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Lilja Ingolfsdottir nait en Norvège en 1976. Elle étudie à la International Film School de Londres entre 1997 et 2002 et à la FAMU (Czech National Film School, Prague) entre de 2000 à 2001.

A 17-min video commissioned by Ballroom Marfa for the Artist Film International program led by Whitechapel in London. This video depicts a journey through the Institute for New Feeling’s fabricated SEO Marketing campaign, a web of interconnected sites populated with training modules, news articles, facility tours, click bait and social networking sites all linking back to the Institute for New Feeling.

The Institute for New Feeling 3 person collective committed to the development of new ways of feeling, and ways of feeling new. As a group we assume the authoritative voice of the Institution, borrowing from the language of corporate branding as well as that of mainstream medicine, therapy, health and beauty. Our work takes the form of treatments, therapies, retreats and wellness products. We are interested in the wellness industry as a shifting, slippery intersection of capitalism, technological innovation, and the body. IfNf has recently shown work at Ballroom Marfa, TX, Istanbul Modern, Turkey,Museum of Modern Art, NY, MAAT, Lisbon, Whitechapel Gallery, London, Hammer Museum, Los Angeles, Fundacion PROA, Buenos Aires, Akademie Schloss Solitude, Stuttgart, Kevin Space, Vienna, Jardin Essential, Bruxelles, Recess, NY, and Akademie Schloss Solitude, Stuttgart.

Avalanche is an enhanced water beverage filtered through a human pipeline that traces the flow of water through a city and through the body. A live performance presents municipal water usage as a literal concert of bodies, a system that is improbable, arduous, and flawed. The Avalanche bottling process begins with an ice cap harvested from the Never Summer Mountain Range. The ice melts and travels through a series of human filters, eventually collecting in crystal singing bowls. The sound of this filtration is performed as a concert for a live audience, while at the same time being live broadcast back to the mountain range, causing an avalanche from the vibration of sound waves. The avalanche is bottled for consumption, while also providing new ice to begin the process again. The project consists of a one night live performance, multi-channel video and vending machine stocked with Avalanche water, all of which work together to create a mythology of the product’s source. Passing water between the city and the mountain in an endless feedback loop, IfNf`s filtration process equates the mountain spring with the trickle of water across a dirty windshield, the tears of two middle-aged men, the gargle and spit from a teenager’s mouth, juxtaposing trivial everyday gestures with the looming, dark future of a changing climate.

The Institute for New Feeling is a collective founded by Scott Andrew, Agnes Bolt, and Nina Sarnelle, committed to the development of new ways of feeling, and ways of feeling new. As a group, our identity is always shifting. Borrowing aesthetics and language from wellness and tech industries, market research, speculative design, political propaganda, we assume a familiar yet fragile voice of authority. IfNf has recently shown work at The Getty Center, LA, Ballroom Marfa, TX, MoMA, NY, Istanbul Modern, Turkey, MAAT, Lisbon, Whitechapel Gallery, London, Hammer Museum LA, Fundacion PROA, Buenos Aires, Akademie Schloss Solitude, Stuttgart, Jardin Essential, Bruxelles, Recess, NY, and Mwoods, Beijing. IfNf has been featured in Frieze, Art in America, Vogue Italy, Huffington Post, SFMoMA, Creators Project, FlashArt, and Hyperallergic.

Born 1986 in Geneva, Switzerland. Has studied fine arts at the FHF Freiburg from 2006 to 2010. Has been studying Kunst & Medien at the UDK Berlin since 2010.

INERTIA. Device and residue. Just as an eye blink denies the presence of a specific space or time within a continuum, so a frame freezes a particular place and moment. It is the indivisible unit of the audiovisual mechanism, and its basic inductor is light. Thereby begins a journey that takes us from the real to the represented, finally leading us to that ultimate reality, the document. Inertia deals with the construction of reality. The route is a place and the vector imposes itself on the object. The present then tends to disappear in a continuous movement and what happens is indeed its non-presence. Over its four-minutes length, Inertia responds to the conventions of rhythm, visual axes, and other narrative norms with the rules that we use to assimilate the entire audiovisual spectrum. There occurs a specific accident between the fragile rules of narration and the sophistication of what is staged, confronted with the inescapable physical connotations of gravity, weight, or the volume of the elements in its service.

Carlos Irijalba (Pamplona, 1979) graduated in 2002 at the Fine Arts Basque Country University and studied at UDK Berlin is actually resident at Rijksakademie Amsterdad. Awarded Purificacion Garcia photography first Prize and the Revelation PhotoEspaña Prize among others, he also received the Guggenheim Bilbao Photography grant in 2003 or the Marcelino Botín Foundation in 2007/08. Irijalba has exhibited at international Art Museums, including the CCCB Barcelona or Herzliya Museum Israel. In projects as Unwilling Spectator (2010) or Inertia (2012) works between relative experience of time and space and the collective construction of the real.

Wanderers est un film centré sur la manière dont la matière — et, par ricochet, nos corps — est mue par le magnétisme, l’impulsion ou le rythme porté par l’inertie terrestre. Un mouvement primordial, d’origine minérale, antérieur à la vie et à l’humain. Pour en rendre compte, le film adopte une perspective universelle sur la dynamique des oiseaux, la migration des corps, et la fascination humaine pour le vol, perçue comme une tentative de défier ces lois. Cette notion abstraite se déploie à travers deux phénomènes contemporains : la fauconnerie moderne pratiquée à bord d’avions commerciaux, et la passion des pilotes de répliques d’avions de ligne en radiocommandé. Ces deux pratiques dessinent la dichotomie entre l’évolution naturelle, notre matérialité physique et le désir de s’extraire de la réalité terrestre — des forces générales, de la gravité, de ce qui nous retient au sol.

