Catalogue > Liste par artiste
Parcourez la liste complète des artistes présentés dans le cadre des Rencontres Internationales depuis 2004. Utilisez le filtre alphabétique pour affiner vos recherches.  mise à jours en cours 
Ulu braun
Catalogue : 2007Südwest | Art vidéo | | couleur | 1:45 | Allemagne | 2006
Ulu braun
Südwest
Art vidéo | | couleur | 1:45 | Allemagne | 2006

Südwest est une construction détaillée et utopique d'un paysage, qui unit des aspects de la tradition et de la globalisation. La vidéo combine des scènes idylliques de la culture européenne avec les promesses cataloguées de l'industrie du tourisme moderne pour créer un panorama qui recréé la mystique poétique de choses pourtant si courantes à nos yeux.


Bio: geboren 1976 in Schongau. Lebt in Berlin und Helsinki. 1996-2000 Studium der Malerei und Grafik an der Universität für angewandte Kunst in Wien. 2001-2006 Filmstudium an der HFF-Potsdam 1999 & 2007 Stipendium am Time & Space Department, University of Fine Arts Helsinki, seit 1997 Zusammenarbeit mit Roland Seidel als BitteBitteJaJa.

Ulu braun
Catalogue : 2009WESTCOAST | Vidéo | | couleur | 7:20 | Allemagne | 2009
Ulu braun
WESTCOAST
Vidéo | | couleur | 7:20 | Allemagne | 2009

Westcoast is a panorama-video consisting of interweaved scenes mounted on a coastline - somewhere between Rotterdam and Sydney. Starting from a bubbling primordial soup the view pans along a waterfront in the style of a late transnational financial eclecticism and passes mystical spots such as a giant hippo eating carrots and hectically spinning rubber boats. After a dark spiritual waterway recalling Hieronymus Bosch atmospheres, the panorama ends in a cave with refuse-Jacuzzi in which a white woman gazes about herself melancholically.

Ulu Braun (1976) is belonging to a new generation of artists that entered the field of digital film with a background in visual arts and street art. In his works he integrates various production methods to form sceneries that play between Hollywood, Prado and periphery. In most of his works he observes the tragic of reality from different angles. Braun exhibits internationally including recent solo shows in Germany, Belgium, USA and group shows in Germany, Spain, France, Finland, Estonia and Greece. His works have been screened at the major experimental Film and Media Art Festivals. Collaborations with Roland Seidel as BitteBitteJaJa and finnish artist group YKON. He is currently living in Berlin. www.ulubraun.com

Adriana bravo, ivanna terrazas
Catalogue : 2017Beso de chola (Chola Kiss) | Vidéo | hdv | couleur | 4:0 | Bolivie | 2016
Adriana bravo , ivanna terrazas
Beso de chola (Chola Kiss)
Vidéo | hdv | couleur | 4:0 | Bolivie | 2016

On connait cet art du détour que Sophie Roger pratique pour nous mener par des chemins inattendus avec l’amitié comme fil, déplié avec Le Point aveugle (FID 2012) ou Les Jardiniers du petit Paris (FID 2010). Ici ce sera, tissée tout en délicatesse à l’écran, l’amitié avec Mohamed, réfugié soudanais au Havre. Faite de partage, d’attention, d’écoute et de rire, et de vagues en vagues, celles du texte éponyme de Virginia Woolf qu’elle lui lit, à celle de Courbet au musée du Havre, qu’il animera de son regard. (FIDMarseille)


Karolina bregula
Catalogue : 2016Wieza | Fiction expérimentale | hdv | couleur | 78:0 | Pologne | 2016
Karolina bregula
Wieza
Fiction expérimentale | hdv | couleur | 78:0 | Pologne | 2016

`The Tower` is an opera musical about a group of people who live in the same concrete block of flats and who plan building a sugar tower together. Full of absurd and anxiety, the story of the utopian project is addressing the history of post war housing architecture analysing it from the position of its user, the inhabitant of a modernist city. The dreams and desires are juxtapositioned with difficult reality of life in the blocks and contradictions inscribed in the modernists` plans.

Karolina Bregula(born 1979) is a visual artist and filmmaker. She has performed and exhibited in places such as “the VeniceArt Biennale” the Jewish Museum in New York and the National Museum in Warsaw.She has received numerous awards including The Golden Claw at Gdynia Film Festival, the Views 2013 and Videobrasil 2015. She has been awarded multiple scholarships including the Polish Ministry of Culture Scholarship, the Visegrad Scholarship and the UNESCO scholarship. She lives and works in Warsaw.

