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Authentic News of Invisible Things explores mechanisms of pretence and make-believe by focusing on military camouflage. Camouflage was first used at the end of the nineteenth century to help prevent armies from being detected by enemy forces. Colours and materials are used to conceal uniforms, vehicles and equipment and make them look like something else. Camouflage also extends to the construction of mock military equipment to confuse and deceive the enemy, generating a situation of alert. Examples of this include dummy tanks constructed using wooden structures or panels of chipboard, and then painted or decorated. Used already in the Second World War and to a lesser extent in WWI, these are still widespread: in the 1990s fibreglass models produced by an Italian company were successfully deployed in the Gulf War. Iveco Defence Vehicle (Iveco DV), part of the Fiat Group, headquartered in Bolzano, makes vehicles for military and civil defence purposes. The company receives orders directly from the Ministry of Defence to produce these vehicles and the production process and all related information is therefore covered by the Official Secrets Act. However once these vehicles are decommissioned they are no longer regarded as classified and can be used by the film industry, for marketing, entertainment and by private individuals. Indeed there are numerous collectors and theme parks in possession of working vehicles, also from foreign armies, that can be hired or tried out to get a taste of military life. It is therefore easy for the film industry to get hold of functioning, but unarmed vehicles, for use in battle scenes. The situation is therefore paradoxically subverted: real tanks enter the world of make-believe, while mock-ups are deployed in real-life conflict situations. Authentic News of Invisible Things sits on the dividing line between fact and fiction, with documentary-style scenes and a theatrical re-enactment. With the support of historic photographs and film footage from public and private collections, the video becomes a sort of short journey through the paradoxes of both history and contemporary life. One of the two key scenes of the video, which mingles performance art and cinema, has been shot in the historic city centre of Bolzano. A real-life, working tank drives through the city centre in broad daylight, with no prior warning to stage a paradox. Various cameramen hidden among the public filmed the action and people`s reactions. The other scene is a recreation of an archive photograph of a group of French civilians gathered around a wooden dummy tank made by the Germans and abandoned in Lille, the 20th of October 1918.

Rä di Martino (Rome, 1975) studied in London where she’s graduated with an MFA at the Slade School of Art and after spending a few years in New York she moved back to Italy. Her practice explores the passage of time, as well as the discrepancies that differentiate epic narratives from lived experiences. Her films have been shown at the Venice film Festival, Locarno film festival and Torino International Film Festivals amongst other and in Istitutions and museums such as: Moma-PS1, NY; Tate Modern, London; MCA Chicago; Museion, Bozen; Palazzo Grassi, Venice; Artists Space, New York. In 2014/15 she has participated to the Venice Film festival 2014, winning the SIAE award and Gillo Pontecorvo award, and a Nastro d’argento for best docufilm.

Two actors create a sort of tableau-vivant; a frozen moment from what seems a movie from the 50`s. Suddenly they start singing the news (all from August 2008 headlines) in a minimalistic chorus.

Rä di Martino est née à Rome en 1975 ; elle vit à Londres depuis 1997 où elle a été soutenu un MFA à la Slade School of Art. En 2005, elle s?est installée à New York. Elle travaille avec le film et la vidéo et elle a participé à de nombreux festival internationaux de film. Depuis 2005, elle a beaucoup exposé. Ses expositions sont notamment : Media Art Festival Friesland 07 ; Dallas Video Festival 07 ; Unclassifiable @ Malmö Film Festival 07 ; Pesaro Film Festival 07 ; Trieste Film Festival 07 ; Kassel Documentary Film&Video Fest 08 ; Turin Gay&Lesbian Film Festival 08 ; Manifesta 7, 2008 ; ?Italics? au Palazzo Grassi et à la Quadriennale in Rome, Galleria Maze, Turin, PS1, NY; the Busan Biennale en Corée, the Turin Triennale T1, MACRO, Rome, Montevideo/Times; Based Arts, Amsterdam. Her films and videos have been shown in many festivals around the world including: KunstFilmBiennale, Cologne & Munich 09; Impakt Video Art Festival, Utrecht 09; EMAF, Osnabrueck European Video Art Festival, Allemagne 09. En 2009, elle aussi montré son travail dans des expositions solos à la Monitor Gallery, Rome; la CAV Foundation, le Coimbra Portugal, et à Vilnius for Artscape, Vilnius Cultural Capital of Europe, ainsi qu?à la Vartaj Gallery.

