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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 ».

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.

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.

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.

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.

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

In an initially deserted room objects slowly begin to move; they are manipulated from the off-screen space, being pulled and dragged by strings, cables or the carpet. Thus a ‘ghostly’ choreography emerges, with the objects taking on a life of their own, vanishing and reappearing. The control of these processes from the off-screen is made visible, by showing the strings attached to the objects as well as parts of the acting persons on the edge of the frame. This is accompanied by superimposed subtitles, which consist of a collage of existing film dialogue: Lines from the sub-genre of ‘gaslighting’ films are combined, taking the eponymous Gaslight (1944) as a starting point. A text assemblage on seduction and betrayal unfolds. At the same time the ambient lighting of the room gradually becomes increasingly colored, reaching an almost excessive saturation point as off- and on-screen space become reversed and a muffled pop music penetrates the room. A kind of karaoke video comes into being with the music – like many elements of the film – taking on the notion of a copy of something vaguely familiar.

Benjamin Ramírez Pérez, born in Hutthurm, Germany. Lives and works in Cologne. Studied at the Academy of Media Arts Cologne from 2009–2015. His works have been screened at Locarno, Edinburgh and Toronto International Film Festival, among others. In 2013, he was awarded the Prize of the German Federal Association of Film Journalists for Best Experimental Short. In 2015, he received the Chargesheimer Scholarship for Media Arts by the City of Cologne.

Body Snatcher conflates new 16mm material and found footage from Barbara Loden‘s film Wanda (1970) into an abstract narrative. Loden‘s film shows a character that seemingly passively navigates the world, but at the same time fights for her own identity and challenges social norms through her refusal to function as expected: „Life is a mistery to her. She doesn’t know what she wants but she knows what she doesn’t want.“ Taking fragments of the film as a starting point, objects, props and surfaces from the film were recreated, visually isolated and filmed anew. In a kind of vacuum, an abstract and associative narration touching on emptiness, failure, and identity construction slowly unfolds. A sort of parasitic science fiction remake of Wanda emerges - a layer of meaning that lies behind the film‘s plot and surface is imagined and constructed, positioning disparate elements in relation to each other and forging connections between them.

Benjamin Ramírez Pérez lives and works in Amsterdam. He studied at the Academy of Media Arts Cologne from 2009 - 2015. He was awarded the German Film Critics’ Prize for Best Experimental Short in 2013. In 2015, he received the Chargesheimer Scholarship for Media Arts of the City of Cologne. Currently, he is a participant at De Ateliers in Amsterdam (2016 – 2018).

Created based on research conducted during a 2018 residency at LIFT (Liaison of Independent Filmmakers of Toronto), SUMMER HEAT AN EARLY FROST combines the narrative structures of film, documentation, photography, cinematographic staging, and interview into a collage on the organizational principles of our perception. Similar to a stream of consciousness formed of constantly expanding recordings that proceed as the common denominator between a partially sensory, partially mechanically narrative voice and a screen text that fluctuates in intervals between narration, commentary, and subtitle, the image flow comprises a number of visual resources: arranged rhythmically behind an archival setup of vintage pornographic magazines from the University of Toronto’s Sexual Representation Collection, the marked text passages on film theory are taken from a collection of essays by Russian formalists. A multi-layered and narrative complement is present in the form of excerpts from “An Early Frost” (1985)—the first mainstream TV feature film to address the emerging public, social, and political crisis surrounding the spread of HIV/AIDS as part of the everyday life of a US family. Quietly and with an almost static austerity, set pieces from early silent films of the 1920s such as those from Jean Epstein and Dziga Vertov are superimposed across from sexually fetishized sequences of self-produced montages from tooth and mouth recordings, only to be expanded upon in the form of a new cut expounding on the pornographic industry’s digital infrastructure. Massed like a cluster of findings from a multimedia, multi-thematic search for the internal logics of filmic and documentary mechanisms of production and affect—whose focus potentially also stretches to include the representation and repression of queer desire, longing, and craving—the montage opens up a different access to images and their language; a language whose essence is concealed in the multiplicity of the information gathered and which, transferred via data-mining technology into the artistic process of the film, facilitates the recognition of patterns of regularity and of hidden interrelations.