Carlos Irijalba (né à Pampelune, Espagne, en 1979) Résident à la Rijksakademie van Beeldende Kunsten (Amsterdam) en 2013–2014 et diplômé de l’UDK Berlin auprès du professeur Lothar Baumgarten, Irijalba a reçu de nombreux prix artistiques, parmi lesquels le NYC Culture Pair Program avec le Department of Design and Construction (DDC) en 2023, le Mondriaan Fonds (Amsterdam, 2022), le Sifting Foundation Art Grant (San Francisco, 2015) ou encore la bourse Marcelino Botín (2007–2008), entre autres. Il a exposé à l’international, notamment à la Biennale de Shanghai 2021, au CAB Art Center (Bruxelles), à la Triennale de Guangzhou 2017, ainsi qu’au MUMA (Melbourne, Australie). À la question : « Le monde a-t-il besoin de cet objet nouveau ? », la réponse est la plupart du temps « non ». C’est pourquoi le travail d’Irijalba se déploie selon un principe de pertinence, cherchant à rester en résonance avec les contextes. Dans des projets tels que Skins (2013), Hiatus (2022) et Pannotia (2016–en cours), il travaille avec la géologie et des matériaux industriels sensibles au temps, offrant de nouvelles perspectives sur les récits dominants de l’histoire occidentale. Ses œuvres figurent dans des collections publiques telles que le Museo Nacional Reina Sofía, la Netherlands National Collection, la Sammlung Wemhöner (Allemagne), la Taviloglu Art Collection (Istanbul) ou encore la Fondation Acciona (Espagne). Elles sont également largement représentées dans des collections privées en Amérique du Nord et du Sud, en Europe et en Asie, notamment les collections Pilar Citoler, Kells Collection, David Breskin Collection, entre beaucoup d’autres.

TWILIGHT. Twilight consists of the displacing of a floodlighting tower for a football pitch, a space that is hyperdefined by and for spectacle, whose descriptive lighting presents the subject of its attention as the only one that exists. This tower has been transferred to one of Europe?s last forests, Irati, in the north of Navarre, creating as a replica a redefinition of the real as visible employing the language proper to spectacle. The project is about the way in which the West constructs a circuit of the real through light. Natural lighting provides a consistent space-time dimension, while the West?s approach to light, in contrast, goes beyond the manufacture of an eternal day to rupture structures and cycles towards the construction of an abstract medium that loses all relations except in relation to itself. Fire as the first artifice and, later, artificial light have symbolised the place of transformation. Spectacle has inherited the place and hypnotic qualities of fire and has marked out the plane of the visible so that it can be digested, transferring attention towards a series of pseudo-events. Representation of place is now insufficient. The project poses this installation as the need for the real beyond its image. The last place is the place itself.

Carlos Irijalba. Biography Carlos Irijalba (Pamplona, 1979) graduated in 1998 from the Pamplona School of Art and went on to continue his training at the University of the Basque Country where he obtained his Fine Arts degree. He also studied in Berlin at the Universität der Kunst with artist and professor Lothar Baumgarten and actually has a studio residence at ISCP New York. In 2004 he received the First Award for Young Artists, as well as a photography grant from the Guggenheim, to which must be added a Plastic Arts Grant from the Fundacion Marcelino Botín in 2007 and the Purificacion Garcia Photography Award. Carlos has exhibited at national and international Centres, including the CCCB in Barcelona, Miami, New York,Tokyo and Beijing. In previous projects, such as ?Outside comes first? or ?Devices? (both in 2007) he had already worked on the distortion of the construction of reality in the West. So, with Twilight he continues to delve into our understanding of and approach to reality, and spectacle. He is currently developing a photograph and video project in Beijing entitled Dromocracia.

La tendance à négocier l?espace en faveur d?une certaine hégémonie du temporaire s?est développée au point de devenir une réalité stratégique à caractère global, avec des vues économiques et politiques. Actuellement, le gain de temps est une question qui vise exclusivement les trajectoires, les vecteurs, et le territoire abandonne sa signification au profit de ce qui est en mouvement. Les approches développées dans les projets récents de l?artiste, comme "Switch off all Devices" en 2006, ou "Twilight", en 2008, font état d?une capitalisation patente de l?espace et du mouvement. L?espace est assimilé et devient même quelque chose dont on peut se dispenser, alors que le geste ou l?orientation prennent l?avantage et acquièrent une nature visuelle. Le chemin est un endroit et la trajectoire est imposée à l?objet. Le présent tend donc à disparaître dans un mouvement incessant. Le présent tend donc à disparaître dans un mouvement incessant, entraînant sa non présence. Ce projet propose une intervention réelle sur le lieu même du conflit. Les voies rapides de circulation, les autoroutes, matérialisent le lieu du désengagement topographique, de la mise en ?uvre de la coercition, de l?engagement dans le mouvement, ici dans le mouvement incessant sur une bretelle très fréquentée. Cette contradiction peut prendre la forme de déserts isolés au sein de la circulation, et prend ici la forme d?une forêt miniature, réduite à sa fonction symbolique, et dont l?expérience que l?on peut en faire en tant que lieu est impossible, car ce lieu est inaccessible. Les problématiques comme celle de l?échelle ou de la tangibilité sont ici défaites. Une trouée s?ouvre, des temporalités radicalement différentes se succèdent.

Carlos Irijalba est un artiste espagnol né à Pampelune en 1979. Il est diplômé de l?université du Pays basque et de l?UDK, Université des arts de Berlin. Dans son travail, il analyse la manière dont la culture occidentale recrée un medium abstrait qui perd toute relation, hormis à lui-même. Le spectacle a délimité le visible de manière à ce qu?il puisse être rapidement digéré, en transférant l?attention vers une série de pseudo événements. Le travail de Carlos Irijalba tend à faire éprouver l?expérience relative du temps et de l?espace, et de la construction collective du réel.

There is a huge amount of well-known media reports recorded in Sarajevo during the Siege (1992-1996). Media framed those events, streets, places and people into well-known images, common representations of war. Audience around the world was/is able to watch such imagery, over and over again. Adla Isanović erased the whole urban scene and context out of it, leaving only images of people. In that way, she explores how does the audience`s relationship to such imagery of people, whose context is erased-change. After pictures, what remains? What is our relationship with such images, representations, subjectivity, knowledge, with facts, feelings, emotions and experiences?