La vidéo Kant Can't (2024) se concentre sur le portrait onirique d’un groupe de personnages qui habitent un paysage imaginaire. Des astronautes fuyant l’immense figure d’une femme qui tente de les écraser, des mains surgissant telles d’énormes ruines archéologiques, et des insectes géants faisant irruption dans la scène, composent le scénario d’une fuite vers l’absurde. La relation à la conscience devient un parcours expérientiel, où la réalité se voit amplifiée par nos moyens de perception. Dans la vidéo, le protagoniste principal est un astronaute qui est parvenu à échapper à son destin, mais se retrouve ensuite dans diverses situations, au sein d’une succession de décors qui ne sont pas sans rappeler ceux d’un jeu vidéo.

Rä di Martino (Rome, 1975) a étudié à Londres, où elle a obtenu un MFA au Slade School of Art. Lauréate du Premio New York, elle a bénéficié d’une bourse pour étudier à Columbia University. Son travail a été présenté internationalement dans des musées et festivals de cinéma, notamment : MoMA-PS1 et Artists Space, New York ; Tate Modern, Londres ; MCA, Chicago ; Palazzo Grassi, Venise ; Museion, Bolzano ; Magasin, Grenoble ; la Biennale de Busan ; Manifesta 7 ; Kino der Kunst, Munich ; Transmediale, Berlin. À la Mostra de Venise 2014, elle a présenté le moyen métrage documentaire The Show MAS Go On, remportant le Prix Gillo Pontecorvo, le Prix SIAE et un Nastro d’Argento. Le Festival 2018 a présenté son long métrage Controfigura. En 2019, elle inaugure l’exposition Afterall au Mattatoio – Palaexpo à Rome ainsi qu’à la Kunst Halle Sankt Gallen. En 2022, elle réalise une exposition rétrospective au Forte Belvedere à Florence, et une exposition personnelle à la Torre Matta à Otrante, incluant une installation autour des archives de Carmelo Bene. Elle a inauguré son exposition personnelle Electric Whispers au BAC – Beirut Art Center et à Fotografia Europea, Reggio Emilia, en 2025.

La vidéo rappelle une histoire et ressemble à quelque chose ? une vague de mémoire ou de rêve ? venant de quelque part. Le film semble faire partie d'un long-métrage, peut-être un que nous avons vu, mais dont on ne peut plus vraiment se souvenir le nom. Il peut être vu comme une séquence trouvée, une fausse séquence trouvée.

Rä di Martino est né à Rome en 1975. Elle a vécu à Londres à partir de 1997 où elle s?est diplômée avec un MFA (Master of Fine Arts) de la Slade School of Art et un BA du Chelsea College of Art. En 2005, elle s'installe à New York avec une bourse de Université de Columbia et de l?Institut Culturel Italien. Son travail se concentre sur le cinéma et la vidéo et elle a participé à de nombreux festivals de film internationaux. En Février, elle a fait l?objet d?une exposition individuelle à la Galleria Maze de Turin (Italie) et a participé à l'exposition « Senso Unico » au PS1 au début de l?année. Ses ?uvres ont également été exposées aux Biennale de Busan en Corée, Triennale T1 de Turin, MACRO de Rome (Italie), Artists Space de New York (USA), et Transmediale de Berlin (Allemagne), entre autres. Elle a obtenu des résidences auprès d?Art Omi en 2006, d?Artists in The Market Place (Bronx Museum) en 2007-2008, et de Fondazione Ratti en 2005.

A documentary on the recreational circles that appeared in the interwar period in a provincial town. The film observes what happens and everything that surrounds a group made up entirely of senior citizens who are absolutely determined to enjoy themselves. The settings evoke memories of a past that may have never actually existed, with common and recurring aesthetics in which wartime images frequently play a part, and locations steeped in visual images that are perhaps slightly stereotyped.