Dietmar brehm
Catalogue : 2016Hallo Mabuse | Film expérimental | hdv | couleur | 5:0 | Autriche | 2016
Dietmar brehm
Hallo Mabuse
Film expérimental | hdv | couleur | 5:0 | Autriche | 2016

First, a view of nature: an overcast sky, the chirping of birds. This plays the part of a colorful overture, still open to the world. Steps and the sound of a pushbutton telephone lead acoustically into one of Dietmar Brehm’s "intrusion films": Hallo Mabuse. Here, arriving at the other end of the line, intruding into the image means reversing polarity to negative and concentrating on the schematic through a type of circular aperture. A man’s profile and facial features lose their contours in the heavy light-dark contrasts, yet also emerge expressively. A dialogue of cryptic gestures unfolds. The source: several scenic miniatures from The Testament of Dr. Mabuse, Fritz Lang’s famous crime film about hypnosis and terror created in the interwar period. Brehm already included this material once before, in a shorter version, in tape 14 of the Praxis series; now he presents it as an autonomous member of the series; decelerated, with a new editing sequence, and also additional pictorial motifs. Hallo Mabuse captivates through its reduction, in which a conspiratorial narrative takes place, but even more so, the images themselves appear ambiguous, obscure, untrustworthy. A nod of the head, which seems treacherous in its mechanical repetition, meets the profile of a bearded man who does not appear to react at all in a suggested counter shot. The slight flickering of the image further intensifies the impression of an illicit agreement, of witnessing a crooked handshake. The ringing of the unseen telephone and the constant ticking of a clock lend the events a limited temporality. Something is running out, and in doing so, is also already reaching its end, a ghostly final act, which is anticipated by an explosion and breaks off with the sound of a falling guillotine. (Dominik Kamalzadeh)

Dietmar Brehm is born in 1947 in Linz 1967-72 studied painting at the University of Fine Arts/Linz. Professor at the University of Fine Arts/Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad.

Catalogue : 2018Inside - The Color Version | Vidéo | hdv | couleur | 5:0 | Autriche | 2017
Dietmar brehm
Inside - The Color Version
Vidéo | hdv | couleur | 5:0 | Autriche | 2017

It hisses, it blinks. A virtual, two-dimensional anaglyph flickers in red and green, unfolding a visual space true to the Brehmian aesthetic. Concentratedly condensed collisions occur between everyday life and the world, being and performing, symbols and icons. A human skull, human bodies, Castle Grafenegg as an architectonic stand-in for the uncanny … Sex and crime, art and pop culture flicker at pixilated speed – the stuff of dreams – most penetrating however brief. The mundane alternates with the fetish, glimpsed in the blink of an eye, intersected by a long drag on a Chesterfield cigarette while the full-bodied, tube-amped slow-motion reverb sound of a guitar swings in the background.

Dietmar BREHM Born in 1947 in Linz. 1967-72 studied painting at the Academy of Fine Arts/Linz professor at the Academy in Linz. Since 1973 teaches at the Academy in Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad, various awards for his work.

Andreas brehmer
Catalogue : 2013La Reprise. a description | Vidéo | dv | couleur | 16:35 | Allemagne | France | 2010
Andreas brehmer
La Reprise. a description
Vidéo | dv | couleur | 16:35 | Allemagne | France | 2010

/Users/andbrehm/Dropbox/Private/_Lebenslauf/140216_abrehmer_CV_ganz-kurz.txt

Michele bressan
Catalogue : 2013fifth,sixth and seventh floor | Documentaire | dv | couleur | 4:27 | Roumanie | 2010
Michele bressan
fifth,sixth and seventh floor
Documentaire | dv | couleur | 4:27 | Roumanie | 2010

The block across the street, or mirror block, has been for the past 17 years my immediate landscape, a modular display of my closest reality, one I often avoided, as familiar images get skipped, distancing into the background. It happens because repetition eventually subsides the identification process. I chose to recognize the occurrences nearby and regard my quotidian landscapes as a view, put together by architecture and space boundaries, which also cause an involuntary voyeurism to appear.

Michele Bressan (b.1980) in the last few years his works were exhibited in several solo and group exhibitions, including Museum fur Photographie Braunschweig (2013), Centre Wallon d`Art Contemporain (2012), ViennaFair The New Contemporary (2012), Les Rencontres d`Arles photo festival (2011), Musée d`Art Moderne Saint Etienne (2011), Gate11 international departures, Fondazione Fotografia Modena (2011), Biennale di Venezia, Padiglione Italia nel Mondo (2011), Mois de la Photo (2010), National Museum of Contemporary Art Bucharest (2009/2010), Performance Art Institute San Francisco (2010), ESSL Museum Wien (2009), Neuen Museum/ Bauhaus Universitat Weimar (2009). In 2010 he won the Constantin Brabcusi fellowship at the Cité Internationale des Arts Paris. In 2009 he recived the ESSL award for photography, in the same year was nominee for the Henkel award.

