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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 
Gustavo spolidoro
Catalogue : 2009De Volta ao Quarto 666 | Documentaire | dv | couleur | 15:10 | Brésil | 2009
Gustavo spolidoro
De Volta ao Quarto 666
Documentaire | dv | couleur | 15:10 | Brésil | 2009

What is the future of cinema? In 1982, in Cannes, Wim Wenders invited many moviemakers to answer this question. 26 years later, the question remains, but Wenders is now on the other side of the camera.

Inspired by his father, a cinemaniac, Gustavo Spolidoro started to explore the world of film early on and inspired by filmmakers like Rogério Sganzerla and Woody Allen started his career as a director.

Alcaeus spyrou
Catalogue : 2018Anina | Vidéo | hdv | couleur | 19:51 | Grèce | Royaume-Uni | 2017
Alcaeus spyrou
Anina
Vidéo | hdv | couleur | 19:51 | Grèce | Royaume-Uni | 2017

A container ship is not an inanimate object. The ship that travels thousands of miles on the high seas is full of life, stories, tragedy and hope. The harbours reached, the industrial landscape one encounters, the cargo that floats in an endless ocean. Anina is a psycho-geographic film-essay, documenting the ethnographic tendencies of the industrial landscape and its malevolent stature over the individual. The shipping industry’s ever-shifting landscape, affecting even this interaction you are having with this text, crafts its own mythology.

Alcaeus Spyrou (b.1991, Elbasan, Albania) is a visual artist working with the cinematic image. He was born on the day the fall of the Hoxha dictatorship in Albania. The conflict that ensued, forced his family to seek refuge in Athens, Greece. The frequent displacement and oscillation between the two topographies, would focus Alcaeus’s gaze towards the shifting landscape of migration. In his practice, Alcaeus utilizes a psychoanalytical scope on cinema to deconstruct the inter-dependent nature of the medium. Through this process, he searches for new dialects of the cinematic language. By combining the two antithetical genres of fiction and non-fiction he establishes connections with the alienated environment. He informs the mythologies of contemporary migration that reveal collective trauma as the substance of our intricate relations to the other.

Giulio squillacciotti
Catalogue : 2011Casi la mitad de la historia | Fiction | | couleur | 7:46 | Italie | 2011
Giulio squillacciotti
Casi la mitad de la historia
Fiction | | couleur | 7:46 | Italie | 2011

All the memory of the world is contained in an old Academy we don?t know the location and time. The quarrel between two men from two different generations is told through vocal notes as annotations for a possible story yet to be told. The argument stands in the chances History has to be written. How do these two persons can tell a story? How do they deal with what History already told and what is possible to add? How to tell something while is happening? A story telling method as an inheritance, to be passed on from Maestro to pupil in the aseptic spaces of an Academy. Looking for the right balance between tradition and the possible re-invention of it, as two different generations and their different approach to key words of the Historic Study. The voice leading us to these spaces has never a face, but her subjective eye has the right detach of the present on past issues. Shot for the double solo show of Antoni Muntadas and Giulio Squillacciotti in Rome (I) in 2011.

Giulio Squillacciotti (Rome, Italy 1982) studied Medieval Art History in Barcelona and Rome, where he got his BA from Sapienza University. He earned a Master?s Degree (hons) in Visual Arts from the School of Architecture in Venice in 2009, where he studied Philosophy, Semiotics and Anthropology. Once completed his studies he won, again in Venice, a one year residency at the Bevilacqua La Masa Foundation with the Ateliers Program. Never trained as an artist, neither a film maker, his work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. He deals with the idea of tradition and the fictitious outlets of it, all spread through a system of layered meanings, which formally goes from film to documentary, from installation to live performing and talks. His works and talks have been shown and heard in New York and Boston (USA), Den Bosch (NL), Paris and Grenoble (FR), Istanbul (TR), Murcia (Manifesta 8, ES), Prague (CZ), Teheran (IR), Weimar (D); in Italy in Rome, Milan, Turin, Venice and Verona. He recently finished the editing of a feature documentary film (RMHC) on the punk/hardcore scene in Rome from the 80s and 90s.

Catalogue : 2018Visto due volte | Doc. expérimental | hdv | couleur | 11:40 | Italie | 2017
Giulio squillacciotti
Visto due volte
Doc. expérimental | hdv | couleur | 11:40 | Italie | 2017

In a school trip to the Cloister of Collegno, the biggest italian Insane Asylum closed in 1978, a class of teenagers visit the spaces as if they had been turned into a museum. Through the auxiliary help of an audio guide of apparently non-sense indications, the students shape a museum path which only exists around their steps.