Alessio Di Zio is graduated from high school. He produced "Far Away", "Casimiro's Tales", "The Park", "The Pleasure", "Infantry Cavalry", "Swinging Horsese", "Roberto Pellegrinaggio", "2.15". A group of portraits of people, landscapes and circumstances from his birthpalce. His short films have screend in many film festivals and exhibitions including l'Arcipelago Film Festival, Venice Film Festival, Minneapolis Film Festival, Circuito Off, Monfilmfest, Premio Marzocco and CinemAvvenire, receiving several awards. Working with musical band Micro b, he made the videoclip "Euforica", which was the winner at the Sottodiciotto (under eighteen) Film Festival in Turin.

One winter night, the sea threatens once again the tower block where two neighbours live. The next day, their children come to prompt them to leave everything behind.

Francisco Dias was born in 1999 in Porto, Portugal. In 2019, he lived and studied in Norway. In 2020, he completed the Bachelor's in Sound and Image and in 2023 the Master's in Cinema at Universidade Católica Portuguesa, having obtained scholarships for both courses. Rooted in his culture and personal experiences, his films focus on coming of age, human relationships and landscape. "I Don't Like 5 PM", winner of the Take One! competition at Curtas Vila do Conde International Film Festival, and "Coast" stand out in his filmography.

Insight is the total abstraction. A carefully assembled film-crew appears like a tableau vivant facing the viewer. Then suddenly, they shatter- an analogy of breaking through the surface to expose the simulation - a mirror slowly explodes into a thousand pieces. Filmed in beautifully rendered high definition Insight is a tribute to the camera obscuras of old mingled with a critical spirit directed towards the mass media today. Regarded as a phenomenon brought about by a world lacking distinction between real and simulacra, Diaz Morales borrows media industry tactics to expose and undermine. Revealing rather than concealing his methods allows for a moment of realisation to occur. As the pieces of glass crumble into tiny galaxies, context is deconstructed and the universalising tendency of Diaz Morales' practise literally portrayed. With timeless grace the artist contemplates the nature of existence. (text Nathalie Levi) We look at a film crew; the film crew is watching us. Cinema as a mirror of reality that becomes fiction. Or is it vice versa? A world with a mirror image, one that can be accessed by crossing the mirror’s surface. Indeed, within the realm of fiction, mirrors provide characters and readers alike with a gateway to a different world. Interaction with that new environment, be it purely fantastic or disturbingly didactic, pushes one to expand one’s horizons and reconsider the concept of a real world.

The mind was dreaming. The world was its dream. Jorge Luis Borges It is in the nature of men to be absorbed by the future as if magnetized by timeless gravity, falling deeper and deeper into their own humanity. And if in Walter Benjamin’s angelus novus we picture his gaze of horror, shaken and frightened by what he sees as he gazes upon the past, the man in his fall evinces unperturbed passivity towards the future. As in a dream state, through that suspended fall the man’s mind is a container holding past, present and future in a single consciousness. It is in this construction, as in a dream, in his mind, where man envisions and shapes the world. Out there, there may be no more than void, and the fall may be eternal. Perhaps this is the reason why we recurrently dream about falling. Perhaps falling isn’t a dream at all—perhaps falling is what’s real.

Sebastian Diaz Morales was born in the Patagonian region of Argentina, in 1975 and studied both in Argentina at the Universidad del cine de Antín and at the Rijksakademie in Amsterdam. Morales’s video work blurs fiction and documentary genres and has been screened extensively at film festivals as well as in a gallery context. With its spliced footage and stills and jumbled observations, his work follows the tradition of Latin-American narrative film. Morales plays with the structure of narrative within his work, typically documenting and constructing journeys that explore social and political concerns. His work has been exhibited widely at many prominent venues—such as the Tate Modern, London; Centre Pompidou; Stedelijk Museum and De Appel, Amsterdam; Art in General, New York City; Ludwin Museum, Budapest; Bienale Sao Pablo; Biennale of Sydney; Miro Foundation, Barcelona; MUDAM, Luxemburg; and the Calouste Gulbenkian Foundation, Lisbon—and is the permanent collections of the Centre Pompidou; Tate Modern; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; and the Fundacion de Arte Moderna, Museo Berardo, Lisbon. In 2009 he was awarded with a Guggenheim Fellowship.

