revival houses (such as the Bleecker St Cinema, Roxy-S.F., NuArt-L.A, Film Forum-NYC, et al), in museums and in universities. Her films have also been screened at festivals in Los Angeles (Filmex), London, Montreux, Toronto, Edinburgh, Mannheim, Berlin, Locarno, Rotterdam, Creteil, Deauville, Toulon, Montreal, Hamburg, Salsa Majori, Figueira da Foz, Munich, Vienna, Athens (Ohio), Sundance, Hong Kong, Yamagata, and Sydney. A half-hour video tape entitled YVONNE RAINER: STORY OF A FILMMAKER WHO... was aired on Film and Video Review, WNET-TV in 1980. THE MAN WHO ENVIED WOMEN was aired on Independent Focus, WNET-TV in, 1989, and PRIVILEGE on the same program in 1992 and during the summer of 1994. In the Spring of 1997—to coincide with the release of MURDER and murder—complete retrospectives of the films of Yvonne Rainer were mounted at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York City. In 2006 MIT Press published Yvonne Rainer's memoir Feelings Are Facts: A Life

Dans l?espace urbain, le comportement de chaque personne est observé et contrôlé tant par les autres que par soi-même. Pourtant, chacun a la possibilité de s?échapper de la normalité et de se distinguer de la foule. Dans l??uvre vidéo « City », l?auteur a utilisé un programme informatique qu?il a réalisé lui-même, pour dessiner l?image en dehors des mouvements de la vidéo, de telle sorte que tout ce qui bouge laisse une trace sur l?image. La vidéo permet de visualiser le lent processus d?une image qui apparaît de l?accumulation de changements. À la fin, le paysage inchangé se révèle, et l?image mouvante semble s?être transformée en une image immobile. Le chemin le plus commun se multiplie en luminosité lorsque plus de mouvements se produisent. En jouant lui-même dans la vidéo, l?auteur a dessiné sa propre trace comme opposition aux mouvements réguliers et essayé de rendre visible sa présence dans la foule.

Tuomo Rainio est né à Espoo (Finlande) en 1983. Il vit et travaille actuellement à Helsinki (Finlande). Il est diplômé du Département de Photo de l?Université des Arts et du Design de Helsinki, et continue ses études en Master dans la même université. En 2008-2008, il a également étudié à la Musashino Art University de Tokyo (Japon). Rainio travaille essentiellement avec la vidéo numérique et la photographie, explorant des thèmes universaux tels que l?existence, l?individualité et l?évanescence. Les ?uvres de Rainio ont été exposées lors de diverses expositions collectives, dans huit pays d?Europe différents. L?année dernière, il a réalisé sa première exposition individuelle en Finlande, et a également pris part à une exposition au Musée Finlandais de la Photographie. En 2008, ses ?uvres sont présentées dans l?exposition collective du Musée d?Art Contemporain Kiasma, en Finlande, ainsi qu?à l?European Month of Photography, évènement organisé dans neuf capitales européennes. En été 2008, un musée finlandais privé consacrera une exposition individuelle aux ?uvres de Rainio.

Il y a dans nos vies des moments de déjà vu, des moments de souvenir intense. Ici, les personnages sont dans un état permanent de déjà vu. Les enfants sont purs et immortels comme les idées et les concepts, ils restent et se souviennent, brisent la frontière entre réel et irréel. Les adultes gardent les souvenirs de leur ancienne vie, mais les souvenirs sont les souvenirs, sans base solide pour les soutenir.

Sara Rajaei est née en 1976, à Abadan, en Iran. Elle est artiste vidéo. Elle a étudié les arts manuels à l'université de Téhéran pendant deux ans avant de partir s'installer aux Pays-Bas en 1998, où elle a obtenu sa licence de la Royal Academy of Art à La Haye en 2002. A suivi une résidence de deux ans à la Rijksakademie d'Amsterdam. Depuis 2004, elle travaille en freelance comme artiste vidéo, éditrice et écrivain. Elle travaille entre l'Iran et les Pays-Bas, n'oubliant pas qu'elle est une résidente des deux pays. Son oeuvre a été montrée dans divers festivals et expositions à travers le monde.