Benjamin Ramirez Perez, is visual artist working primarily with film, video and installation based in Cologne, Germany. He was a participant at De Ateliers Amsterdam from 2016-2018 and studied at the Academy of Media Arts Cologne from 2009–2015 with Julia Scher, Phil Collins and Matthias Mueller. His works have been screened at IFFR Rotterdam, Locarno, Edinburgh and Toronto International Film Festival, as well as Julia Stoschek Collection Du?sseldorf, Kurzfilmtage Oberhausen and Visions du Réel Nyon among others. He had group and solo exhibitions at Artothek Cologne, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade, de Ateliers Amsterdam, Gallery Markus Luettgen Duesseldorf, and more. In 2015 he was awarded the Chargesheimer Scholarship for Media Art by the City of Cologne and in 2013 he received the Prize of the German Association for Film Journalists.

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.

Le récit constitue la caractéristique principale des animations de Marco Raparelli. Néanmoins, celui-ci n'est pas un point de départ, mais plutôt la conséquence d?une déviation de thèmes, provoqués par les sensations transmises à partir d'autres images ou dessins. Les animations sont des déviations d?images libres et improvisées, qui se relient les unes aux autres afin de créer des microcosmes infinis. L?animation la plus récente de Raparelli raconte l?histoire d?un chien abandonné qui, alors qu?il marche au bord de la mer, fait différentes aventures, rencontres des amis et ennemis et se confronte à de multiples situations abstraites. La vidéo fonctionne comme une sorte de métaphore de la vie dont le chien joue le protagoniste. Il est un paria qui doit faire face pour survivre au jour le jour. La bande-son de la vidéo consiste en une partition pour piano de Cosme McMoon. Dans les années 1940, McMoon a souvent accompagné la soprano américaine Florence Foster Jenkins, une riche héritière qui, tout en ayant des qualités vocales fort médiocres, a pu se produire grâce à sa richesse immense. McMoon et Foster Jenkins ont été de véritables phénomènes et leurs chansons absurdes ont servi comme bande-son aux images de la vidéo.

Marco Raparelli est né à Rome en 1975. Il a obtenu son diplôme à l'Accademia di Belle Arti de Rome (Italie) et a étudié l'animation au College of Art de Loughborough de Londres (Royaume-Uni). Il a collaboré à l'hebdomadaire satirique « Cuore », et travaillé ensuite pendant un temps comme auteur de bandes dessinées. Dans sa pratique artistique, il emploie la peinture, le dessin et les animations tridimensionnelles . De nombreuses expositions, tant collectives qu?individuelles, ont été consacrées à son travail, citons notamment « Clearly Invisible » à Consulta, Centre d?Art Santa Monica de Barcelone (Espagne) en 2007, « Animotion » à la Gallery F15 de Moss Norway (Norvège) en 2007, « Pina ti amo Catania » à Galerie Ugo Ferranti de Rome (Italie) en 2005, « As a drop of water on a K-way » au Careof de Milan (Italie) en 2007. Son livre « As a drop of water on a k-way », a été publié chez Fine Arts Unternehmen Books. Sa prochaine exposition individuelle aura lieu en janvier 2009, à la Galerie Umberto di Marino, à Naples (Italie).

La narration est la caractéristique principale de la vidéo d'animation de Raparelli. Cependant, plutôt qu'un point de départ, c'est la conséquence de la déviation thématique qui est représentée par des images précises et des dessins qui transmettent ou évoques des sensations. La narration est une déviation libre et intemporelle d'une image qui est connectée à d'autres pour créer des micros-mondes infinis. Ristorante Italia - 2007 animation 4 minutes 36 secondes Une suite d'évènement inattendus, parfois rébarbatif, prend place dans un restaurant insalubre. Le spectateur est témoin de l'occurrence du roulement et activités quotidiennes qui se passe sans début ni fin. Seul l'éventuel arrivée de la soirée suggère un possible relâchement ou d'une trêve.