Viktor brim
Catalogue : 2019Dark Matter | Doc. expérimental | 4k | couleur | 19:52 | Allemagne | Russie | 2019
Viktor brim
Dark Matter
Doc. expérimental | 4k | couleur | 19:52 | Allemagne | Russie | 2019

A trace of regularly ordered mounds of earth. In the twilight a dump truck is being loaded. A thick veil of mist hangs over the tops of the trees. Dark earth is excavated, loaded and transported off the scenery. In Dark Matter (2020), via the situative arrangement of different picture elements a visual friction surface is created, which is shaped by the figurations of a post-apocalyptic landscape. The images are determined by the processes of extracting raw materials. Without the mineral resources from the numerous diamond and gold mines in the so-called Russian Federation subject Yakutia, the Soviet Union would never have been able to exist until the 1990s. Technology and ideology go hand in hand and leave their mark. Military and economic efforts to secure power are inscribed in this landscape. The extraction of raw materials and the exploitation of nature show their planned economic and geopolitical consequences, which make up the character of the “subjects of the Federation”. Their designation as “subjects” was introduced in the USSR in order to equip and administer different categories of territorial units with different degrees of autonomy. Technological progress and ideological utopias constitute a processual and changeful network of relationships between subject definition and state apparatus.

Viktor Brim was born in 1987 in Tashkent, Uzbekistan. From 2009 to 2011 he studied media art at the HGB in Leipzig, began directing studies at the Filmuniversity Babelsberg KONRAD WOLF and completed a postgraduate course at the Academy of Media Arts in Cologne, where he worked not only with fictional forms but also increasingly with documentary approaches.

Ondrej brody, kristofer paetau
Catalogue : 2007Artstar | Vidéo expérimentale | dv | couleur et n&b | 3:0 | Tchèque (Rép.) | 2006
Ondrej brody , kristofer paetau
Artstar
Vidéo expérimentale | dv | couleur et n&b | 3:0 | Tchèque (Rép.) | 2006

Ondrej Brody et Kristofer Paetau forment un couple artistique néo-dadaïste qui recherche les aspects grotesques que l?on peut trouver dans le monde artistique institutionnalisé et dans la production artistique elle-même. Leur stratégie est claire et presque embarrassante de simplicité mais c?est apparemment leur point fort. Les problèmes qu?ils soulèvent et les cibles qu?ils choisissent sont également fondamentaux : la morale quotidienne, pour ne pas dire les codes de conduite sous forme de livrets, sont leur source de vocabulaire sous forme de sujet contenu. Ils mènent avant tout leur enquête en prenant en compte la psychologie du comportement lorsqu?il est influencé ou provoqué par les aspects extérieurs de la vie et de la politique. Leur travail oscille entre l?utilisation et l?abus, la manipulation poussée à l?extrême et l?enregistrement froid et intouchable de la réalité absurde, il est véritablement critique et tente sincèrement de mettre à jour les pathologies et les aspects normaux des relations humaines. Leurs actions sont toujours bien structurées et la mise en scène est pratiquement parfaite, précise et calculée, froide et émotionnellement troublante, audacieuse et vicieuse, elle nous pénètre de part en part. Il manque peut-être seulement un équilibre plus soigné : le scandale désiré utilisé de la bonne manière pour mettre l?accent sur le déclin de certaines valeurs et leur corruption soudaine.


Ondrej Brody est né à Prague, en République Tchèque en 1980, il vit entre Anvers, Berlin et Prague. Lorsqu'il était enfant il a vécu à Guayaquil en Equateur où il est resté jusqu'en 1999. En 2000 il a commencé ses études d'art à l'Instituto Superior de Arte in Havana à Cuba. En 2001, il a demandé son transfert à l'Academy of Fine Arts de Prague où il a obtenu son diplôme en 2005. C'est un artiste visuel qui travaille principalement avec la vidéo et fait des interventions/actions. parmi les expositions qu'il a récemment effectué figurent entre autres la Jiri Svestka Gallery à Prague (2006); le Kunsthallen Brandts à Odense, (2006); le Sammlung Essl à Klosterneuburg/Vienne, (2005); et Jack the Pelican à New York City, (2006). il a notamment reçu es prix suivants : the Essl Award, Sammlung Essl à Vienne, en Autriche (2205), et the International Prize for Performance, Galeria Civica à Trente, en Italie (2006). Kristofer Paetau est né en 1972 à Borga en Finlande. Il a étudié différentes disciplines sur plusieurs années. En 2005-2006, il était à l'Institute for Fine Arts (HISK) à Anvers, en Belgique; en 2000-2001, il a fait une année à l'Internaional ERBAN de Nantes en France; en 1999-2000 il a obtenu un Meisterschüler Diploma en suivant les cours de John M. Armleder à la Hochschule für Bildende Künste (HBK) à Braunschweig, en Allemagne; en 1999, il a obtenu un master en études artistiques à l'Ecole Nationale Supérieure d'Arts de Cergy, en France; en 1993-1994, il a étudié l'histoire de l'art à l'Ecole du Louvre de Paris, en France; et enfin en 1991-1992, il a étudié l'esthétique et le français à l'université d'Helsinki en Finlande. son expérience artistique comprend différents types de projets et de travaux. En 2004, il a organisé le projet "St. Stephanus Church" avec Torsten Prothman à Berlin et Re-Institutionalize #03. Il a également organisé une exposition personnelle appelée "Antigrafittihiphop" qui était une installation accompagnée d'une performance chorégraphique à la Ekaitz 5050 Gallery à Berlin. En 2005, il a participé à une exposition collective appelée "Boundless", il a apporté sa participation au travail de Jan Christensen au Stenersenmuseet à Oslo, en Norvège (catalogue). Il a également effectué une performance intitulée "Belgian Air Guitar Champion", In/Out Space, Open studio, Higher Institute of Fine Arts à Anvers, en Belgique. En 2006, il s'est occupé du projet "Super-Flux" e-mail service avec Ondrej Brody. Il s'occupe avec l'écrivain Rüdiger Heinze d'un projet e-mail appelé "Picturepeople", ainsi que d'un concurrent de courte durée pour e-Flux.