Giulio Squillacciotti (Rome, Italy 19829. Artist, film-maker and researcher lives and works in Maastricht (NL). He is 2018/2019 Van Eyck Academie Residency Fellow and was part of the Dutch Pavilion at the 2018 Venice Architecture Biennale. Studied Medieval Art History in Barcelona and Rome, he later owned a MA hons in Visual Arts from the Venice University of Architecture IUAV. His work is mainly oriented on storytelling, cultural apexes and the way traditions re-shape in new contexts. His research merges together fiction and historical facts. Using film, documentary, sound and set design, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture.

Catalogue : 2017Archipelago | Documentaire | hdv | couleur | 61:0 | Italie | Iran | 2017
Giulio squillacciotti
Archipelago
Documentaire | hdv | couleur | 61:0 | Italie | Iran | 2017

Archipelago is a journey through ancient myths, exorcism rituals, sounds and spirits. In the south of Iran, on a group of islands of the Persian Gulf, humans and spirits coexist since centuries. The culture and traditions of these Islands are the result of the encounters between the African Diaspora, the Arab Countries and Iran, generating a unique system of syncretic beliefs. Spirits of different heritages and origins, called Bād, the Persian word for wind, moving through the air, take possession of the islanders bodies and can only be quieted through a music ceremony called the Zār Ritual. Thanks to an unprecedented access given to foreign film makers, the Film showcases stories and landscapes of the islanders daily life within the frame of the Rituals, giving, through pounding drum rhythms and wailing vocal chorus, a rare and unexpected glimpse of the Islamic Republic of Iran.

Giulio Squillacciotti (Rome, Italy 1982). Artist, Film maker and researcher lives and works in Milan (I) and Maastricht (NL). He studied Medieval Art History in Barcelona and Rome. He owns a MA in Visual Arts from the University of Architecture in Venice IUAV, where he studied Art, Philosophy, Semiotics and Anthropology. His work is mainly oriented on storytelling, cultural apexes and the way traditions re- shape in new contexts. His research merges together ction and historical facts. Using lm, documentary, sound and performance, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture. His work has been exhibited and screened internationally at, among the others, Les Rencontres Internationales at Centre Pompidou and Gayte Lyrique in Paris, the Berlin Haus der Kultur der Welt and (D), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), Istanbul 2010 European Capital of Culture, the Beirut Art Centre in Lebanon, the New York Photo Festival, the Dumbo Video and Columbia University in New York City and in the Official Competition at the 33rd and 35th Torino Film Festival Camilla Insom (Rome, Italy 1983). Anthropologist lives and works in Rome, Italy and Sulaimaniyah, Iraqi Kurdistan. After completing the MA in Cultural Anthropology at the University of Rome Sapienza, she’s currently a Phd candidate in Iranian Studies at University of Naples “ L`Orientale ”. Focus of her research is the modi cation of the category of sacred in different contexts through the analysis of ritual practices and their changing. In 2013 she researched the funerary practices of the Zoroastrian Parsi community of Bombay. Since 2014 her studies revolve around the Islam of the Kurds in Sulaimaniyah and Sangaw, Iraqi Kurdistan Kasnazaniyya, with particular reference to the Kasnazaniyya Su Brotherhood. She is in charge of the Anthropological Studies for the Italian Archaeological Mission in Iraqi Kurdistan (MAIKI) of “ Sapienza ” University of Rome, member of the Societas Iranologica Europea (SIE) and member of the International Institute of Kurdish Culture.

Catalogue : 2012RMHC 1989/1999 - Hardcore a Roma | Doc. expérimental | dv | couleur et n&b | 86:0 | Italie | 2011
Giulio squillacciotti
RMHC 1989/1999 - Hardcore a Roma
Doc. expérimental | dv | couleur et n&b | 86:0 | Italie | 2011

From the mid 80s until the end of the 90s, Rome was the scene of a local phenomenon linked to the music and lifestyle of American Punk/Hardcore. This is the story of those who were the first to import some musical and attitudinal features from the USA until they shaped a new tradition out of it in Rome. Shot in five years, following the Do It Yourself convictions, the film is a a socio-anthropological journey into the daily nowadays life of those who, back then, were struggling to set such spontaneous movement into the roman society and the already existing underground movement. An analysis on about 15 years of self-made life before the internet, featuring fanzines, early italian skateboarding, records, counter-culture, animalism, music, fashion, with a narrative structured through the juxtaposition of interviews and original footage. How notions of a foreign phenomenon can be imported before the internet, develop its own features based on the the local possibilities and become something else from the origin? How a tradition can be re-invented by moving the scenario of its happenings? www.rmhc-film.com

Giulio Squillacciotti was born in Rome (I) in 1982 and has been living in Ireland, Spain, U.S.A., and Turkey. He owns a BA in Medieval Art History from Rome University and a MA hons in Visual Arts from the Architecture School of Venice. He is an artist working mainly with film, video, photography, text and installations. This is his first feature documentary film. His work has been exhibited, presented and screened in various international locations like, among the others, the ENSBA in Paris and the Magasin CNAC in Grenoble (FR), the Columbia University in New York City, the New York Photo Festival 2012 and the M.I.T. in Boston (USA), the Fondazione Sandretto Re Rebaudengo in Turin and MAXXI Museum in Rome (I), the Haus der Kultur der Welt in Berlin and the Neues Museum in Weimar (D), the Manifesta 8 Venue in Murcia (E), the Prague Biennale (CZ). He lives between Milan (I) and Vienna (A).