"A man is running like crazy through the desolate landscape of Patagonia. Chased by the wind and unseen assailants he keeps losing things from his luggage. The spectator finds himself somewhere between the man and his assailants, sharing his anxiety and paranoia. Is the spectator the persecutor or is he, like the man, being chased himself? And what?s with the peculiar ?split screen? that makes the ?vanishing point? manifest itself so quite literally? "

"Sebastian Diaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and now lives and works between Amsterdam and Buenos Aires. He attended the Universidad del Cine de Antin in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and did a residency at La Fresnoy in Roubain, France from 2003-2004. He has had solo exhibitions in the USA, Mexico, and numerous cities in Europe, and his work has been supported by a number of grants and awards. Diaz Morales uses a number of different formal strategies to create his videos, ranging from the digital manipulation of appropriated news clips to lengthy, film-like narrative works made from footage filmed by filmself. Diaz Morales explores the relationship between large-scale socio-political power dynamics and individual action in works which create a sense of uneasiness for the viewer. His films are often somewhat surreal, establishing a tension between a depicted social reality and its representation in a visually abstract or fantasy-inflected way. Throughout his works, multiple forms of dependence are explored, including dependent relationships between people, the environment, and social structures."

Sara Bartman, plus connue sous le nom de Venus Hottentot, était une femme sud-africaine Khoisan qui fut ramenée en Angleterre pour être exhibé en 1810. Ses génitales et son derrière étaient bien au delà de la compréhension que les européens avaient d'un corps humain à cette époque, compréhension basée seulement sur leurs corps. Elle fut considérée comme un animal et exposée comme un objet. Après sa mort, ses génitales et son cerveau, tout comme un model de cire de son corps et son squelette furent exposés dans un musée Parisien. Cette performance est le résultat d'une investigation sur les corps de noirs dans le spectacle et comment le fait d'être noir était un acte en soi. Le fait de porter son corps comme une peau était une manière de me déguiser mais aussi de devenir moi à travers l'autre. La raison pour laquelle Sara Bartman est devenu cette icône pour le peuple africain en Afrique et dans la diaspora mais aussi pour le peuple européen, est une réaction contre le viol scientifique et voyeuriste mais aussi légitime et documenté de son corps. La verticalité des sculptures et monuments qui glorifient les actes héroïque de l'homme n?est maintenant que le simple corps d'une femme africaine, silencieuse, droit, éveillé.

Née à Santo Domingo, République Dominicaine, le 9 Avril 1982, vivant à Amsterdam et faisant un Master en Fine Arts à la Dutch Art Institute à Enschede, Hollande. Je finis mes études de la Gerrit Rietveld Academie, Amsterdam oû je fit mes derniers travaux, tous des performances, Hommage à Sara Bartman 2007, Throne of Gold 2007, Trujillo's Island 2007, Trujillo, 2006.

Le film expérimental Zone of Silence (Scream Machine) explore l’interaction entre lumière, brouillard et résonance pour évoquer l’isolement intérieur et la désorientation psychique. La ville est enveloppée d’une atmosphère dense ; reflets lumineux et sons étouffés composent une « zone de silence » où l’orientation comme la communication commencent à se dissoudre. Inspiré des problèmes historiques de navigation maritime — lorsque les signaux de brume devenaient inaudibles dans certaines conditions météorologiques — le film transpose ce phénomène dans le domaine de l’inconscient humain. Le concept psychanalytique de « zone de silence » formulé par Theodor Reik devient un motif central, désignant les émotions refoulées et la difficulté à les traverser. La séquence finale montre l’inscription « EUROPA » s’effaçant peu à peu, sombre reflet du futur politique du continent. Par son atmosphère saturée, sa composition mêlant enregistrements de terrain et sons synthétisés, et son usage de métaphores visuelles, le film propose une exploration profonde du vide intérieur et de la quête d’orientation.