Adla Isanović Born 1977 in Sarajevo (Bosnia and Herzegovina). Lives and works in Sarajevo. She holds a MA in “New Media”, as well as a MA in “Critical, Curatorial, Cybermedia Studies” (Geneva, Switzerland). She works at the Academy of Fine Arts Sarajevo as Assistant professor on the courses on Multimedia. Furthermore, she was a visiting lecturer at the International University Sarajevo, as well as at the Academy of Performing Arts Sarajevo. Her previous engagements include a work as a researcher/analyst at the Mediacentar Sarajevo. She has been engaged on numerous local and international projects in the fields of culture and art. Her artworks were presented in Bosnia and Herzegovina, Austria, Switzerland, Slovakia, Montenegro, Ireland, Netherlands, Great Britain, Latvia, Italy, Germany, Greece, France, Canada, Japan, Columbia, etc.

"Ema/Emaki 2"de Takashi Ishida est composé d'une série de séquences longues d'une minute. Dans son film, Ishida anime des formes linéaires et organiques qui ne cessent de pousser vers le haut. Chacune des formes animées est ensuite recombinée avec les autres pour donner naissance à une série de variation créées par de multiples expositions. -Andréa Picard et Chris Gehman (Festival international du Film de Toronto)

Né en 1972 à Tokyo, Takashi Ishida commence à réaliser des films dès 1995. Il travaille aussi bien sur ses films que sur des travaux collectifs dans bien d'autres domaines: par exemple, il a contribué au design scénique pour les représentations du danseur Nohmi Kenshi, et a travaillé avec le poète Gozo Yoshimasu.

A woman takes off a veil in a hope to open her face and discover the world surrounding her. The layers of veils don`t let her to break the limits of darkness. Each time she takes of the veil we hope to see her unveiled but this freedom doesn`t arrive.

Babur Ismailov is born in Uzbekistan, where he graduated from State Art Institute. He is a member of the Academy of Fine Arts of Uzbekistan and Russia. Babur Ismailov expresses himself in painting, graphics, video installations. He worked in cinema, animation, illustration, theater proving himself as truly multidimensional artist. He took part in over thirty international exhibitions in France, Italy, Germany, USA, Russia and other countries. And presented several personal exhibitions in Tashkent, Uzbekistan and Paris, France.

This short film is made of archival footage shot at the Yalta conference (1945) - a historic meeting between Roosevelt, Churchill and Stalin shortly before the end of the WWII. The film mimics the style of a TV documentary and shows behind-the-scenes of the conference through the eyes of a fictitious character, whose possible involvement in espionage and unexplained disappearance comprise the mystery, which the film attempts to resolve, - albeit unsuccessfully. The fictional narrative provides possible reasons and motivations behind the random collection of recordings in the original footage, weaving together several important historical themes associated with the Yalta conference: the deep cultural divide between the Soviets and the Western Allies; the eavesdropping and espionage attempts made by the negotiators, and the premonitions of the upcoming Cold War.

Tatiana Istomina is a Russian-born US artist working in video, painting and drawing. She holds a PhD in geophysics from Yale University (2010) and MFA from Parsons New School (2011). Her works have been shown in the US, Russia and Canada; she had solo shows in New York and Houston. Istomina has completed several artist residencies, including the Core Program (Museum of Fine Arts of Houston) and the AIM residency (The Bronx Museum of Arts, New York). She was nominated for Kandinsky prize and Dedlaus foundation fellowship and received awards such as the Joan Mitchell Foundation Award and the American Austrian Foundation Prize for Fine Arts.

Créée en 1985, la Biennale de l?Image en Mouvement (BIM) est une des manifestations pionnières dans la programmation de films d?artistes. Comprenant un festival et une exposition, la Biennale a pour mission de présenter des films tissant des liens entre les arts plastiques, le cinéma et le monde des médias. Cette année, le festival consacrera certaines de ses rétrospectives à Stavros Tornès (GR), Robert Morin (CAN) et Clemens Klopfenstein (CH). Des programmes seront dédiés à Hannes Schüpbach (CH), Shelly Silver (USA), Corinna Schnitt (DE) ou Martha Rosler (USA), et de jeunes artistes seront à découvrir dans les sections compétition internationale et programmes d?écoles d?art. Des conférences seront également organisées autour du travail de plusieurs artistes. Conçue en parallèle au festival, l?exposition permet de présenter des installations vidéos. Sous le titre de « Culture hors-sol », cette édition présentera notamment des ?uvres de Thierry Kuntzel (F), Pierre Huyghe (F), Beat Streuli (CH), David Claerbout (B), Hubbard & Birchler (CH/USA), Stan Douglas (CAN) et Samuel Beckett (GB). Informations: www.12bim.ch

André Iten est Directeur du Centre Saint-Gervais Genève pour l`Image Contemporaine. Soucieux de préserver le patrimoine artistique que constituaient les bandes réalisées par des artistes dans le courant des années 60 et 70, il fut à l`origine d`un plan de restauration, catalogage et archivage des bandes, plan initié en 1990 qui permit de révéler la richesse de cette collection de travaux vidéos à travers un programme historique intitulé "Les pionniers de la vidéo en Suisse", face visible de ce vaste plan de restauration financé par le Fonds municipal d`art contemporain de la ville de Genève. En 1998 il donnait naissance au Centre pour l`image contemporaine, lieu consacré aux activités liées à l`image, dans le souci de donner corps à plusieurs années de réflexion sur les évolutions de l`image et d`activités portées par son engagement artistique.