Persijn broersen, broersen & lukács
Catalogue : 2012Mastering Bambi | Vidéo | hdv | couleur | 12:35 | Pays-Bas | 2010
Persijn broersen , broersen & lukács
Mastering Bambi
Vidéo | hdv | couleur | 12:35 | Pays-Bas | 2010

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Catalogue : 2013Beyond Sunset & Sunrise | Fiction expérimentale | hdv | couleur | 28:30 | Pays-Bas | USA | 2013
Persijn broersen , broersen & lukács
Beyond Sunset & Sunrise
Fiction expérimentale | hdv | couleur | 28:30 | Pays-Bas | USA | 2013

The copy-paste mentality of the media and its audience is reflected in the film Beyond Sunset & Sunrise; a mosaic-film in which Broersen & Lukács connect scripts and characters from classic Hollywood movies such as ?Sunset Boulevard?, ?Badlands?, ?Wild at Heart?, ?The Last Picture Show? and ?All About Eve?, a range of films in which the protagonists struggle with their aspirations. Aspirations that eventually turn destructive. Shot entirely in Hollywood, this fictional network of a dream chasing community merges with the reality facing the ambitious actors; a no-man?s land between Los Angeles and Hollywood. A place where dreams define reality, and the dream is defined by reality.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental features of today`s society. The work of Broersen & Lukács is characterized by a quest for the sources of contemporary visual culture. With intricate layers of depersonalization, re-mediation and re-interpretation they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary society. Broersen & Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Centre Pompidou Paris (FR), MUHKA Gent (BE), Coca in Torun (PL), Kunsthalle Tallinn (EST) and the Stedelijk Museum Amsterdam. Their films have been shown at film festivals worldwide including LAForum in Los Angeles (USA), Experimenta Media Arts Biennale (AUS), Kassel Dokumentar Film Festival (DE), Paris Rencontres (FR, ESP, DE), International Film Festival Rotterdam and the IDFA in Amsterdam (NL). Broersen & Lukács have been invited to participate in the 19th Sydney Biennale, 2014.

Catalogue : 2016Establishing Eden | Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2016
Persijn broersen , broersen & lukács
Establishing Eden
Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2016

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

Catalogue : 2019All, or Nothing at All | Vidéo | hdv | couleur | 7:45 | Pays-Bas | Danemark | 2019
Persijn broersen , broersen & lukács
All, or Nothing at All
Vidéo | hdv | couleur | 7:45 | Pays-Bas | Danemark | 2019

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

Persijn broersen, margit lukács
Catalogue : 2012Mastering Bambi | Vidéo | hdv | couleur | 12:35 | Pays-Bas | 2010
Persijn broersen , margit lukács
Mastering Bambi
Vidéo | hdv | couleur | 12:35 | Pays-Bas | 2010

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Catalogue : 2013Beyond Sunset & Sunrise | Fiction expérimentale | hdv | couleur | 28:30 | Pays-Bas | USA | 2013
Persijn broersen , margit lukács
Beyond Sunset & Sunrise
Fiction expérimentale | hdv | couleur | 28:30 | Pays-Bas | USA | 2013