Catalogue : 2011Zimmerreise | Fiction | super8 | couleur | 2:30 | Italie | Autriche | 2010
Giulio squillacciotti
Zimmerreise
Fiction | super8 | couleur | 2:30 | Italie | Autriche | 2010

A woman wanders around the 19th floor of a building, from an anonymous industrialized city. She has been told, through a series of cryptic indications, how to paint an imaginary landscape where to meet with the author of those letters. The geographical and physical distance with the person who is writing to her, can be reduced only through a methodic work of imagination and detach from what is surrounding her. The chance of traveling from a room, by seeing with eyes closed, to a place that exists only in both their minds. The difficult task is here expressed by the contradictory indications he gives her, as an explicit giving of what is a long distance communication with its time lapses. The strength to disclose the hitch can only be found in the accurate recollection of memories she has of their real encounters, once happened, far in time, but far, from where they both came.

Giulio Squillacciotti (Rome, Italy 1982) studied Medieval Art History in Barcelona and Rome, where he got his BA from Sapienza University. He earned a Master?s Degree (hons) in Visual Arts from the School of Architecture in Venice in 2009, where he studied Philosophy, Semiotics and Anthropology. Once completed his studies he won, again in Venice, a one year residency at the Bevilacqua La Masa Foundation with the Ateliers Program. Never trained as an artist, neither a film maker, his work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. He deals with the idea of tradition and the fictitious outlets of it, all spread through a system of layered meanings, which formally goes from film to documentary, from installation to live performing and talks. His works and talks have been shown and heard in New York and Boston (USA), Den Bosch (NL), Paris and Grenoble (FR), Istanbul (TR), Murcia (Manifesta 8, ES), Prague (CZ), Teheran (IR), Weimar (D); in Italy in Rome, Milan, Turin, Venice and Verona. He recently finished the editing of a feature documentary film (RMHC) on the punk/hardcore scene in Rome from the 80s and 90s.

Giulio squillacciotti, insom camilla
Catalogue : 2011Casi la mitad de la historia | Fiction | | couleur | 7:46 | Italie | 2011
Giulio squillacciotti , insom camilla
Casi la mitad de la historia
Fiction | | couleur | 7:46 | Italie | 2011

All the memory of the world is contained in an old Academy we don?t know the location and time. The quarrel between two men from two different generations is told through vocal notes as annotations for a possible story yet to be told. The argument stands in the chances History has to be written. How do these two persons can tell a story? How do they deal with what History already told and what is possible to add? How to tell something while is happening? A story telling method as an inheritance, to be passed on from Maestro to pupil in the aseptic spaces of an Academy. Looking for the right balance between tradition and the possible re-invention of it, as two different generations and their different approach to key words of the Historic Study. The voice leading us to these spaces has never a face, but her subjective eye has the right detach of the present on past issues. Shot for the double solo show of Antoni Muntadas and Giulio Squillacciotti in Rome (I) in 2011.

Giulio Squillacciotti (Rome, Italy 1982) studied Medieval Art History in Barcelona and Rome, where he got his BA from Sapienza University. He earned a Master?s Degree (hons) in Visual Arts from the School of Architecture in Venice in 2009, where he studied Philosophy, Semiotics and Anthropology. Once completed his studies he won, again in Venice, a one year residency at the Bevilacqua La Masa Foundation with the Ateliers Program. Never trained as an artist, neither a film maker, his work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. He deals with the idea of tradition and the fictitious outlets of it, all spread through a system of layered meanings, which formally goes from film to documentary, from installation to live performing and talks. His works and talks have been shown and heard in New York and Boston (USA), Den Bosch (NL), Paris and Grenoble (FR), Istanbul (TR), Murcia (Manifesta 8, ES), Prague (CZ), Teheran (IR), Weimar (D); in Italy in Rome, Milan, Turin, Venice and Verona. He recently finished the editing of a feature documentary film (RMHC) on the punk/hardcore scene in Rome from the 80s and 90s.

Catalogue : 2018Visto due volte | Doc. expérimental | hdv | couleur | 11:40 | Italie | 2017
Giulio squillacciotti , insom camilla
Visto due volte
Doc. expérimental | hdv | couleur | 11:40 | Italie | 2017

In a school trip to the Cloister of Collegno, the biggest italian Insane Asylum closed in 1978, a class of teenagers visit the spaces as if they had been turned into a museum. Through the auxiliary help of an audio guide of apparently non-sense indications, the students shape a museum path which only exists around their steps.