«Ce film est né de mon amour pour la musique africaine contemporaine. Je collectionne des enregistrements de cette musique depuis une vingtaine d`années en me concentrant particulièrement sur la musique des anciennes colonies portugaises Angola, Mozambique, Guinée-Bissau et Cap Vert. Un jour, alors que j`étais en train de classer mes enregistrements de musique angolaise, j`ai découvert que je possédais six versions différentes d`une chanson intitulée Muxima. C`est ainsi que le film est né. » Alfredo Jaar

Alfredo Jaar est né en 1956 à Santiago de Chili. Il a remporté le prestigieux MacArthur Fellowship, ainsi que d?autres prix. Il a étudié l?architecture et la réalisation. Depuis 1982, il vit et travaille à New York. Son travail a été exposé dans des expositions individuelles et de groupe dans les musées du monde entier, dont le New Museum of Contemporary Art de New York, le Chicago Museum of Contemporary Art et au Moderna Museet de Stockholm. Jaar a également présenté son travail aux biennales de Venise, de São Paulo, de Johannesburg, de Sydney, d?Istanbul, et de Kwangju. Son travail a été exposé en 2002 à la Documenta de Kassel avec son installation « Lament of the Images ». Alfredo Jaar est un artiste sans compromis. Ses installations combinent des éléments photographiques, architecturaux, et des images documentaires, et explorent les relations complexes développées entre les nations et les soit disant pays du tiers-monde. Dans son travail, Alfredo Jaar suit et souligne les ironies et les injustices qui caractérisent ces relations, et met à jour la recherche systématique du profit qui y sont sous jacentes.

Selon l'artiste, l'une des belles choses dans les films, c'est qu?on peut les garder à distance. Mais « The Scenic Route », semble déborder de l'écran, en mettant continuellement en danger les lignes de démarcation.

Ken Jacobs est né en 1933 à Brooklyn, New York (USA). L'artiste a commencé à faire des films en 1955. Il a créé et dirigé The Millénaire Film Workshop à New York de 1966 à 1968 et a fondé le Département de Cinéma à la SUNY de Binghamton (USA) en 1969. Il a été professeur de cinéma de 1974 à 2000, professeur distingué en 2000, et professeur distingué émérite en 2002. Il a reçu de nombreuses bourses et prix pour son travail, qui a été présenté internationalement. Parmi les plus récents, signalons notamment le Grand Prix au Festival 25 FPS de Zagreb (Croatie) en 2007, et le prix du meilleur court-métrage expérimental à Curta Cinema (Rio de Janeiro) en 2007. Son ?uvre comprend des films, des pièces de théâtre, des films-spectacles, des vidéos et des ciné-installations.

NOTHING/MOVING fut crée pour l?exposition de Jonas Mekas. Fragments de paradis à la Galerie Maya Stendhal , ville de New York, comme une installation à canal simple sur plusieurs moniteurs basée sur le film épique de Jonas Mekas "As I was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty", 16 mm, 2000. Pellicule- journal de vingt-cinq ans de vie à SoHo, à New York, et les commentaires spontanés d'une voix-off sont utilisées comme un matériel brut, avec des morceaux de bandes sonores de "Zazie dans le métro" de Louie Malle, que j?ai vu pour la première fois à l?anthologie de Mekas à SoHo en 1976, et des chants d?oiseaux exotiques formant un poème visuel/sonore en hommage à Jonas Mekas. Crédits : Nisi Jacobs avec Pip Chodorov. Film original de Jonas Mekas. N.J.

Nisi Jacobs est née et a grandi à New York. Elle est allé à la Stuyvesant High School où elle a étudié l?écriture créative avec Frank McCourt, l?auteur de ?Les Cendres d?Angela? et ?Tis?. Mlle Jacobs fréquentait la Cooper Union for painting, une Université subventionnée à New York, elle a reçu une bourse d?été pour étudier la peinture à Corona, en Italie et elle est diplômée d?un bac en Arts Appliqués. Elle enseigne en ce moment au Digital Editing du Graduate Center de l?Université de New York ainsi qu?au Digital Editing and Sound Design de la New York Film Academy. Son ?uvre, «Little Bits of Skin (Words)" a récemment fait partie d?un festival affilié au New York Film Festival programmé par Mark McElhatten à l' Anthology Film Archives ainsi qu?au Invisible Film Series du Millennium Film Workshop. Ses vidéos ont été exposées en tant qu?installations vidéos et audios à la Maya Stendhal Gallery à Chelsea (New York). Elles ont aussi participé à l?exposition "Fragment in Paradise" de Jonas Meka en 2005, au "Vital Signs" penchée sur la politique de l?exposition du groupe d?été (2005) et aussi comme une installation sonore de 70 min en Surrond 5.1 pour l?installation de la projection du film de Ken et Flo Jacobs intitulé ??The Guests??.Nisi Jacobs a projeté sa vidéo lors de festivals à Paris, Berlin, Athènes en Grèce, à Hong Kong, au Royaume-Uni, à San Francisco, à New York mais aussi au Tribeca Film Festival (2003). Cette vidéo est en ce moment distribuée par la New York Film-Maker's Cooperative, RoArtario Paris/Berlin, Light Cone à Paris. Nisi Jacobs a été la conservatrice de programmes mensuels de vidéos et de films expérimentaux à la Phatory Gallery et a été invité à prendre part à deux programmes de cette série pour SYNCH FESTIVAL, la 2ème Edition of Electronic Music & Digital Arts Festival in Lavrio, à Athènes, Grèce, en juillet 2005 ainsi que le HOWL festival lors de l?été 2005.

a loft 16 min., silent, color, 2010 computer assistance; Nisi Jacobs A 3-D glimpse of a downtown Manhattan artist?s loft about to give birth to new artist?s lofts, which is odd, seeing that dentists and the minor hirelings of high finance are likely to be the new renters and buyers. Also odd is the absence of any 3-D technology.