Michael Dietrich (*1985, Vienne, Autriche) a étudié le social design à la HfbK de Hambourg ainsi que la photographie à l’Académie des beaux-arts de Vienne. Son travail explore l’impact des interventions humaines sur la nature, déployant souvent, à travers la vidéo et l’acousmatique, des scénarios troublants.

One Buenos Aires afternoon in the dominican hairdresser saloon, in which characters from different origins reunite around the musical feeling of the place. From dancers to performers and actors, clients and reggaeton singers.

MA in Documentary Cinema and Profesor Assistant at Universidad del Cine, Buenos Aires. PhD Candidate at University NOVA, Lisboa. Currently working on my first feature film. I'm interested in the notions of displacement, ritual and longing. In color, rhythm, body and mixing genres in a surrealist way.

The serie Talk with Dust is composed of 8 video works and explores the idea of the fantastic or extraordinary. This fantastic is not the one that interrupts the ordinary course of things but rather that which is at once strange and present, at the same time its contradiction and its confirmation. The protagonist of a last sequence is a dog. Wandering through a semi deserted landscape, it encounters different situations that leads him to question what he sees, understands or knows. The sequence never completes a narrative. It is also fragmented into parts, which seem disconnected from a story. Therefore the script also pictures only fragments of what could be the entire movie or narrative.

Sebastian Diaz Morales (Comodoro Rivadavia, Argentina, 1975) studied both in Argentina and at the Rijksakademie in Amsterdam. Morales’s video work blurs fiction and documentary genres and has been screened extensively at in museum, gallery and festival context and his work has been supported by a number of grants and awards including the Guggenheim Fellowship in 2009. With its spliced footage and stills and jumbled observations, his work follows the tradition of Latin-American narrative film. Morales plays with the structure of narrative within his work, typically documenting and constructing journeys that explore social and political concerns.

1-channel video / 2k format / 10min / 2018 Soundscore Berend Dubbe & Gwendolyn Thomas / Photography Niels Boon / Special effects Arjan van Drunen / Production Bart van Dam Produced with financial support of the Mondriaan Fonds The multiverse (or metaverse) is a hypothetical group of multiple universes including the universe in which humans live. Together, these universes comprise everything that exists: the entirety of space, time, matter, energy, the physical laws and the constants that describe them. The different universes within the multiverse are called the "parallel universes", "other universes", or "alternative universes". #3 Multiverse is part of a series of videos which are ultimately sequences of a whole. Both a concept and a blurred narrative. The latter is not explicitly delineated in the course of the series but it is intuited. The sequences generate, rather than a narrative, a concept. All these sequences are thought to be shown on separate screens. In large and small shapes, vertically and horizontally they spread into one or various spaces in different combinations resembling an aleatory puzzle which ultimately takes a more clear and narrative shape in one last sequence/installation. The serie Talk with Dust is composed of 8 video works and explores the idea of the fantastic or extraordinary. This fantastic is not the one that interrupts the ordinary course of things but rather that which is at once strange and present, at the same time its contradiction and its confirmation. For something to be fantastic, it is not enough to be different from the real: also (and above all) it is necessary to mix inexplicably with the real thing. In more philosophical terms we can say that the fantastic is not the other of the same but its alteration: not the contradiction of the real, but its subversion. That is why the cinematic condition of the fantastic, which on the other hand can serve as an exact definition, is not at all in the production of real or supernatural beings, but in the fact that they affect what is recognized as real and natural through a contagion of the other who comes to seize the same in person. The feat made by the fantastic cinema does not consist only in this visible manifestation of the real as another. These are duplicated, in fact, and apparently paradoxically, by the work of an invocation of the Real as such, considered in its effective and singular existence; and in a way that is in itself quite strange. 1 The effects on this and the rest of the works had been recreated entirely on stage without the use of postproduction editing. 1 Clement Rosset, El Objeto Singular, Editorial Sexto Piso, 2007

Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam. He attended the Universidad del Cine de Antín in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy Studio des Arts Contemporains in Roubaix, France from 2003-2004. His work has been exhibited widely, including solo shows and presentations at Venice Biennale; Tate Modern, London; Center Pompidou, Paris; Miro Fundation, Barcelona; Stedelijk Museum Bureau Amsterdam; CAC, Vilnius; Le Fresnoy, Roubaix, France; Museum für Gegenwartskunst Siegen, Germany and group shows at De Appel, Amsterdam; Art in General, NY; Ludwin Museum Budapest, Bienale Sao Pablo; Biennale of Sydney; MUDAM, Luxemburg; Calouste Gulbenkian Foundation in Lisbon. His work is represented in numerous collections, including Center Pompidou, Paris; Tate modern, London; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; Fundacion de Arte Moderna, Museo Berardo, Lisboa; Kadist Foundation, San Francisco. He was a recipient of the Guggenheim Fellowship in 2009

In Pasajes IV the idea follows the same narrative, concept and structure as in the other videos from the series. In the previous three Pasajes video works a formula repeats on different backdrops: a character unites places through gateways, doors, stairs and roads which are otherwise spatially disconnected from each other. This is the geography of a story expressed in an alteration of normalcy. In this formulation of Pasajes IV, the video explores the landscape of Patagonia. Crisscrossing this territory in search for differences within the landscape, a character as a guide, unites different territories disconnected in their geography, as essential pieces of a puzzle to understand this region’s present topography and history.

Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and now lives and works in Amsterdam, The Netherlands. He attended the Universidad del Cine de Antin in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001 and Le Fresnoy Studio des arts contemporains in Roubaix, France from 2003-2004. He has had solo exhibitions in the USA, Mexico, and numerous cities in Europe, and his work has been supported by a number of grants and awards. Díaz Morales uses a number of different formal strategies to create his videos, ranging from the digital manipulation of appropriated news clips to lengthy, film-like narrative works made from footage filmed by himself. Díaz Morales explores the relationship between large-scale socio-political power dynamics and individual action in works which create a sense of uneasiness for the viewer. His films are often somewhat surreal, establishing a tension between a depicted social reality and its representation in a visually abstract or fantasy-inflected way. Throughout his works, multiple forms of dependence are explored, including dependent relationships between people, the environment, and social structures.

The Lost Object is the final video in a trilogy that examines the complex mechanisms of how we perceive the constructed nature of reality?and how this construction is performed, both in the realm our imagination and the one of film. As curator Cuauhtémoc Medina notes in a recent monograph dedicated to Diaz Morale’s work, the artist approaches film as a “factory of simulacra” a conceptual thread that carries throughout his trilogy, which began with Insight (2012) and was followed by Suspension (2014). A slow, steady shot travels into the set of The Lost Object, accompanied by the din of a whirring film reel that seems to methodically introduce the viewer into a world of artifice: a soundstage containing the set of a curiously dated, yet nonetheless anonymous room. The scenario slowly begins to unravel, disarticulating both the language and apparatus of filmmaking. Following Jean Baudrillard?s notion that the world has disappeared behind its own representation and therefore its impossible to return to it, The Lost Object proposes a new world in which fiction and reality merge into one single element. In this universe, fiction is autonomous and auto-generates itself.

Sebastiàn Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam. He attended the Universidad del Cine de Antón in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy Studio des Arts Contemporains in Roubaix, France from 2003-2004. His work has been exhibited widely, including solo shows and presentations at Tate Modern, London; Center Pompidou, Paris; Miro Fundation, Barcelona; Stedelijk Museum Bureau Amsterdam; CAC, Vilnius; Le Fresnoy, Roubaix, France; Museum für Gegenwartskunst Siegen, Germany and group shows at De Appel, Amsterdam; Art in General, NY; Ludwin Museum Budapest, Bienale Sao Pablo; Biennale of Sydney; MUDAM, Luxemburg; Calouste Gulbenkian Foundation in Lisbon. His work is represented in numerous collections, including Center Pompidou, Paris; Tate modern, London; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; Fundacion de Arte Moderna, Museo Berardo, Lisboa; Kadist Foundation, San Francisco. He was a recipient of the Guggenheim Fellowship in 2009