Giulio Squillacciotti (Rome, Italy 19829. Artist, film-maker and researcher lives and works in Maastricht (NL). He is 2018/2019 Van Eyck Academie Residency Fellow and was part of the Dutch Pavilion at the 2018 Venice Architecture Biennale. Studied Medieval Art History in Barcelona and Rome, he later owned a MA hons in Visual Arts from the Venice University of Architecture IUAV. His work is mainly oriented on storytelling, cultural apexes and the way traditions re-shape in new contexts. His research merges together fiction and historical facts. Using film, documentary, sound and set design, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture.

Catalogue : 2017Archipelago | Documentaire | hdv | couleur | 61:0 | Italie | Iran | 2017
Giulio squillacciotti , insom camilla
Archipelago
Documentaire | hdv | couleur | 61:0 | Italie | Iran | 2017

Archipelago is a journey through ancient myths, exorcism rituals, sounds and spirits. In the south of Iran, on a group of islands of the Persian Gulf, humans and spirits coexist since centuries. The culture and traditions of these Islands are the result of the encounters between the African Diaspora, the Arab Countries and Iran, generating a unique system of syncretic beliefs. Spirits of different heritages and origins, called Bād, the Persian word for wind, moving through the air, take possession of the islanders bodies and can only be quieted through a music ceremony called the Zār Ritual. Thanks to an unprecedented access given to foreign film makers, the Film showcases stories and landscapes of the islanders daily life within the frame of the Rituals, giving, through pounding drum rhythms and wailing vocal chorus, a rare and unexpected glimpse of the Islamic Republic of Iran.

Giulio Squillacciotti (Rome, Italy 1982). Artist, Film maker and researcher lives and works in Milan (I) and Maastricht (NL). He studied Medieval Art History in Barcelona and Rome. He owns a MA in Visual Arts from the University of Architecture in Venice IUAV, where he studied Art, Philosophy, Semiotics and Anthropology. His work is mainly oriented on storytelling, cultural apexes and the way traditions re- shape in new contexts. His research merges together ction and historical facts. Using lm, documentary, sound and performance, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture. His work has been exhibited and screened internationally at, among the others, Les Rencontres Internationales at Centre Pompidou and Gayte Lyrique in Paris, the Berlin Haus der Kultur der Welt and (D), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), Istanbul 2010 European Capital of Culture, the Beirut Art Centre in Lebanon, the New York Photo Festival, the Dumbo Video and Columbia University in New York City and in the Official Competition at the 33rd and 35th Torino Film Festival Camilla Insom (Rome, Italy 1983). Anthropologist lives and works in Rome, Italy and Sulaimaniyah, Iraqi Kurdistan. After completing the MA in Cultural Anthropology at the University of Rome Sapienza, she’s currently a Phd candidate in Iranian Studies at University of Naples “ L`Orientale ”. Focus of her research is the modi cation of the category of sacred in different contexts through the analysis of ritual practices and their changing. In 2013 she researched the funerary practices of the Zoroastrian Parsi community of Bombay. Since 2014 her studies revolve around the Islam of the Kurds in Sulaimaniyah and Sangaw, Iraqi Kurdistan Kasnazaniyya, with particular reference to the Kasnazaniyya Su Brotherhood. She is in charge of the Anthropological Studies for the Italian Archaeological Mission in Iraqi Kurdistan (MAIKI) of “ Sapienza ” University of Rome, member of the Societas Iranologica Europea (SIE) and member of the International Institute of Kurdish Culture.

Catalogue : 2012RMHC 1989/1999 - Hardcore a Roma | Doc. expérimental | dv | couleur et n&b | 86:0 | Italie | 2011
Giulio squillacciotti , insom camilla
RMHC 1989/1999 - Hardcore a Roma
Doc. expérimental | dv | couleur et n&b | 86:0 | Italie | 2011

From the mid 80s until the end of the 90s, Rome was the scene of a local phenomenon linked to the music and lifestyle of American Punk/Hardcore. This is the story of those who were the first to import some musical and attitudinal features from the USA until they shaped a new tradition out of it in Rome. Shot in five years, following the Do It Yourself convictions, the film is a a socio-anthropological journey into the daily nowadays life of those who, back then, were struggling to set such spontaneous movement into the roman society and the already existing underground movement. An analysis on about 15 years of self-made life before the internet, featuring fanzines, early italian skateboarding, records, counter-culture, animalism, music, fashion, with a narrative structured through the juxtaposition of interviews and original footage. How notions of a foreign phenomenon can be imported before the internet, develop its own features based on the the local possibilities and become something else from the origin? How a tradition can be re-invented by moving the scenario of its happenings? www.rmhc-film.com