Ken Jacobs Biography Born in Brooklyn, NY, 1933. After completion of high school, I went into the Coast Guard for two years. The GI Bill enabled me to study painting at various schools and to study film at CUNY but it wasn`t until I began studying painting with Hans Hofmann, 1956-57, that I felt that I was studying with someone who had something to teach. Started making films, 1955. I created/directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001, 2010; NYSCA 2001, 2007, 2009; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, 2008 Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007; National Society Of Film Critics Annual Awards of 2008 awarded "RAZZLE DAZZLE The Lost World" Best Experimental Film; free 103 point 9 grant, 2010 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008, 2009, 2010; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007, 2008, 2009; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008, 2009; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007, 2008, 2009; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Festival, 2006, 2008, 2009; San Francisco Int. Film Festival 2007, ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007, 2010; Viennale, Int. Film Festival, 2007,2010; Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008, 27th 2009; Sonic Acts XII, Feb. 2008, Amsterdam, the Netherlands; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Avanto Festival, Helsinki, Finland, Nov. 2008; KYTN, England, Dec. 2008; Les Rencontres Internationales 2008, 2009; Nervous Magic Lantern performace Harvard Film Archives, Jan. 11-13, 2009; premiered ANAGLYPH TOM (Tom With Puffy Cheeks) Anthology Film Archives, May 15-21, 2009; short film WHAT HAPPENED ON 23rd STREET IN 1901 inc. Curtocircuito 6th Int. Short Film Festival 2009, Santiago de Compostela , Spain; HOT DOGS AT THE MET inc. Ourense Int. Film Fest. , Spain; Nervous Magic Lantern performances: Oklahoma State University; Pacific Film Archives, SF, CA; RedCat Theater, LA, CA, Oct. 2009; Nervous Magic Lantern, Cinematheque, France, Jan.2010; Animism exhibition Antwerp, Belgium & Bern, Switzerland, 2010; gallery exhibition of my films and Nervous Magic Lantern performance, Curtas Vila do Conde, Portugal.

Une antique image stéréographique de ramasseurs de coton, animé par ordinateur pour présenter la scène d'une profondeur active, même pour les borgnes. Silencieux, mélancolique, bref.

Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000-

excerpt from THE SKY SOCIALIST stratified A digital visit in 2009 to where we, Flo and I, had been in 1964/65. Young people of today, take my word there`s no exaggerating how vivid, of the moment, whizbang and splendidly new 1964 and 65 were in their time. True, I was entering my thirties but Flo, my child-bride, was turning 23. Underground Cinema had gotten momentarily hot just as my 16mm camera was stolen. I recoiled from the throng pushing to enter the circle of cheap celebrity and switched to 8mm. I then filmed THE SKY SOCIALIST, a sunny feature during the time of US assault upon the Vietnamese people -why? because they were there, they were "yellow". and profit margins couldn`t be better, and afterwards Flo and I struggled to make a decent 16mm. blow-up, yet to happen. The purpose of cinema as I understood it then was to lie, in order to make history bearable. The lie, however, was to be obvious enough so as to allude to the truth; film was a lie that invited seeing through, it was like religion but with a more of a wink. Flo then became a stand-in for Anne Frank, while The Muse Of Cinema flew to the rescue with a happy ending mostly because she knew doing so gave her a chance to look good. Our days were permeated with the transcendent music of Olivier Messiaen and Charles Ives and Arnold Schoenberg and so, naturally, was this perfectly self-indulgent movie. For this return visit some of Messiaen can still be heard, contending with the supremely hip sensibility of Michael Schumacher.