De retour dans le pavillon où il a passé son enfance, Frédéric Ramade met en scène les membres de sa famille et les amène à se pencher de façon critique sur la genèse de leur maison, et les désirs qui ont guidé leurs choix esthétiques et techniques. Une reconstruction symbolique et humoristique du passé entre critique politique et désobéissance civile.

Frédéric Ramade est réalisateur et écrivain. En 2005, il a réalisé « Ode pavillonnaire », un premier moyen-métrage personnel mêlant fiction et documentaire, sur la vie en pavillon. Le film a bénéficié des soutiens de Centre-Images Région Centre, du CNC, du Ministère de la Culture (CNAP), de la Procirep et de ARCADI. Auparavant Frédéric Ramade a réalisé de nombreux documentaires parmi lesquels : « Raconte moi? », 2006, France 5 / « Le dessous des cartes », 1999 à 2006, plus d?une cinquantaine d?épisodes du magazine géopolitique, diffusion ARTE / « Court-Circuit », 2001 à 2004, Patrick Bokanovski, Michael Snow, les frères Quay, Jan Svankmaje, ARTE / « Voyage au féminin », 2002-2003, 7 x 26`, Escale / « Au pays des jouets », 30 x 3?, France 5. Parallèlement à ses réalisations documentaires, il a réalisé des courts métrages expérimentaux dont : « Dernières représentations », 2000, film hommage à Bernard Lamarche-Vadel, présenté dans le cadre du festival Paris-Berlin en 2003 / « Olhos Fechados », 2001 / « En l?attente », 2002, réflexion sur la photographie autour du photographe Magdi Senadji, présenté à l?Arthotèque de Caen en Juin 2002 / « Un tombeau pour Senadji », 2003, film hommage au photographe, présenté au Centre National de la Photographie / « ? de la renommée », 2004, installation vidéo réalisée pour l?exposition « Montagnes », Galerie Anne Barrault, Paris, présenté aux centres d?art contemporain d?Echirolles et de Cajarc au printemps 2006. Frédéric Ramade est par ailleurs diplômé de l?Atelier Scénario de long-métrage de la FEMIS (promotion 2002-2003). Il travaille actuellement à un premier long-métrage de fiction, « Rodéo », et un documentaire de création, « Bienvenue à Charleworld », sur le musicien et plasticien américain Charlemagne Palestine.

Le long de la nuit. Deux jeunes garçons sont dehors. Ils gardent un studio de cinéma. Ils sont frères. Seuls, la lune et un tigre les accompagnent pour traverser ce temps.

Soufiane Adel est né en 1981 en Algérie. Il arrive en France à 8 ans. C’est en faisant une école de design, l’ENSCI, Les Ateliers, qu’il découvre le cinéma. Pas par hasard, toute son enfance il s’est nourri des films de Jean Claude Van Damme et du Nouvel Hollywood. Il rencontre à 20 ans le néoréalisme italien et le cinéma expérimental, et amorce alors une longue cinéphilie, autodidacte, aléatoire, et compulsive. En 2004, il décide de filmer son père, lui demande de rejouer une scène qu’ils ont vécue ensemble. Ce sera son premier court métrage : « Nuits closes ». Après il y aura « La Cassette » puis « Kamel s’est suicidé six fois, son père est mort ». À partir de 2009, il co-réalise ses films avec Angela Terrail, avec qui il travaille depuis « La Cassette ». Ils réaliseront « Sur la tête de Bertha Boxcar » et prépare actuellement un long métrage, l’adaptation contemporaine d’un roman de Jack London « Martin Eden ».

À travers le portrait d’une femme de 79 ans, Taklit Adel, ma grand-mère, née en Algérie et vivant en France depuis 60 ans, se noue à la fois le fil de la petite et de la grande Histoire et l’exploration de la banlieue et de son ensemble. Une histoire personnelle prise dans l’histoire collective.