Giulio Squillacciotti was born in Rome (I) in 1982 and has been living in Ireland, Spain, U.S.A., and Turkey. He owns a BA in Medieval Art History from Rome University and a MA hons in Visual Arts from the Architecture School of Venice. He is an artist working mainly with film, video, photography, text and installations. This is his first feature documentary film. His work has been exhibited, presented and screened in various international locations like, among the others, the ENSBA in Paris and the Magasin CNAC in Grenoble (FR), the Columbia University in New York City, the New York Photo Festival 2012 and the M.I.T. in Boston (USA), the Fondazione Sandretto Re Rebaudengo in Turin and MAXXI Museum in Rome (I), the Haus der Kultur der Welt in Berlin and the Neues Museum in Weimar (D), the Manifesta 8 Venue in Murcia (E), the Prague Biennale (CZ). He lives between Milan (I) and Vienna (A).

Catalogue : 2011Zimmerreise | Fiction | super8 | couleur | 2:30 | Italie | Autriche | 2010
Giulio squillacciotti , insom camilla
Zimmerreise
Fiction | super8 | couleur | 2:30 | Italie | Autriche | 2010

A woman wanders around the 19th floor of a building, from an anonymous industrialized city. She has been told, through a series of cryptic indications, how to paint an imaginary landscape where to meet with the author of those letters. The geographical and physical distance with the person who is writing to her, can be reduced only through a methodic work of imagination and detach from what is surrounding her. The chance of traveling from a room, by seeing with eyes closed, to a place that exists only in both their minds. The difficult task is here expressed by the contradictory indications he gives her, as an explicit giving of what is a long distance communication with its time lapses. The strength to disclose the hitch can only be found in the accurate recollection of memories she has of their real encounters, once happened, far in time, but far, from where they both came.

Giulio Squillacciotti (Rome, Italy 1982) studied Medieval Art History in Barcelona and Rome, where he got his BA from Sapienza University. He earned a Master?s Degree (hons) in Visual Arts from the School of Architecture in Venice in 2009, where he studied Philosophy, Semiotics and Anthropology. Once completed his studies he won, again in Venice, a one year residency at the Bevilacqua La Masa Foundation with the Ateliers Program. Never trained as an artist, neither a film maker, his work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. He deals with the idea of tradition and the fictitious outlets of it, all spread through a system of layered meanings, which formally goes from film to documentary, from installation to live performing and talks. His works and talks have been shown and heard in New York and Boston (USA), Den Bosch (NL), Paris and Grenoble (FR), Istanbul (TR), Murcia (Manifesta 8, ES), Prague (CZ), Teheran (IR), Weimar (D); in Italy in Rome, Milan, Turin, Venice and Verona. He recently finished the editing of a feature documentary film (RMHC) on the punk/hardcore scene in Rome from the 80s and 90s.

Richard squires
Catalogue : 2007PROGRAMME | Doc. expérimental | dv | couleur | 35:0 | Royaume-Uni | 2007
Richard squires
PROGRAMME
Doc. expérimental | dv | couleur | 35:0 | Royaume-Uni | 2007

PROGRAMME est l`aboutissement d`un projet basé sur l`hôpital de la Salpêtrière à Paris à l`initiative de l`artiste Richard Squires en 2003 : un travail de vidéo hybride qui alterne documentaire, dramatisation et essais sporadiques de communication hypnotique. A la fin du 18ième siècle, La Salpêtrière était le théâtre des ?leçons du mardi? du Docteur Charcot, des démonstrations dramatiques de l`hystérie salpêtrienne avec la participation des « patients vedettes » tels que Blanche Wittman. PROGRAMME explore les aspects de la pratique du neurologue qui impliquent manipulation, connivence ou simulation et réexamine l`histoire de la Salpêtrière en tant qu`institution de contrôle social pendant l`ancien régime. Entretiens avec historiens, reconstitutions fictionnelles, performances cataleptiques et un narrateur syphilitique se juxtaposent pour dépeindre un récit hystérique qui somme toute dévoile sa propre construction. Avec Véronique Leroux-Hugon (conservateur, Bibliothéque Charcot), Mary Bosworth, Thirza Vallois, Alexis Terry et Nick Ewans.


Richard Squires est un artiste visuel né en 1970 qui vit et travaille à Londres. Il a utilisé du film, de la vidéo, des installations et l'interactivité. C'est aussi un membre fondateur du projet de bandes-dessinées et d'art LET ME FEEL YOUR FINGER FIRST qui dissémine de l?animation, des bandes-dessinées mais aussi des travaux vivants comme sur internet. Ses travaux ont été présenté internationalement comme récemment à Whitechapel Gallery, Londres, Site Gallery, Sheffield, el le Centre d'Art contemporain de Basse-Normandie, France. En 2003 il eut une résidence à la cité internationale des arts, Paris, qui fût le catalyseur pour ses travaux sur la Salpetrière. Avec LMFYFF, il vient de finir Francis, une série animée pour la tv qu'il présente à travers le Royaume-Uni en Novembre avant de passer sur Channel 4 en Décembre 2007.