One Glass Eye Melting convoque l’imaginaire collectif de la dystopie pour le réarticuler en quête de nouvelles possibilités. En très gros plan, un œil en rotation fixe le spectateur, sa pupille reflétant un montage de désastres — guerre, catastrophes naturelles, accidents du quotidien — juxtaposés à des scènes de régénération : vie microbienne, expansion cosmique, évolution technologique. Tourné dans la rudesse d’un plan unique, avec un minimum de postproduction, l’œil devient à la fois miroir et « conteneur de mémoire » fracturé, perturbé par les glitches, les rayures, le bruit analogique et numérique. L’œuvre interroge l’acte de regarder lui-même, transformant le réel en quelque chose de surréel, mais étrangement familier. Tandis que l’œil accomplit une rotation complète à 360 degrés, le reflet dans la pupille demeure fixe, ancrant le chaos et le renouveau comme des forces cycliques et interdépendantes. One Glass Eye Melting reformule le désastre comme inséparable de la renaissance, suggérant que l’effondrement porte en lui la possibilité de réinventer — et de reconstruire — nos récits. Plutôt que de rejouer sans cesse la catastrophe, l’œuvre demande : que faisons-nous de ces images du désastre ? L’œuvre convoque ainsi l’imaginaire dystopique pour en redistribuer les motifs, à la recherche de possibles encore inexplorés. Elle fait partie de la série Bajo el cielo cayendo (Sous le ciel en chute), qui explore la tension entre catastrophe systémique et fragile espérance.

Sebastián Díaz Morales est né en 1975 à Comodoro Rivadavia, en Argentine, et vit et travaille à Amsterdam. Il a étudié à la Universidad del Cine de Antín en Argentine (1993–1999), à la Rijksakademie van Beeldende Kunsten à Amsterdam (2000–2001) et au Fresnoy – Studio national des arts contemporains à Roubaix (2003–2004). L’examen que Díaz Morales mène sur la perception et la réalité repose sur l’idée que la réalité elle-même est, par nature, hautement fictionnelle. Ainsi, ses films ne transportent pas simplement le spectateur dans un ailleurs surréel ou fantasmagorique : ils dépouillent la réalité de sa familiarité, la déforment, la font apparaître comme autre. Chez Díaz Morales, l’imagination du spectateur ne fonctionne pas comme un simple contrepoint au réel. Elle agit plutôt comme une force capable d’évoquer l’espace et de le produire diégétiquement, une force qui, au-delà de l’impression visuelle directe, comble les lacunes de la vision et, au fil du film, révèle progressivement au spectateur la construction de ce que nous appelons « réalité ». Celle-ci se présente comme un phantasme, quelque chose qui échappe toujours à sa définition par les images — toujours « un peu en avance » sur l’image et sur le regard. Son œuvre a été largement exposée, notamment à la Tate Modern (Londres), au Centre Pompidou, au Stedelijk Museum et à De Appel (Amsterdam), au Fresnoy (Roubaix), au CAC (Vilnius), à Art in General (New York), au Ludwig Museum (Budapest), à la Biennale de São Paulo, à la Biennale de Sydney, à la Fondation Miró (Barcelone), au MUDAM (Luxembourg), à la Fondation Calouste Gulbenkian (Lisbonne), ainsi qu’à la Biennale de Venise et à Documenta Fifteen.

When Oum Kalthoum meets Serge Gainsbourg meets Billie Holliday meets Aisha Al Marta meets Sabah meets Taxi Girl meets Esther Phillips meets Yasmine Hamdan meets Souad Abdallah meets Jeanne Moreau meets Dina Washington meets PJ Harvey meets Marylin Monroe meets Astrud Gilberto meets Sara Vaughan meets Catherine Deneuve meets Mohamad Mounir meets Madonna meets Delphine Seyrig meets Soapkills meets Ahmad Adawiya meets Eartha Kitt meets Mirwais meets Bandali Family meets Feyrouz meets Asmahan meets Cheikh Imam meets Marguerite Duras meets Nina Simone meets Cole Porter meets Omar Zeini meets Fleetwood Mac meets Tarab meets Kitsch meets Choubi meets you.