The copy-paste mentality of the media and its audience is reflected in the film Beyond Sunset & Sunrise; a mosaic-film in which Broersen & Lukács connect scripts and characters from classic Hollywood movies such as ?Sunset Boulevard?, ?Badlands?, ?Wild at Heart?, ?The Last Picture Show? and ?All About Eve?, a range of films in which the protagonists struggle with their aspirations. Aspirations that eventually turn destructive. Shot entirely in Hollywood, this fictional network of a dream chasing community merges with the reality facing the ambitious actors; a no-man?s land between Los Angeles and Hollywood. A place where dreams define reality, and the dream is defined by reality.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental features of today`s society. The work of Broersen & Lukács is characterized by a quest for the sources of contemporary visual culture. With intricate layers of depersonalization, re-mediation and re-interpretation they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary society. Broersen & Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Centre Pompidou Paris (FR), MUHKA Gent (BE), Coca in Torun (PL), Kunsthalle Tallinn (EST) and the Stedelijk Museum Amsterdam. Their films have been shown at film festivals worldwide including LAForum in Los Angeles (USA), Experimenta Media Arts Biennale (AUS), Kassel Dokumentar Film Festival (DE), Paris Rencontres (FR, ESP, DE), International Film Festival Rotterdam and the IDFA in Amsterdam (NL). Broersen & Lukács have been invited to participate in the 19th Sydney Biennale, 2014.

Catalogue : 2016Establishing Eden | Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2016
Persijn broersen , margit lukács
Establishing Eden
Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2016

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

Catalogue : 2019All, or Nothing at All | Vidéo | hdv | couleur | 7:45 | Pays-Bas | Danemark | 2019
Persijn broersen , margit lukács
All, or Nothing at All
Vidéo | hdv | couleur | 7:45 | Pays-Bas | Danemark | 2019

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

Persijn broersen, margit lukacs
Catalogue : 2012Mastering Bambi | Vidéo | hdv | couleur | 12:35 | Pays-Bas | 2010
Persijn broersen , margit lukacs
Mastering Bambi
Vidéo | hdv | couleur | 12:35 | Pays-Bas | 2010

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Catalogue : 2013Beyond Sunset & Sunrise | Fiction expérimentale | hdv | couleur | 28:30 | Pays-Bas | USA | 2013
Persijn broersen , margit lukacs
Beyond Sunset & Sunrise
Fiction expérimentale | hdv | couleur | 28:30 | Pays-Bas | USA | 2013

The copy-paste mentality of the media and its audience is reflected in the film Beyond Sunset & Sunrise; a mosaic-film in which Broersen & Lukács connect scripts and characters from classic Hollywood movies such as ?Sunset Boulevard?, ?Badlands?, ?Wild at Heart?, ?The Last Picture Show? and ?All About Eve?, a range of films in which the protagonists struggle with their aspirations. Aspirations that eventually turn destructive. Shot entirely in Hollywood, this fictional network of a dream chasing community merges with the reality facing the ambitious actors; a no-man?s land between Los Angeles and Hollywood. A place where dreams define reality, and the dream is defined by reality.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental features of today`s society. The work of Broersen & Lukács is characterized by a quest for the sources of contemporary visual culture. With intricate layers of depersonalization, re-mediation and re-interpretation they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary society. Broersen & Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Centre Pompidou Paris (FR), MUHKA Gent (BE), Coca in Torun (PL), Kunsthalle Tallinn (EST) and the Stedelijk Museum Amsterdam. Their films have been shown at film festivals worldwide including LAForum in Los Angeles (USA), Experimenta Media Arts Biennale (AUS), Kassel Dokumentar Film Festival (DE), Paris Rencontres (FR, ESP, DE), International Film Festival Rotterdam and the IDFA in Amsterdam (NL). Broersen & Lukács have been invited to participate in the 19th Sydney Biennale, 2014.

Catalogue : 2016Establishing Eden | Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2016
Persijn broersen , margit lukacs
Establishing Eden
Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2016

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

Catalogue : 2019All, or Nothing at All | Vidéo | hdv | couleur | 7:45 | Pays-Bas | Danemark | 2019
Persijn broersen , margit lukacs
All, or Nothing at All
Vidéo | hdv | couleur | 7:45 | Pays-Bas | Danemark | 2019

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

Persijn broersen, margit lukacs
Catalogue : 2018Forest on Location | Vidéo | hdv | couleur | 11:42 | Pays-Bas | 2018
Persijn broersen , margit lukacs
Forest on Location
Vidéo | hdv | couleur | 11:42 | Pays-Bas | 2018

Broersen and Lukacs construct a replica of Bialowieza primeval forest. In this virtual forest is the avatar of Iranian operasinger Shahram Yazdani, who performs his version of Nat King Cole's 1948 hitsong Nature Boy, whose melody originated in Bialowieza. In Forest on Location, nature is viewed as a mirror, reflecting our own perception.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited for instance at the Biennale of Sydney (Australia), Rencontres internationales de la photographie d'Arles (France), Wuzhen Biennial Now Is The Time (China), Stedelijk Museum Amsterdam (Netherlands), FOAM Amsterdam (Netherlands), Antwerp contemporary art museum MUHKA (Belgium), Centre Pompidou (France), Shanghai World Expo (China), Kröller Müller (Netherlands)) and Casa Enscendida (Spain). Their films have been shown at various festivals including Oberhausen International Film Festival (Germany), LAForum (US), Kassel Dokumentar und Filmfestival (Germany), Rencontres Internationales Paris/Berlin (France/Germany), the New York International Film Festival (US), and Rotterdam International Film Festival and Amsterdam International Documentary Film Festival. Their film "Establishing Eden" was included in the 2016 Tiger Awards Competition for Short Films in Rotterdam Festival. In 2015, Stedelijk Museum Amsterdam acquired the site-specific work "Ruins in Reverse" (2015), specially made for the museum. Broersen & Lukács are represented by Galerie AKINCI, Amsterdam.