Maxence stamatiadis
Catalogue : 2016Période Killer | Doc. expérimental | hdv | couleur | 50:0 | France | 2015
Maxence stamatiadis
Période Killer
Doc. expérimental | hdv | couleur | 50:0 | France | 2015

Dans son HLM sur la Nationale 3, Edouard Mouradian, retraité et intraitable, ne supporte plus les vacheries du quotidien. Mais comment impunément étriper la fliquette qui verbalise, exploser à la grenade le voisin qui râle pour rien ou trucider le jeune gars qui arrache le sac de votre femme ? Edouard Mouradian en rêve beaucoup et à fond…


Maxence Stamatiadis, réalisateur né à Paris en 1988 Diplômé des Arts Décoratifs de Paris (ENSAD) en 2012. Il réalise plusieurs courts-métrages ainsi que des travaux photographiques durant ses études. En 2012, il part plusieurs mois à New York où il travaille comme assistant pour des réalisateurs tels que Abel Ferrara et les frères Safdie. Depuis 2013, il réalise des courts métrages, un moyen métrage et plusieurs vidéos experimentales. Il vit et travaille à Paris.

Annette stav johanssen
Catalogue : 2007HANG SAFELY DIE SLOWLY | Vidéo expérimentale | dv | couleur | 6:0 | Norvège | Suède | 2007
Annette stav johanssen
HANG SAFELY DIE SLOWLY
Vidéo expérimentale | dv | couleur | 6:0 | Norvège | Suède | 2007

Un numéro d'agence de media-exorcisme dans lequel l'imprévisibilité fonctionne comme la carte de développement. Une oeuvre qui challenge le comportement post- spéculatif ou les rôles et les personnages sont prédéterminés dans un script pré-écrit. C est une recherche de risque, des chances, de grands mouvement et des situation personnifiées, les réactions directs et une action continuelle. Le choix de la dramaturgie est une extraction de la pensée d'Aristote et d?Hollywood, ou l'essence de l'action et de la composition est toujours conduit par la gène et le conflit, planté dans l'histoire pré-écrite avec les personnages impliqués. La situation est Brechtienne, ou le film illustre ses illusions et à ce moment devient un effet de narration aliéné. Il n?y a qu'une règle, contrôler le système entier, être l'image intérieure et le cadre extérieur. Il n'y a qu'une pièce, la porte est fermée, vous devriez être en sécurité. NOUS, sanglés dans le système de la totalité informative, ceci est devenu un acte de formalité.


Annette Stav Johanssen, née en 1979 à Kristiansand en Norvège, vit et travaille à Malmö en Suède. Elle produit principalement des performances, des vidéos, écrit des textes et se produit en concert. Elle se sert souvent d'elle même comme sujet challengeant l'incarnation des situations et expérimente aussi beaucoup avec la voix (Hang Safely Die Slowly est pourtant un film muet). Elle est membre de la Fine Art Union en collaboration avec Synnove G. Wetten, une autre artiste norvégienne. Fine Art Union est un collaboration interdisciplinaire qui opère dans les dynamiques d'expressions spectaculaire rebondissantes contre des comportement analytique à l'aide de cinéma neo sci-fi et d'actions ritualisées.

Christopher steel
Catalogue : 2005Tube | Film expérimental | 16mm | noir et blanc | 7:30 | Royaume-Uni | 2004
Christopher steel
Tube
Film expérimental | 16mm | noir et blanc | 7:30 | Royaume-Uni | 2004

Le spectacle quotidien du réseau des métros à Londres est amplifié par une surimpression caméra. Le négatif est peint pour supprimer publicités et graffiti.


Christopher Stell est né à Roehampton en 1968. Il a étudié à l'Université d'Edimbourg. Il a suivi des cours de Production de Film 16mm à la Half-Way Production House, Balham, en 1993. Il a rejoint la Filmmakers? Coop de Londres en 1993.

Lisa + Kim steele, kim tomzak
Catalogue : 2006Make love not war | Installation vidéo | dv | couleur | 2:10 | Canada | 2003
Lisa + Kim steele , kim tomzak
Make love not war
Installation vidéo | dv | couleur | 2:10 | Canada | 2003

Dans le très succinct "Make Love, Not War" (2003), la phrase classique du titre apparaît sous forme d'écriture avançant lentement sur des gros plans de superbes tulipes ou de fourmis en train de se nourrir.