Ken Jacobs: Resume/Biography Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001; NYSCA 2001, 2007; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, 2008 Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008, 2009; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007, 2008, 2009; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008, 2009; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007, 2008, 2009; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Ken Jacobs: Resume/Biography (continued) page 2 Festival, 2006, 2008, 2009; San Francisco Int. Film Festival 2007, ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007; Viennale, Int. Film Festival, 2007, Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008, 27th 2009; Sonic Acts XII, Feb. 2008, Amsterdam, the Netherlands; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Avanto Festival, Helsinki, Finland, Nov. 2008; KYTN, England, Dec. 2008; Les Rencontres Internationales 2008, 2009; Nervous Magic Lantern performace Harvard Film Archives, Jan. 11-13, 2009; premiered ANAGLYPH TOM (Tom With Puffy Cheeks) Anthology Film Archives, May 15-21, 2009; short film WHAT HAPPENED ON 23rd STREET IN 1901 inc. Curtocircuito 6th Int. Short Film Festival 2009, Santiago de Compostela , Spain; HOT DOGS AT THE MET inc. Ourense Int. Film Fest. , Spain Filmography of Ken Jacobs ORCHARD STREET, 1955, 12 min., clr. silent THE WHIRLED, 1956-63, 19 min., b/w & clr., sound & silent STAR SPANGLED TO DEATH, 1957-59, completed (in digital) 2003-4, 440 min., b/w & clr., sound LITTLE STABS AT HAPPINESS, 1958-60, 18 min., clr., sound BLONDE COBRA, 1959-63, 30 min., b/w & clr., sound BAUD`LARIAN CAPERS, 1963, 25 min., silent & sound WINDOW, 1964, 12 min., clr. silent THE WINTER FOOTAGE, (1964-8mm.) (1985-16mm.) 50 min., clr., silent THE SKY SOCIALIST, (1964-65 8mm.) 16mm. to be completed 2006, approx. 2 hrs., clr., sound LISA AND JOEY IN CONNECTICUT, JANUARY `65: "YOU`VE COME BACK!" "YOU`RE STILL HERE!", 1965, 18 min., clr., silent AIRSHAFT, 1967, 4 min., clr., silent SOFT RAIN, 1968, 12 min., clr., silent NISSAN ARIANA WINDOW, 1968, 15 min., clr., silent TOM, TOM, THE PIPER`S SON, 1969, 115 min., b/w, silent (distributed on PAL vhs 2000, NTSC vhs 2002 together with a book of essays) GLOBE, 1969, 22 min., clr., sound Ken Jacobs: Resume/Biography (continued) page 3 URBAN PEASANTS, 1975, 50 min., b/w, silent image alternated with sound-in-dark SPAGHETTI AZA, 1976, 1-1/2 min., clr., silent THE DOCTOR`S DREAM, 1978, 27 min., b/w, sound PERFECT FILM, 1985, 27 min., b/w, sound JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE, 1987, 15 min., clr., silent OPENING THE NINETEENTH CENTURY: 1896, 1990, 11 min., b/w, silent KEATON`S COPS, 1991, 23 min., b/w, silent THE GEORGETOWN LOOP, 1996, 11 min., 35mm. & 16mm., b/w, silent DISORIENT EXPRESS, 1996, 30 min., 35mm. & 16mm., b/w, silent; Theater Works (a selection): all involved shadow-play or unusual uses of film. Each lasted about 90 minutes. THE BIG BLACKOUT OF `65: Chapter One "Thirties Man", 1965 RESTFUL MOMENTS, 2 and 3-Dimensional shadowplay, 1970 A GOOD NIGHT FOR THE MOVIES: 4th OF JULY BY CHARLES IVES BY KEN JACOBS, 1972 A MAN`S HOME IS HIS CASTLE FILMS: THE EUROPEAN THEATER OF OPERATIONS, 1974 "SLOW IS BEAUTY" -RODIN, 2 and 3-Dimensional shadowplay, 1974; MUMOK, Vienna, 2004 THE BOXER REBELLION, 2 and 3-Dimensional shadowplay, 1975 AIR OF INCONSEQUENCE, 3-Dimensional shadowplay, 1977 Ken Jacobs At The Console Performing STICK TO YOUR CARPENTRY AND YOU WON`T GET NAILED, 1979 AUDIO-VISUAL VAUDEVILLE, 2 and 3-Dimensional shadow-play, 1982, 1994, 2000 Film-Performances of THE NERVOUS SYSTEM; a unique double-analysis projector set-up designed to derive 3-D from standard 2-D film, most often archival and other found-footage materials (all performance lengths are approximate). THE IMPOSSIBLE: Chapter One "Southwark Fair", 1975, (1 hr.) THE IMPOSSIBLE: Chapter Two "1896", 1979, (11 min.) THE IMPOSSIBLE: Chapter Three "Hell Breaks Loose", 1980, (25 min.) THE IMPOSSIBLE: Chapter Four "Schilling", 1980, (1 hr.) THE IMPOSSIBLE: Chapter Five "The Wrong Laurel", 1980, (7 min.) XCXHXEXRXRXIXEXSX, 1980, (90 min.) KEN JACOBS THEATER OF UNCONSCIONABLE STUPIDITY PRESENTS CAMERA THRILLS OF THE WAR, 1981, (90 min.) THE WHOLE SHEBANG, 1982, (70 min.) Ken Jacobs: Resume/Biography (continued) page 4 MAKING LIGHT OF HISTORY: THE PHILIPPINES ADVENTURE, 1983, (90 min.) TWO WRENCHING DEPARTURES, 1989, (2 hrs.) THE SUBCINEMA, 1990, (2 hrs.) NEW YORK GHETTO FISHMARKET 1903, 1993 (90 min.) BITEMPORAL VISION: THE SEA, 1994, (90 min.) THE MARRIAGE OF HEAVEN AND HELL (A Flicker Of Life), 1995 (90 min.) LOCO MOTION, 1996, (25 min.) FROM MUYBRIDGE TO BROOKLYN BRIDGE, 1996 (includes "Muybridge On Wheels" (animated slides), "The Georgetown Loop" (film), "Loco Motion" (Nervous System work), "Disorient Express" (film), "On The Bridge" (Nervous System work) 90 min. COUPLING, 1996 (1 hr.) ONTIC ANTICS STARRING LAUREL AND HARDY, 1997 (1 hr.) NEW YORK STREET TROLLEYS 1900, 1997 (25 min.) UN PETIT TRAIN DE PLAISIR, 1998 (25 min.) Further Performance Work utilizing THE NERVOUS MAGIC LANTERN; a single self-designed projector that creates 3-D cinema without use of use of film or video, a 3-D which, like Nervous System works, can be seen in 3-D by the unaided eye, the single eye. CRYSTAL PALACE (Chandeliers For The People), 2000 (40 min.) A PLACE WHERE THERE IS NO TROUBLE, 2002 (1 hr.) LOCAL HUBBLE (For Marilyn and Stan Brakhage), April 2003 (1 hr.) LOCAL HUBBLE II: La Conference Des Oiseaux, March 