Marco Raparelli was born in Rome on 12 July 1975. He graduated at the Accademia di Belle Arti di Roma and studied animation at the College of Art of Loughborough, London. He collaborated to the satiric weekly magazine ?Cuore?, and afterwards worked for a period of time as author of comics. In his artist practice he employs drawing painting and stop-motion animation. He has exibited widely. Group show include ?Emporio? Via Farini(2001) Milan, ?Lavori in corso? curated by Roberto Pinto (2002) Milan, ?3500 cm? Rialto S.Ambrogio, Rome curated by Lorenzo Benedetti, Grand1th:Cult media ?Bastart contemporary, Bratislava (2006) , "Clearly Invisible", Consulta - Centre d`Art Santa Monica, Barcelona, (2007)curated by Filipa Ramos, ?Animotion? Gallery F15, Moss Norway curated by Bjorn Hegardt(2007), New Entry CareOf Milan curated by Chiara Agnello. Solo show include : ?Pina ti amo Catania? gallery Ugo Ferranti Rome, ?Restroom and other stories? gallery Sergio Tossi Firenze Curated by Raffaele Gavarro, ?As a drop of water on a K-way? Careof Milan, project with Norberto Dalmata and Scintilla Robina.

??Verbatim?? A. Adjectif 1 direct, verbatim précisément les mêmes mots utilisés par un écrivain ou un locuteur ??un direct citation ?? ;??répété leur dialogue verbatim?? B Adverb 1 verbatim, mot à mot utilisant exactement les mêmes mots ; ??il répétait sa remarque verbatim?? ?verbatim? prend source dans le texte court de Marice Blanchot : ??La folie du jour??.

Paul Raposo est un artiste sonore et média basé à Lisbonne, au Portugal. Né en 1967, après des études de philosophie et de cinéma à Lisbonne, il a travaillé dans le médium de la performance live électronique et informatique, enregistrant et présentant ses ?uvres en France, en Allemagne, aux Etats-Unis, au Royaume-Uni, en Espagne, en Italie, aux Pays-Bas, au Portugal, dans les États Baltes. Il explore les déplacements ainsi que les interrelations entre les procédés numériques et les espaces architecturaux en utilisant des ordinateurs et des logiciels reconstruit par ses soins afin de créer des pédoncules sonores abstraits et délicats. Depuis la fin des années 90, il a commencé aussi à explorer les intersections entre le son et l?image et prenant avantage des possibilités du médium numérique Realtime aussi bien pour ses travaux individuels que pour ses ?uvres collectives. Il a "composé" des images pour de nombreux médias : installations, danse, performances, théâtre et projets intermédias. Raposo a réalisé des performances et collaboré avec de nombreux artistes dont Janel Schæfer, Jason Khn, Kaffe Mathews, Marc Behrens, Jgrwinch Zbiggniew Karkowski, Matt Rogalski, Carlos Santos, Carlos Zíngaro, Christopher Murphy, Koji Asano, Sara Kolster entre autres.

"Underexposure, a title that refers not only to the outdated film stock that was used to make the film, but also to the generation of Iraqis that have been isolated from the world for decades, takes an unprecedented, uncensored look into the lives, hearts, and minds of those living in Iraq during the tumultuous days after the fall of Saddam. Director Oday Rasheed has created a vivid world set against a real backdrop of war and upheaval. Friends, lovers, strangers and family members are woven together by the complexities of their new reality. The past is only a moment behind them, with the presence of death a constant companion into the future. Maysoun, the object of her brother and lover`s affections, finds solace in her sexuality. Hassan finds comfort in the belief that his films will outlive the cancer taking over his body. Homeless and alone with only his sacks of brightly colored rags, Nassir experiences his first taste of companionship and responsibility with the discovery of a dying Iraqi soldier. The first feature length film shot on location in Baghdad after the war, Underexposure blends reality and fiction to create a lyrical and textured work that captures the dizzying atmosphere of life during war and fiercely illuminates a part of the world long left in the dark."

A Poetic Truth in a Pathetic Fallacy considers ways in which human-kind has been fascinated by and has misinterpreted the rhinoceros, exploring the urgency to keep this genus from extinction while considering the lingering effects of colonialism and collection. Over the past decade the trafficking of rhino horns has gained popularity and both poaching and theft of vintage horns has risen dramatically. Horns were traditionally used in Eastern medicine and although scientists have concluded they have no health benefit, this has not dissuaded the market and its value has risen due to its newfound status as a luxury good. This is not the first time that the rhino has been misconstrued. In 1515 Albrecht Dürer created his famous woodcut based off of a written description of the rhinoceros. Although grossly inaccurate, his artwork served as the prototype for future depictions of rhinos up until the mid-19th century. In South Africa today, the lingering effects of colonialism and apartheid are at the root of poaching. In the male-dominated industry of wildlife protection, the Black Mambas [all female] Anti-Poaching Unit has been gaining international recognition for their efforts. Although beloved by the media, the Mambas risk their lives and struggle to support their families while protecting the wildlife that serves the interests of white landowners. This project is a multi-layered investigation into the link between globalization and extinction, using the poaching of the rhinoceros and its horn to speak about the relationship between bodies, labor, desire and the contested territory of representation.