Lisa Steele est née à Kansas City dans le Missouri, en 1947, et a étudié à la University of Missouri avant de s'installer à Toronto en 1971. Né à Victoria en Colombie-Britannique en 1952, Kim Tomczak est diplômé de la Vancouver School of Art (aujourd'hui l'Emily Carr Institute of Art and Design). Steele et Tomczak enseignent tous deux au département des beaux-arts de la University of Toronto. Lisa Steele et Kim Tomczak ?uvrent dans le milieu des arts médiatiques depuis les années 1970. Comme artistes, administrateurs, professeurs, auteurs, commissaires, créateurs d'événements et de projets, ils ont profondément influencé la vidéo et les disciplines connexes au Canada, et ce depuis le début de leur collaboration en 1983.

Lisa steele, kim tomczak
Catalogue : 2018The Afternoon Knows What the Morning Never Suspected | Doc. expérimental | 4k | couleur et n&b | 21:0 | Canada | 2018
Lisa steele , kim tomczak
The Afternoon Knows What the Morning Never Suspected
Doc. expérimental | 4k | couleur et n&b | 21:0 | Canada | 2018

The Afternoon Knows What the Morning Never Suspected. It is a 3-channel 22-minute work that opens with a brief history of the Vietnam War, assembled from historical documents and footage, and then proceeds to detail Canada's complicity in the conflict, drawing attention to the massive profit that Canadian companies made during this time. The work also references the American draft dodgers who settled in Canada in the late 1960s, creating a context for the connection to today with a mesmerizing drive down Yonge Street in 2017. It is an interesting time to re-examine Canada's self-view in relation to the Vietnam War: yes we took in the draft dodgers (the work makes ample reference to this) but we also profited from the war (in spite of the fact that these profits were strictly against our own laws). The work concludes with the on-screen presence of our two performers, each telling the other's life story: one a first generation Canadian, the child of a Serbian/Croatian marriage; the other born in Canada to Vietnamese immigrant parents.

Lisa Steele and Kim Tomczak have worked exclusively in collaboration since 1983, producing videotapes, performances and photo/text works. In 2009, Steele + Tomczak were awarded an Honourary Doctorate by the University of British Columbia (Okanagan); in 2005, a Governor General`s Award for Lifetime Achievement in Visual & Media Arts; in 1994 they received both a Toronto Arts Award and the Bell Canada prize for excellence in Video Art. They are co-founders of Vtape, an award-winning media arts centre established in 1983 in Toronto. Currently Steele is Artistic Director and Tomczak is Restoration and Collections Management Director. Both teach at the University of Toronto in The John H. Daniels Faculty of Architecture, Landscape, and Design. Major public art commissions include: Watertable (2009, and expanded in 2011) a light and sound installation under the Gardiner Expressway (a raised highway) that marks the original shoreline of Lake Ontario at the foot of historic Fort York; …bump in the night (Barrie) (2010) commissioned by McLaren Art Centre and installed in bus shelters; Falling Up (2006) a video work for the Winnipeg Art Gallery; Love Squared (2006) screened on the 2400 square foot video board at Yonge & Dundas Square in Toronto. A major survey of their work, The Long Time: the 21st century work of Steele + Tomczak, curated by Paul Wong (with a 84 page catalogue), opened at On Main Gallery and VIVO, Vancouver, BC in September 2012; the exhibition traveled to A Space Gallery, Toronto, ON (2013), the Art Gallery of Windsor, ON (2016-17), and Dalhousie University Art Gallery, Halifax, NS (2017). Legal Memory, their first feature-length work, has been shown in a number of film festivals since its release including: The Los Angeles Gay and Lesbian Festival, the Festival Internazionale Cinema Giovani (Turin, Italy), the Toronto Festival of Festivals and broadcast on TVOntario. In 1996, their work BLOOD RECORDS: written and annotated, received a world premiere at the Museum of Modern Art in New York and toured across Canada with a bi-lingual catalogue published by The Oakville Galleries. Recent solo exhibitions of their works have taken place at Anna Leonowens Gallery, Halifax, (2014); Le Mois de la Photo a Montreal (2011); WHARF Centre D`art contemporain, Herouxville-St. Clair, France (2010); Diaz Contemporary, Toronto (2009); Akademie Schloss Solitude, Stuttgart, (2009); Dazibao, Montreal (2008); the Canadian Cultural Centre, Paris (2003). Selected group exhibitions and screenings of their work include: Every. Now. Then. Reframing Nationhood, Art Gallery of Ontario (2017); Imago Mundi, Instituto Veneto di Scienze, Lettere e Arti, Venice, Italy (2017); La Biennale de Montréal, Musee d'art contemporain de Montréal (2014); Carbon 14: Climate is Culture, Royal Ontario Museum, Toronto (2013); STITCHES: Suzhou Fast Forward, Workshop, Toronto (2011); Empire of Dreams: phenomenology of the built environment at the Museum of Contemporary Canadian Art, Toronto (2010); a focus screening at EXIS: Experimental Film and Video Festival in Seoul, Korea (2010); the Berlin Film Festival, Forum Expanded (2009); Akbank Sanat, Istanbul (2009); TIFF (Toronto International Film Festival) Future Projections (2009); Sophia, Bulgaria at the Central Bath House (2008); a focus screening at Rencontres Internationales Paris/Berlin/Madrid (2006); Beyond/In Western New York, organized by Albright Knox Gallery, Buffalo (2005); Trivandrum Video Festival, New Delhi (2003); City of York Public Gallery, York, England (2000).