Soufiane Adel est né en 1981 en Algérie. Il arrive en France à 8 ans. C’est en faisant une école de design, l’ENSCI, Les Ateliers, qu’il découvre le cinéma. Pas par hasard, toute son enfance il s’est nourri des films de Jean Claude Van Damme et du Nouvel Hollywood. Il rencontre à 20 ans le néoréalisme italien et le cinéma expérimental, et amorce alors une longue cinéphilie, autodidacte, aléatoire, et compulsive. En 2004, il décide de filmer son père, lui demande de rejouer une scène qu’ils ont vécue ensemble. Ce sera son premier court métrage : « Nuits closes ». Après il y aura « La Cassette » puis « Kamel s’est suicidé six fois, son père est mort ». A partir de 2009, il co-réalise ses films avec Angela Terrail, avec qui il travaille depuis « La Cassette ». Ils réaliseront « Sur la tête de Bertha Boxcar » et prépare actuellement un long métrage, l’adaptation contemporaine d’un roman de Jack London « Martin Eden ».

Ghostmarkets est né d’un travail de terrain ayant débuté en détention en septembre 2019 : prenant pour point de départ l’interdiction de toute transaction dans l’espace carcéral, dix hommes détenus s'engagent dans la création d'un réseau de production monétaire à l'intérieur des murs. Les débats menés à cette occasion témoignent de l'existence préalable d'un système économique invisible, basé sur l’échange de services, les dettes d'honneur et la performance de la masculinité. Alors qu'il dirige et capte ces échanges, Jules Ramage mesure progressivement la complexité de sa position : le protocole de vérification des cartes SD transforme son camescope en outil de surveillance. Les archives audios, vidéos et textuelles de cette expérience collective sont montées en un film "troué", marqué par l'extraction des voix de ses collaborateurs détenus, concentrant l'attention sur la matière, sa transformation et sa prise de valeur symbolique. Avec John Dow, Ben, Christophe, Brahli, Sparafucile, Youssef Rhnima, Philippe T., Ilich.

Jules Ramage (1987, France) est artiste visuel. Docteur en Sémiologie du Texte et de l’Image, il est aussi chercheur associé au laboratoire CERILAC d’Université Paris-Cité, et membre de la Cité du Genre, institut interdisciplinaire de recherche en études de genre. Il explore les relations de pouvoir mises en jeu dans les structures disciplinaires et institutionnelles. Depuis 2013, il poursuit un travail de terrain approfondi dans l’espace carcéral, où il implante des protocoles collaboratifs intégrant personnes détenues et surveillant-es. Son travail a été présenté en France, aux États-Unis, en Argentine, en Angleterre, en Espagne et en Allemagne. Il a été résident du CENTQUATRE-Paris, de la Cité internationale des arts, des Ateliers Médicis et du Fresnoy-studio national des arts contemporains.  Pour Ghostmarkets, Jules Ramage collabore avec un groupe d’hommes détenus au sein de la maison centrale de Poissy, constitué en 2015 dans le cadre de la Section des Etudiants Empêchés, programme d’enseignement porté par l’université de Paris. Au fil des années, le groupe prend son autonomie et prend l’identité d’un collectif de recherche-création collaborative. Il comprend : John Dow, Ben, Christophe, Brahli, Sparafucile, Youssef Rhnima, Philippe T., Ilich.

A valley starved of light. Weariness. Fatigue. An offering of shelter; a surrender of breath...

Originally a photographer, artist/filmmaker SJ.Ramir later moved to digital video - shooting scenes of lone figures moving across remote and isolated geographical landscapes. The landscapes and structures in his films are often a mix of real and/or constructed 3D models. The prominent style of his films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with a central theme in his work: isolation. His films have been exhibited at art galleries worldwide and screened at many prestigious film festivals including: the 67th Venice International Film Festival, International Film Festival Rotterdam (2009 and 2010), Edinburgh International Film Festival (2012 and 2013), Melbourne International Film Festival (2011) and the International Short Film Festival Oberhausen (2009).

“On the morning of my death – just after sunrise, and before my spirit had departed, a mysterious figure entered the house... “ In This Valley My Heart Is Buried Deep, is an experimental narrative that uses a combination of visuals and text. Based on an actual dream, the video explores what it means to belong; connection to the land; connection to a place…

Originally a photographer, artist/filmmaker SJ.Ramir later moved to digital video - shooting scenes of lone figures moving across remote and isolated geographical landscapes. The landscapes in his films are often a mix of real and/or constructed 3D models. The prominent style of his films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with a central theme in his work: isolation. Ramir’s distinctive films have screened at numerous film festivals worldwide including the Venice International Film Festival, International Film Festival Rotterdam, Edinburgh International Film Festival and the Melbourne International Film Festival. He currently resides in Melbourne, Australia.