broersen & lukacs
Catalogue : 2006Prime Time Paradise | Art vidéo | dv | couleur | 11:0 | Pays-Bas | 2004
broersen & lukacs
Prime Time Paradise
Art vidéo | dv | couleur | 11:0 | Pays-Bas | 2004

Tous les jours, les journaux télévisés et autres images télé se succèdent dans un flot sans fin qui engourdi le spectateur. Ce dernier, comme hypnotisé, ne fait rien d?autre que regarder et regarder encore : zappant constamment d?une image à une autre, d?une chaîne à une autre dans un flot régulier ; il n?y a plus de d?immobilité. L?attention est fragmentaire, l?identification et la réflexion sont impossibles, le monde est en perpétuel mouvement et des images, aussi bien anciennes que récentes, se présentent sans arrêt dans des endroits différents : une ville brûle derrière une montagne ; un soldat pointe son arme ; un fille hurle ; une plage (détruite) se trouve juste à côté de l?immeuble dans lequel a lieu une conférence des Nations Unies.


Margit Lukács est née en 1973 à Amsterdam, aux Pays Bas et Persijn Broersen est également né aux Pays Bas, à Delft en 1974. Ils vivent et travaillent actuellement à Amsterdam. Ils ont tous les deux étudié le Graphic Design à l?Académie Gerrit Rietveld à Amsterdam de 1994 à 1998 et ont effectué un Master en design et beaux-arts à l?Institut Sandberg d?Amsterdam de 1998 à 2001. Leur travail a été exposé à travers les Pays Bas et dans plusieurs autres pays comme la Chine, l?Inde et le Japon et ils ont participé à l?International Artists Studio Program de Stockholm en Suède en 2005. Broersen et Lukács créent des vidéos dans lesquelles ils utilisent les images de différentes manières en combinant des scènes qu?ils ont filmé eux-mêmes, des images de reportages d?information de la télévision qu?ils se sont appropriées et des segments d?animations numériques, pour créer des montages fluides. Certaines de leurs ?uvres sont narratives et semblent presque autobiographiques alors que d?autres refusent précisément de présenter un récit cohérent dans le but de critiquer la manière qu?ont les media de rendre impossible la réflexion du spectateur sur les images qu?ils présentent. Les paysages imaginaires utopiques et dystopiques agissent de différentes manières chez Broersen and Lukács et montrent comment les différents récits présentés par les principaux media et la culture générale finissent par constituer des mondes à part entière pour les personne qui les absorbent.

David brognon, stéphanie rollin
Catalogue : 2017Mon heure de gloire | Doc. expérimental | hdv | couleur | 0:0 | Luxembourg | Belgique | 2017
David brognon , stéphanie rollin
Mon heure de gloire
Doc. expérimental | hdv | couleur | 0:0 | Luxembourg | Belgique | 2017

David Brognon & Stéphanie Rollin ont représenté l’abandon de l'activité et l’interruption brutale du temps qui en découle, par des images de l’usine désertée, d’horloges figées, et des enfants des travailleurs cherchant un nouveau lieu de transmission.

Émilie brout, maxime marion
Catalogue : 2019b0mb | Vidéo | hdv | couleur | 9:58 | France | 2018
Émilie brout , maxime marion
b0mb
Vidéo | hdv | couleur | 9:58 | France | 2018

b0mb est une vidéo générative en ligne, différente à chaque visionnage et accessible via un site web dédié. Avec un rythme intense, elle présente un montage de plusieurs centaines d’images de toute nature présentes sur internet, défilant sur une bande son musicale où l’on entend la voix de Gregory Corso lisant son poème Bomb (1958). Déclaration d’amour à la plus terrible des technologies et métaphore de la nature autodestructrice de l’homme, le poème comporte une grande diversité de champs lexicaux lui conférant une dimension presque universelle. Figure de la Beat Generation, Corso cherche à produire ici une poésie où les phrases seraient absentes de perspective, construisant son texte via une juxtaposition de mots-clés les uns "contre" les autres. A partir du poème, les artistes ont alors effectué un travail de réduction d’écriture, de filtrage et d’interprétation, pour traduire son contenu en requêtes pour moteur de recherche tel que Google Image. Chaque image visible dans b0mb provient donc automatiquement du résultat d’une de ces requêtes, sélectionnée selon des algorithmes de popularité, et s’affiche de manière synchronisée avec le texte énoncé, par un montage au chemin de fer prédéfini. Si la durée et le son restent fixes, les images sont renouvelées à chaque visionnage, évoluant peu à peu dans le temps, au fil de l’actualité. La pièce se comporte telle un protocole automatique en ligne, puisant dans son environnement des visuels pour les donner à voir sous un autre jour le temps d’un instant. De par la grande diversité de sujets abordés dans le poème et la nature hétérogène des images (photographies amateur, publicités, cliparts, presse, différences de définition...), l’œuvre donne donc à voir une sorte d’instantané de la culture visuelle d’Internet. Par un enchaînement effréné d’images indifféremment anodines, belles ou terribles, elles rendent aussi compte de la violence qui peut s’en dégager.