2004 (1 hr.) CELESTIAL SUBWAY Last Stop All Out (music by Black Dice), March 2004, (1 hr.) CELESTIAL SUBWAY LINES 2,3,4,(multiple performances; music by John Zorn assisted by Ikue Mori) May 2004 (45 min.) SEEING IS BELIEVING (music by Rick Reed) September 2004 (1 hr.) SALVAGING NOISE (music by John Zorn assisted by Ikue Mori) October 2004 (1 hr.) INTERSTELLAR LOWER EAST SIDE RAMBLE (music by John Zorn assisted by Ikue Mori) January 2005, (1 hr.) Live Nervous Magic Lantern performance, April 2007 KYTN ?Dundee Contemporary Arts, Scotland Live Nervous Magic Lantern performance Lumen, May 2007, Leeds, England Live Nervous Magic Lantern performance, NYFF, October, 2007 Live Nervous Magic Lantern performance, Bozar, October, 2007, Brussels, Belgium Live Nervous Magic Lantern performance, Sonic Acts XII, Amsterdam, the Netherlands, February, 2008 Live Nervous Magic Lantern performance, Avanto Festival, November, 2008 Ken Jacobs: Resume/Biography (continued) page 5 Live Nervous Magic Lantern performance, KYTN ?England, November, December, 2008 Live Nervous Magic Lantern performance, Rotterdam Film Festival, January, 2009 Live Nervous Magic Lantern performance, Harvard Film Archive, January, 2009 Videography of Ken Jacobs FLO ROUNDS A CORNER, 1999, 6 min., clr., silent, digital computer work NEW YORK STREET-TROLLEYS 1901, 1999, 10 min., b/w, sound A TOM TOM CHASER, 2002, 10-1/2 min., b/w, silent, digital computer work CIRCLING ZERO: Part One WE SEE ABSENCE, 2002, 114 min., clr., sound, KEEPING AN EYE ON STAN, 2003, 117 min., clr., sound, CELESTIAL SUBWAY LINES/SALVAGING NOISE, 2004, 108 min., clr., music by John Zorn assisted by Ikue Mori, a Tzadik DVD MOUNTAINEER SPINNING, 2004, 26 min., clr., music by Rick Reed KRYPTON IS DOOMED, 2005, 34 min., clr., sound (Superman radio-play 1940) INSISTENT CLAMOR, 2005, 22 min., clr., music by Margaret Shelton Meier LEEDS BRIDGE 1888, 2005, 6 min., b/w, silent SPIRAL NEBULA, 2005, 45 min., clr., music by Rick Reed INCENDIARY CINEMA, 2005, 1 min., clr., sound (2005 Viennale Festival cine-logo) LET THERE BE WHISTLEBLOWERS, 2005, b/w & clr., 18 min., sound composed to DRUMMING, Part 1 by Steve Reich ONTIC ANTICS STARRING LAUREL AND HARDY; BYE, MOLLY, 2005, b/w & clr., 90 min., sound NEW YORK GHETTO FISHMARKET 1903, 2006, b/w & clr., 2 hrs. 12 min., music by Catherine Jauniaux and Tom Cora, (Tzadik DVD released March 2007 with THE SURGING SEA OF HUMANITY) PUSHCARTS OF ETERNITY STREET, 2006, b/w, 10 min., silent TWO WRENCHING DEPARTURES, 2006, b/w, 90 min., sound CAPITALISM: CHILD LABOR, 2006, 14 min., clr.,music by Rick Reed CAPITALISM: SLAVERY, 2006, 3 min., clr., silent THE SURGING SEA OF HUMANITY, 2006, 10 min. 40 sec., clr., silent RAZZLE DAZZLE The Lost World, 2006, 92 min., b/w & clr., sound WE ARE CHARMING, 2007, 1 min., b/w, silent HANKY PANKY JANUARY 1903, 2007, 1 min., b/w, silent NYMPH, 2007, 3min., b/w, silent MY FAVORITE WIFE IMPROVED, 2008, 2 min., b/w, sound RETURN TO THE SCENE OF THE CRIME, 2008, 93 min., b/w & clr., music by Malcolm Goldstein THE SCENIC ROUTE, 2008, 25 min., clr., sound THE GUESTS, 2008, 89 min., b/w, sound. Lumiere?s Entree D?Une Noce A L?Eglise; sequential film-frames combine, via slight convergence of the eyes, to produce (irrational) 3-D. Ken Jacobs: Resume/Biography (continued) page 6 ALONE AT LAST, 2008, 1 min. 53 sec., silent THE DISCOVERY, 2008, 4 min. 52 sec., silent LOVE STORY, 2008, 33 sec., silent HOT DOGS AT THE MET, (HD) 2008, 10 min., sound ANAGLYPH TOM, (TOM WITH PUFFY CHEEKS), 2008, 118 min., music by Michael Schumacher, Nisi Jacobs, Malcolm Goldstein; Movement by TOM TOM cast-members converted to (irrational) stereo via red/cyan spectacles WHAT HAPPENED ON 23rd STREET IN 1901, 2009, 13 1/2 min., silent ??SLOW IS BEAUTY? ?RODIN?, 2009, 51 min. clr., anaglyh 3-D recording (original performance 1974, revived 2004), sound BROOK, (HD) 2009, 2? 15?, clr., silent BOB FLEISCHNER DYING, (HD) 2009, 2?42?, clr., silent THE DAY WAS A SCORCHER, (HD) 2009, 7?48?, clr., silent JONAS MEKAS in KODACHROME DAYS, (HD) 2009, 3?19?, clr., silent WALKWAY, (HD) 2009, 8?24?, clr., silent excerpt from THE SKY SOCIALIST stratified, 2009, 18?, clr., sound BRAIN OPERATIONS, (HD) 2009, 22?22?, b/w, silent RON GONZALEZ, SCULPTOR, (HD) 2009, 20?, clr., sound GRAVITY IS TOPS, (HD), 2009, 10?M clr., sound Cine-Installations ZOOM, 1967 -viewer installed on a moving NY ferryboat as part of the NY Avant-Garde Festival. FESTOON, 1975 35 mm. film hung outdoors for individual viewing in (irrational) 3-D THE GUESTS, 1999, 3-D slide installation (74 min. continuous cycle) based on Lumiere?s ENTREE D?UNE NOCE A L?EGLISE, by Ken and Flo Jacobs Re-installed, with sound accompaniment by Nisi Jacobs, at the Maya Stendhal Gallery, NY, 2005 GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D; can be shown on a monitor or with a single projector, viewed through red/blue spectacles. 19 film-frames remain of artist-inventor Louis Le Prince`s 1888 movie-recording of Leeds Bridge, the first or near-first movie ever made. Here seen in stereo, Leeds Bridge (U.K.) is again active in deep space. Other 3-D comments regarding the rise of cinema are made. A 6`4 man among a 5`2 population, this giant "vanished" on the way to the patent office, quite possibly a feat of wizardry (skullduggery?) by The Wizard Of Menlo Park, Thomas Edison. Suspicions remain but now Edison is also gone and there`s only the film-fragment (originally over 200 frames) left to investigate. Also available as a Polaroid two-projector installation.