The game follows ideas such as design by subtraction. A world devoid of time and space where the great dichotomies of human thought no longer cast a shadow. A post-anthropocentric world with a non-hierarchical structure. Here we cannot orient ourselves, which defies our understanding in a refreshing way and makes us forget - at least for a few moments - who we are; where we come from; and that we believe we are of particular importance. Forced Amnesia follows a simple instruction pattern: explore and you will find. As it is devoid of language all we have to do is follow our instinct. What we learned in games that we played before. The idea for Forced Amnesia started 2023 as an art exhibition, which led to the development of a video game. Forced Amnesia is a game with focus on quiet moments, inspired by the concept of design by subtraction, philosophy introduced by Fumito Ueda. The game gives the player lots of space to navigate through. Forced Amnesia’s aesthetics moves through a stage of comforting uncertainty, the player does not know if they are above or under water, swinging or flying. This state, fused with a calm soothing musical score creates a space for relaxation and calm. Places that nowadays are getting increasingly harder to find. Forced Amnesia aims at an older generation of gamers. Gen X and Gen Y will be the first generation to grow old playing video games. As we slowly age, our lifestyle and perception changes, Forced Amnesia is there to accompany us.

Mary-Audrey Ramirez studied under Thomas Zipp at the University of the Arts in Berlin Germany from 2010 to 2016. In 2019 she was the recipient of the prestigious Edward Steichen Award in Luxembourg for her textile-based sculptural and pictorial works. Early 2025 Ramirez’s Qrst percent for art work will be Qnalized in Berlin Spandau. Her works have been shown in both solo and group exhibitions at institutions such as Casino Luxembourg, forum d’art contemporain, Luxembourg; Kunsthalle Gießen, Gießen; Dortmunder Kunstverein, Dortmund; TRAUMA BAR UND KINO, Berlin; Kai 10 Arthena Foundation, D sseldorf; Haus Mödrath, Kerpen; Margot Samel Gallery, New York City; Polansky Gallery, Prague and MARTINETZ, Cologne. She was also part of Esch2022+ARS ELECTRONICA, Luxembourg/Linz. “Ramirez creates a dense image of a world with her figurative representations in pictures, objects and games, It is a world devoid of time and space where the great dichotomies of human thought no longer play a role. A post-anthropocentric world that is not organised hierarchically. A world in which we cannot orientate ourselves, which defies our understanding in a refreshing way and makes us forget, at least for a few moments, who we are, where we come from and that we believe we are of particular importance” - (Annekathrin Kohout)

A man with no memory walks through the hall of honor of the former national congress of Chile, a place that was closed during the military dictatorship and that has become an important place again during the writing of the two new failed constitutions in Chile. In front of him is the famous painting of Pedro Subercaseaux that represents the discovery of Chile, this man without memory tries to remember our national anthem. Through this effort is built this film that seeks to make us travel inside an imaginary landscape in the heart of the History and architecture of the main hall of governmental power in Chile, where all presidents promised a fairer and better country ... this landscape is Chile : an experiment of neoliberalism that, despite everything, continues to breathe on our sky and dream

Enrique Ramírez was born in 1979 in Santiago de Chile. Since 2007, he lives and works between Paris (France) and Santiago (Chile). He studied popular music and cinema in Chile before joining the postgraduate master in contemporary art and new media of Le Fresnoy – Studio National des Arts Contemporains (Tourcoing, France). In 2014 he won the discovery price of Les Amis du Palais de Tokyo, Paris, France. He has since exposed in some major places as Le Palais de Tokyo, Centre Pompidou, Espace Culturel Louis Vuitton or le 104), France (le Grand Café, Saint-Nazaire) and in Central and South America (Museo Amparo, Puebla, Mexico ; Museo de la memoria, Santiago ; Parque de la memoria en Argentina, Buenos Aires). In 2017, he is invited to the 57th International Art Exhibition - La Biennale di Venezia curated by Christine Macel, Ramírez is nominated for the Marcel Duchamp Prize 2020