Acteur de cinéma (dirigé notamment par Christian Merlhiot, Jocelyne Saab, Georges Hachem, Roy Samaha, Omar Fakhoury, Jad Youssef…) et journaliste, Nasri officie en tant que DJ depuis plus de 8 ans à Beyrouth et à Berlin où il est actuellement basé. Une pop sans frontière de genre, sans frontière de goûts - bons ou mauvais. Une pop décomplexée qui fait se côtoyer les grands noms du répertoire classique arabe et ceux de la pop américaine, émiratie, égyptienne, libanaise et bien au - delà à ceux aussi des grands noms du cinéma et de la littérature française. Amoureux fou des grandes dames du Jazz, Nasri fait par ailleurs se rencontrer Asmahan et Delphine Seyrig, Grace Jones et Jeanne Moreau et le plus kitsch des sons arabes aux dialogues acérés d’une Bettes Davis entre autres grandes du cinéma mondial.

The work is based on fragments from interviews taken from Romanian immigrants living in Paris in 2011, 2013 and 2014. Shot in Nogent sur Vernisson. Loiret, on December 28th, 2013. 2013 had a warm autumn and an even warmer winter debut. "I think that this is one of the reasons why the birds that live along the Loire chose to rest longer. Some rested even until late December. I filmed this material when they started preparing to fly away. ”Birds” presents 7 minutes of French sunset, on continuous shooting, with the migratory birds preparing to leave. It presents the sunset of the West, with governments taking measures belonging to the right. I chose to draw a paralel between this story and statements that I had previously recorded in Paris, belonging to Romanian immigrants."

Daniel Djamo (b.1987, lives and works in Bucharest) is a young Romanian artist and film director, being interested in personal and group histories. He combines film with video art and installation with photography in order to evoke the past and to underline “the now.” Winner of the ESSL award, Henkel Art.Award. Young artist prize CEE, Startpoint Prize Romania and the Grand Prize of the National University of Fine Arts from Bucharest. Daniel benefited from residencies in Paris, Kassel, Chemnitz, Bruxelles, Vienna and Liege. He exhibited at the Museum of Moscow, Kunsthaus Dresden, Moscow Museum of Modern Art (MMOMA) and the ESSL museum from Vienna, while also presenting his works in Germany, Italy, Canada, Netherlands, USA, Russia, Portugal, Czech Republic, Estonia etc. His video artworks have been screened in numerous video art and film festivals. He is a PhD candidate at the National University of Fine Arts from Bucharest.

L'histoire de "The Golden Wish" est liée à la proposition du gouvernement de gauche danois d’autoriser la police à saisir les bijoux et les objets de valeur des demandeurs d'asile à leur arrivée dans le pays. Ces bijoux et objets de valeur serviraient à financer le logement et la nourriture des nouveaux arrivants. Dans le cadre de ce projet, je me suis rendu en Irak, et ai visité deux grands camps de réfugiés à l'extérieur de Sulaymaniya. Ces camps s'appellent Arbar et Barika, et sont situés à 29 km au sud-est de la ville de Sulaymaniya. Ils comptent 32 000 réfugiés au total. J'ai exploré leurs marchés locaux, et j'ai contacté des bijoutiers et particuliers dans la région. J'ai ensuite acheté leurs bijoux en or, les ai fondus et moulés pour en faire une installation textuelle, sous la forme de la phrase: "Everything will be ok" ("Tout ira bien").

Je suis artiste et travaille dans les domaines du dessin, de la peinture, de l'installation, de la vidéo, et du film. Dans plusieurs de mes œuvres, j'ai travaillé sur mes propres expériences en tant que réfugié kurde, ces expériences pouvant fournir des connaissances à propos de questions universelles liées à la situation d'un être humain en fuite. Originaire du Kurdistan irakien, j'ai suivi une formation artistique de cinq ans avant de fuir à cause des persécutions en 1997. Après une fuite difficile à travers 11 pays, je suis arrivé en Norvège en décembre 1999, et j'y ai terminé mes études d'art.

Un "slow" du cinéma classique sur la musique de Zelany Rashoho.

AV = deux artistes vidéastes de Saint-Petersbourg, en Russie. "Dubus" est un début.