Nés en 1984 et 1982 en France, Émilie Brout & Maxime Marion vivent et travaillent à Paris. Après des études à l’ENSA Nancy et l’ESA Aix-en-Provence, ils ont intégré deux ans le laboratoire de recherche EnsadLab de l’Ecole Nationale Supérieure des Arts Décoratifs de Paris, où a débuté leur collaboration. Leur travail a été lauréat du prix de la fondation François Schneider, Wattwiller et du prix du public Sciences Po pour l’art contemporain, Paris. Il a été soutenu par la Fondation des Artistes, la SCAM et le CNC, et fait notamment partie des collections des FRAC Ile-de-France, Aquitaine et Poitou-Charentes, de la CDAC Seine-Saint-Denis et de collections privées internationales (Alain Servais et de Goldschmidt, Bruxelles ; Plancius Collection, Amsterdam, Jonathon Carroll, Londres...). Il a été présenté en France et à l’étranger : MAC VAL, Vitry-sur-Seine ; Cité de la céramique, Sèvres ; IAC Villeurbanne ; Palais de Tokyo, Paris ; FRAC Haute-Normandie, Rouen ; Base sous-marine de Bordeaux ; 5th Moscow Biennale for Young Art ; Museum of Modern and Contemporary Art, Rijeka ; Carroll/Fletcher, Londres ; OCAT Shenzhen ; Daegu Art Museum ; Kunstraum LLC, New York ; Redline Contemporary Art Center, Denver... Ils ont récemment bénéficié d’expositions personnelles à la Chaufferie, Strasbourg (2019), à la galerie 22,48 m², Paris (2019), à la Villa du Parc, Annemasse (2018), au Pori Art Museum, Pori, Finlande (2018) et à la galerie Steve Turner, Los Angeles, Etats-Unis (2017). Ils seront également résidents en 2020 à la Kunsthal Gent en Belgique en 2020.

Bill brown
Catalogue : 2018XCTRY | Film expérimental | 16mm | couleur | 6:18 | USA | 0 | 2018
Bill brown
XCTRY
Film expérimental | 16mm | couleur | 6:18 | USA | 0 | 2018

Brown re-works 16mm footage that he shot years ago during a cross-country road trip from Chicago to Las Vegas. The spatial discontinuities of the road trip are rendered as visual continuities across three frames as Brown goes in search of the next town to fall in and out of love with.

Bill Brown is a media artist interested in ways landscape is interpreted, appropriated, and reconfigured according to human desires, memories, and dreams. His research interests include haunted houses, memorial architecture, and outsider archaeology. Brown's films have screened at venues around the world, including the Viennale, the Rotterdam Film Festival, the London Film Festival, the Sundance Film Festival, and Lincoln Center. He lives and works in North Carolina, USA.

Benjamin brown
Catalogue : 2013Open Outcry | Doc. expérimental | hdcam | couleur | 15:0 | USA | 2013
Benjamin brown
Open Outcry
Doc. expérimental | hdcam | couleur | 15:0 | USA | 2013

This project investigates the gestures of finance capitalism that were once used on the commodities trading floor. Through the production of a speculative instructional video, a commodities trader teaches an actor the gestures that capitalism both invented and made obsolescent.

Ben Thorp Brown is an artist and filmmaker living in New York. He received a B.A. at Williams College, an M.F.A. from the School of the Art Institute of Chicago, and attended the Whitney Museum Independent Study Program. Utilizing video, photography, writing, performance, and installation, his work examines relationships between language, memory, and labor. Brown was the recipient of the John Quincy Adams MFA Fellowship from the School of the Art Institute of Chicago, the Leonhardt Cassullo Video Fellowship at Creative Time, and the Florence J. Chandler travel fellowship from Williams College. His work has been presented in recent exhibitions at SculptureCenter (New York), MoMA PS1 (New York), Vox Populi (Philadelphia), and TEMP (New York).