Epacta est le mot Latin pour le nombre de jours qui doivent être calculés pour synchroniser les calendriers lunaires et solaires. L?année solaire est de 365 jours et l?année lunaire est de 354 jours, il faut donc habituellement 11 jours pour les mettre en phase. J?ai pris des sons d?instruments lunaires, de cordes et de passerelles en métal, crées par les petits tiraillements des bateaux sur les docks dans les ports, mais crées aussi par la gravitation lunaire sur nos corps aqueux. L?audio de EPACTA LUNAE, A DAY AND A HALF, dérivé d?enregistrements naturels sur plusieurs niveaux dans un lit d?accords synthétisés. EPACTA LUNAE, A DAY AND A HALF est le premier poème vidéo sonore qui est inclus dans un projet beaucoup plus large nommé THE MOON?S GUITAR, COLLABORATION WITH THE TIDES..

Nisi Jacobs est née et a grandi à New York. Elle est allé à la Stuyvesant High School où elle a étudié l?écriture créative avec Frank McCourt, l?auteur de ?Les Cendres d?Angela? et ?Tis?. Mlle Jacobs fait partie la Cooper Union for painting, une université subventionnée à New York, a reçu une bourse d?été pour étudier la peinture à Corona en Italie et fut diplômée d?un bac en arts appliqués. Elle enseigne en ce moment au Digital Editing du Graduate Center de l?université de New York ainsi qu?au Digital Editing and Sound Design de la New York Film Academy. Son ?uvre, ?Little Bits of Skin (Words) ? fut récemment une partie d?un festival affilié au New York Film Festival programmé par Mark McElhatten au Anthology Film Archives ainsi qu?au Invisible Film Series du Millennium Film Workshop. Ses vidéos furent exposées en tant qu?installations vidéos et audio à la Maya Stendhal Gallery à Chelsea (New York). Elles ont aussi participé à l?exposition ??Fragment in Paradise? ? de Jonas Meka en 2005, au ?Vital Signs? penchée sur la politique de l?exposition du groupe d?été (2005) et aussi comme une installation sonore de 70 min en Surrond 5.1 pour l?installation de la projection du film de Ken et Flo Jacobs titré ??The Guests??.Nisi Jacobs a amené sa vidéo à l?écran lors de festival à Paris, Berlin, Athènes en Grèce, à Hong Kong, au Royaume-Uni, à San Fransisco, à New York mais aussi au Tribeca Film Festival (2003). Cette vidéo est en ce moment distribuée par la New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone à Paris.Nisi Jacobs fut la conservatrice de programmes mensuels de vidéos et films expérimentaux à la Phatory Gallery et fut invité à prendre part à deux programmes de cette série pour SYNCH FESTIVAL, la 2e Edition of Electronic Music & Digital Arts Festival in Lavrio, à Athènes, Grèce, en juillet 2005 ainsi que le HOWL festival lors de l?été 2005.

FROM THE HORSE?S MOUTH (I CAN PRODUCE -PRONOUNCE- NUCLEAR), Nisi Jacobs, Video, 11min., 2005. Commissionné par Maya Stendhal Gallery, New York City pour l?exposition VITAL SIGNS 2005. FROM THE HORSE?S MOUTH a aussi un second titre : (I CAN PRODUCE -PRONOUNCE-- NUCLEAR) qui est le c?ur de la motivation de sa création en tant que moment improvisé alors que Laura Bush lisait un monologue comique écrit à l?avance en 2005 lors du Dîner du Correspondant à la Maison Blanche, à Washington D.C.dans lequel elle fait un lapsus et échangé ?produit? avec ?prononce?. L?effet est sidérant car c?est son mari qui, à la table du banquet à la sourire jusqu?aux oreilles en écoutant ses blagues, a oublié de publier le communiqué sur les armes de destruction massives et qui en a fait sa raison pour envahir l?Irak. Les images de confort et l?effet du gag de dégageant visuellement intensifient cette toxicité maladive et cette hypocrisie qui engloutit la salle et ses 2 500 politiciens, journalistes, et médias ?managers? qui se réjouissent de ce trait d?esprit préfabriqué et qui en même temps s?impliquent eux-mêmes dans les crimes du mari de Laura.

Nisi Jacobs est née et a grandi à New York. Elle est allé à la Stuyvesant High School où elle a étudié l?écriture créative avec Frank McCourt, l?auteur de ?Les Cendres d?Angela? et ?Tis?. Mlle Jacobs fait partie la Cooper Union for painting, une université subventionnée à New York, a reçu une bourse d?été pour étudier la peinture à Corona en Italie et fut diplômée d?un bac en arts appliqués. Elle enseigne en ce moment au Digital Editing du Graduate Center de l?université de New York ainsi qu?au Digital Editing and Sound Design de la New York Film Academy. Son ?uvre, ?Little Bits of Skin (Words) ? fut récemment une partie d?un festival affilié au New York Film Festival programmé par Mark McElhatten au Anthology Film Archives ainsi qu?au Invisible Film Series du Millennium Film Workshop. Ses vidéos furent exposées en tant qu?installations vidéos et audio à la Maya Stendhal Gallery à Chelsea (New York). Elles ont aussi participé à l?exposition ??Fragment in Paradise? ? de Jonas Meka en 2005, au ?Vital Signs? penchée sur la politique de l?exposition du groupe d?été (2005) et aussi comme une installation sonore de 70 min en Surrond 5.1 pour l?installation de la projection du film de Ken et Flo Jacobs titré ??The Guests??.Nisi Jacobs a amené sa vidéo à l?écran lors de festival à Paris, Berlin, Athènes en Grèce, à Hong Kong, au Royaume-Uni, à San Fransisco, à New York mais aussi au Tribeca Film Festival (2003). Cette vidéo est en ce moment distribuée par la New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone à Paris.Nisi Jacobs fut la conservatrice de programmes mensuels de vidéos et films expérimentaux à la Phatory Gallery et fut invité à prendre part à deux programmes de cette série pour SYNCH FESTIVAL, la 2e Edition of Electronic Music & Digital Arts Festival in Lavrio, à Athènes, Grèce, en juillet 2005 ainsi que le HOWL festival lors de l?été 2005.