Il est dit que certaines tribus indiennes pensaient que nous marchions vers le passé avec l`avenir derrière nous, parce que le passé est quelque chose qui est en face de nous, nous pouvons le voir, alors que l`avenir serait derrière nous, comme un point aveugle, invisible et inconnu... Ils disaient que les tâches blanches (les étoiles) que nous apercevons dans le ciel étaient des trous par où la lumière de l`univers entrait et que l`obscurité n`y existait pas. La première chose que nous voyons, si nous arrivons depuis l`Amérique en bateau, est le sémaphore de Créac`h. nous pouvons voir une lumière qui annonce la terre proche, ce sont les yeux de l`ancien continent, le faisceau d`une étoile artificielle qui toutes les 10 secondes jette des éclairs de lumière pour montrer la voie aux voyageurs de la mer, qui viennent souvent du Nouveau Monde, ou de la fin du monde, le Finistère... L`autre bout du monde... Ces lumières indiquent la terre ou la fin de celle-ci, elles sont les signaux de référence du monde, les différentes constellations qui portent en elle la mémoire de leur propre lumière, indiquant leur passé et leur avenir... Dans le présent.

Enrique Ramírez est né en 1979 à Santiago du Chili. Vit et travaille à Paris (France) et Santiago (Chili). Il a étudié la musique populaire et le cinéma au Chili avant de rejoindre en 2007 le Studio National des Arts Contemporains-Le Fresnoy (Tourcoing, France). En 2013, il a remporté le prix des Amis du Palais de Tokyo, Paris, France. En 2014, il remporte le prix Loop fair, Barcelone. Il a notamment exposé au Le Palais de Tokyo, Centre Pompidou, Espace Culturel Louis Vuitton, IX Bienal international d`art, Bolivie; Museo Amparo, Puebla, Mexique; Musée de la mémoire, Santiago; Centre Culturel MATTA, Argentine, Buenos Aires et au Grand Café à  Saint-Nazaire. En 2017, il est invité par Christine Macel à  participer à  l`exposition "Viva Arte Viva" de la 57ème exposition internationale de la Biennale di Venezia.

Brises c?est un film d?un plan séquence de 10 minutes où la camera traverse le Palais Présidentiel (La Moneda). Ce film travaille principalement sur la mémoire d`un lieu qui fut le scénario du Coup d?État et du retour à la démocratie. Ce lieu qui a été le berceau des tragédies et des joies de tout un peuple.

Enrique Ramirez né au Chili (1979) étudie musique et communication audiovisuelle avec mention cinéma, au Chili, fait actuellement un master dans Studio National dest arts contemporains Le Fresnoy, France. Le parcours artistique d`Enrique Ramirez a été fructifère et intense. Son regard attentif en face de l`histoire contemporaine est réfléchi dans ses oeuvres : la culture populaire dans son expression funk dans la Piste Centrale (2003), l`invention d`ennemis pour l`intervention et l`occupation d`autres peuples, et la complicité ouverte ou sournoise du reste du monde chez les Alliés (2003) et les conséquences dans les sociétés locales des opérations des compagnies transnationales dans 1929-1959 (2004). les histoires d`immigrants dans le Paysage (2007), la histoire et la mémoire dans Brises, (2008) Ramirez travaille avec deux éléments centraux : un objet qui se rattache directement au concept qui travaille et une projection avec séquences d`images sur l`objet. De cette façon il actualise et contextualise l`objet en le dynamisant au moyen du mouvement lequel les images créent en créant à la fois des canaux de correspondance entre les composants distincts de l`oeuvre.

DESPAIR works with cinematic reenactments, which are connected in an associative collage-like layering into an experimental film, taking Rainer Werner Fassbinder’s film of the same title from 1977 as its starting point. Drawing on and digressing from various complementary sources such as Fassbinder’s contribution to "Germany in Autumn", David Cronenberg’s "Dead Ringers", the 1970s "Mission Impossible" TV-series as well as cel-animation, the theme of the cinematic double is explored and questions of identity, identification and alienation are raised alongside an inquiry into the political and cultural legacies of the German Autumn.

Benjamin Ramírez Pérez (*1988, Germany) lives and works in Cologne. He studied at the Academy of Media Arts Cologne from 2009–2015. He undertook the residency programme at de Ateliers from 2016 - 2018. His works have been screened at Locarno, Edinburgh, Toronto and Rotterdam International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade and Alternative Space LOOP, Seoul.