Dan browne
Catalogue : 2017Palmerston Blvd. | Film expérimental | 4k | couleur | 14:10 | Canada | 2017
Dan browne
Palmerston Blvd.
Film expérimental | 4k | couleur | 14:10 | Canada | 2017

In PALMERSTON BLVD., filmmaker Dan Browne invites the audience into the intimate space of his living room, in this portrait of a bay window recorded over the course of a year. Gradual shifts in the interior and exterior environments mark the passing of the seasons, a slow dance of objects and light juxtaposed by the rapid speeds of bodies and the urban landscape, revealing the processes inherent in all things. Meticulously constructed from over 250,000 images, PALMERSTON BLVD. offers an extended glimpse into the rituals of domestic life, demonstrating the uniqueness of everyday mundane activities. As time flows, we see the growth and development of the family’s first child, until eventually the home becomes an empty roomready to begin anew.

Dan BROWNE (b. 1982) is a filmmaker, photographer and multimedia artist based in Toronto, Canada. His works explore patterns, nature and sensory perception through dense and kinetic audio-visual forms. Traversing the intersections between cinema, installation, music, photography, painting and poetry, Dan’s works have been presented at over 100 festivals and venues worldwide, including Rotterdam International Film Festival, Art Cinema OFFoff, Diagonal Film Archive, Centre Pompidou, Festival du Nouveau Cinema, TIFF and Early Monthly Segments. Dan’s media practices also encompass live performances in collaboration with musicians, and video installations that have received public commissions in Toronto and Vancouver. Dan has also collaborated with other Canadian filmmakers, including Carl Brown, Peter Mettler, R. Bruce Elder, Michael Snow, and members of the Loop Collective. Dan is currently a PhD candidate in the York/Ryerson Joint Graduate Program in Communication and Culture, where he is completing a dissertation on decay aesthetics in contemporary avant-garde and experimental cinema. His works are available for rental through the Canadian Filmmakers Distribution Centre and Light Cone Paris.

Vera brueckner, -
Catalogue : 2013what happens when the heart just stops | Documentaire | 16mm | noir et blanc | 11:31 | Allemagne | 2013
Vera brueckner , -
what happens when the heart just stops
Documentaire | 16mm | noir et blanc | 11:31 | Allemagne | 2013

A cinematic glimpse through the keyhole of the Bavaria State Collection of Zoology Munich. A humorous and ellipticall Vision - Sound Collage, dealing without the use of dialogue, trying to comprehend the daily life of a special place, where life and death are playing an extraordinary part.

Vera Brueckner born in 1988 and raised nearby Munich , started 2012 film studies at the University for Television and Film Munich after she had made a Bachelor degree in Phtography and Design at Unviversity of Applied Sciences Munich. In 2010 Vera interned at the Photography Museum Reykjavík Iceland and at the Gallery of Photography in Dublin.

Jasper bruijns
Catalogue : 2015Welterusten | Doc. expérimental | hdv | couleur | 13:0 | Pays-Bas | 2014
Jasper bruijns
Welterusten
Doc. expérimental | hdv | couleur | 13:0 | Pays-Bas | 2014

‘Goodnight’ shows nightly Rotterdam. A modern metropolis where light never dims and where loneliness unseen in the emptiness dwells. Someone stays awake to anonymously listen and talk, to encourage lost souls to a goodnight sleep. That does not always work. The night is patient, do not know what is happening, waiting for a new day.

Jasper Bruijns (b. 1989) grew up in Breda, The Netherlands, as one of an identical twin. At a young age he was interested in video and at the age of 16 he started a technical video study. During this study he moved to Stockholm for a period where he worked as an interim with video-artists as Johan Junker and Deniel Eslkils.
In 2010 Jasper applied to the art-academy St. Joost in Breda. There he studied under the supervision of filmmakers like Noud Heerkens, Marijke de Bie, Anne van der Putte, Iris Sikking and Rieks Soepenberg. He had the opportunity to experiment with film and to start developing his own filmmaking style. During his time in college he also worked at the production company Volya Films in Rotterdam with filmmakers as Stelle van Voorst van Beest, Ingeborg Jansen, Marleine van der Werf and Marco de Stefanis. The film Welterusten (Goodnight) shows nightly Rotterdam. A modern metroplis where light never dims and where unseen loneliness dwells in emptiness. Someone stays awake and anonymously listens, talks and encourages lost souls for a goodnight sleep. That doesn’t always work out well. The night is patient and does not know what is happening, waiting for a new day. With his short film Welterusten Jasper Bruijns did not only finish his studies succesfully but he also won the ‘TENT Academy Award 2014’ for best video art work for graduation students as well as the ‘Open Public Award’ . His work was nominated for the Tuschinski Award, the Dioraphte Award and the FPN Producenten Award. Welterusten has been screened at TENT, IMpakt, Open Plein Bioscoop and Nederlands Film Festival. 
At the moment Jasper lives in Breda where he works on his own films and as a documentary cameraman.