Elise Rasmussen (born 1977, Edmonton, Canada; resides in Brooklyn, NY) is a research-based artist working in photography, video and performance. Her work has been exhibited, performed and screened at international venues including the Brooklyn Museum (NY), the Irish Museum of Modern Art (Dublin), CCS Bard Hessel Museum (Annandale-on-Hudson), Night Gallery (LA), Pioneer Works (NY), and Erin Stump Projects (Toronto). Elise received her MFA from the School of the Art Institute of Chicago on a Merit Scholarship (2007) and is a 2017-2018 artist in residence at LMCC’s Workspace program in Manhattan.

"White Out" est un film d'animation en single channel réalisé à partir de photographies numériques. Il s'agit d'une expérience minimaliste dans laquelle les images d'une rencontre nocturne dans un parc de Brooklyn rappellent celle d'un film noir. Un blizzard en image numérique vient peu à peu envahir le cadre, jusqu'à ce que l'écran soit entièrement blanc.

Birgit Rathsmann a reçu des bourses de la NYSCA, de l'Illinois State Arts Council, du Colombia College, de la MacDowell Colony, de la Skowhegan School of Painting and Sculpture et de l'Atlantic Art Center. Ses vidéos ont remporté des prix au South by Southwest Film Fest, au Palm Springs Film Fest, au Telluride IndieFest, à Raindance et ont été montrées dans de nombreux festivals internationaux et dans de nombreux centres. Ses installations vidéo ont pu être vues au Bemis Center, à Omaha et à Kamiyama, au Japon. Elle enseigne l'animation numérique à la New York University et vit à Brooklyn, NY.

The imagined city as a simulation takes over the real one. Desire and reality meet creating a new space with its own rules. Ever sprawling suburban areas, anonymous landscapes generated by computers, places with no memory, landmarks, residential projects. Staged scenery for action to take place. Mostly filmed in London, Meeting Point is a study of urban space and of its representations, the virtuality of contemporary public space and landscape.

Miguel Rato (1986, Lisbon) studied Sound and Image at ESAD Arts and Design School (Portugal) and Documentary Film at London College of Communication, University of the Arts London. His film and photography work has been exhibited in the United Kingdom, Peru, United States, Spain, Canada, Holland and Portugal.

I left Lebanon in 2006. For the past 10 years I lived in 7 countries, 10 cities, and 21 homes. I slept in 21 beds, cooked in 21 kitchens, cleaned 21 bathrooms, wrote on 21 desks and locked 21 doors behind me. I packed all of my life into two suitcases and a backpack. The rest stayed behind. Somebody somewhere uses my bed, somebody somewhere has my shoes, somebody somewhere maybe remembers me in those fragmented traces of mine. I was there. But now I am here. In Qatar. In a fake Venice with colorful houses. Houses have memories too. They hide them under their windowsills, tuck them in layers of paint and sometimes whisper them to birds passing by. I wonder whose memories will these houses keep. I live here but I am unable to leave a trace. I try to attach myself to the walls, dirty them, mark them… but I fail. They are constantly cleaned, watched and protected. I caress them instead. And I film them, lest I forget. Home is where the heart is, they say. I disagree. My heart is everywhere. It left with the music. Like a turtle, I am always home.

Rawane Nassif is a Lebanese/Canadian filmmaker and anthropologist. She works in research and films often addressing subjects such as space, traditions, identities, displacement and memory. Rawane has directed social documentaries and wrote a book on the politics of memory in Lebanon, worked with immigrants and indigenous people in Canada, conducted visual research on nomadic traditions in Kyrgyzstan, taught anthropological courses in Tajikistan, wrote children’s books based on oral histories in Honduras and worked as a film researcher with the Doha Film Institute and the National Museum of Qatar. Her short film, “ Turtles are Always Home ” screened at numerous film festivals including the Berlinale, AFI Docs, Toronto, Camden, and RIDM. She is currently completing a mentorship with the “ Masters in Experimental Cinema, Creative Documentaries, and Video Creation ” Program at the Transforming Arts Institute in Madrid.