Lisa steele, kim tomczak
Jakob steensen
Grzegorz stefanski
Catalogue : 2018Restraint | Vidéo | hdv | noir et blanc | 1:0 | Pologne | 0 | 2016
Grzegorz stefanski
Restraint
Vidéo | hdv | noir et blanc | 1:0 | Pologne | 0 | 2016

I created this work for Wola Museum in Warsaw. I was inspired by anonymous documentary photograph probably from 50` that puzzled me as very contemporary and unbelievably well staged as for a snapshot. I was thinking a lot about how language of “reality” changes over time and how it can be easily influenced reinterpreted. And then I relied that reenactments are very bodily reinterpretation of images, that they make individual bodies to be mediums of transformation meanings; and I realised that their growing popularity and superficial innocence frightens me. I decided to reenact this photograph I came across and asked members of historical re-enactment groups to do it. Later I also wrote accompanying essay in which I have put into words my interest in language of documentary in contemporary art

Grzegorz Stefanski, born in 1983 in Czluchow (PL), lives and works in Warsaw and London where he is currently an artist in residence at Sarabande Foundation. Before attending art school, he earned master’s degree in philosophy and made his artistic debut in with solo exhibition during Cracow Photomonth Festival in 2010. He concluded his artistic education at The Slade School of Fine Art in London and Miroslaw Balka’s Studio of Spatial Activities in Warsaw. In 2017 he won the Ivan Juritz Prize in London and the Grand Prix at the Biennale of Young Art in Poland. He has exhibited his works at the Whitechapel Gallery in London (2018), Museum of Modern Art in Warsaw (2018), Ujazdowski Castle Centre of Contemporary Art (2018), Manifesta 11 in Zurich (2016), Pastificio Cerere Foundation in Rome (2014) and the NY Art Book Fair at MoMA PS1 in New York (2010). He has collaborated, among others, with Nowy Teatr in Warsaw (2016), National Museum in Warsaw (2017), and Bunkier Sztuki Gallery of Contemporary Art in Cracow (2018).

steina
Catalogue : 2005Hraun og mosi | Art vidéo | dv | couleur | 13:5 | Islande | USA | 2005
steina
Hraun og mosi
Art vidéo | dv | couleur | 13:5 | Islande | USA | 2005

Steina was born in Reykjavik, Iceland, in 1940. She studied violin and music theory, and in 1959 received a scholarship from the Czechoslovak Ministry of Culture to attend the State Music Conservatory in Prague. Woody and Steina married in Prague in 1964, and shortly thereafter she joined the Icelandic Symphony Orchestra. After moving to the United States in 1965 she worked in New York City as a freelance musician. She began working with video in 1969, and since then her various tapes and installations have been exhibited in USA, Europe and Asia. Although her main thrust is in creating Video Tapes and Installations she has recently become involved in interactive performance in public places, playing a digitally adapted violin to move video images displayed on large video projectors. In 1971 she co-founded The Kitchen, an Electronic Media Theater in New York. Steina has been an artist-in-residence at the National Center for Experi-ments in Television, at KQED in San Francisco, and at WNET/Thirteen in New York. In 1988 she was an artist-in-residence in Tokyo on a U.S./Japan Friendship Committee grant. She has received funding from the New York State Council on the Arts, the National Endowment for the Arts, the Corporation for Public Broadcasting, the Guggenheim Foundation, the Rockefeller Foundation, the American Film Institute and the New Mexico Arts Division. She received the Maya Deren Award in 1992 and the Siemens Media Art Prize in 1995. In 1993 she co-curated with Woody the exhibition and catalogue, Eigenwelt der Apparatewelt (Pioneers of Electronic Art) for Ars Electronica in Linz, Austria. In 1996 she served as the artistic co-director and software collaborator at STEIM (Studio for Electronic Instrumental Music) in Amsterdam. In 1996 Steina and Woody showed eight new media installations at the San Francisco Museum of Modern Art, an exhibition repeated in Santa Fe a few months later. Her installation, titled Orka was featured in the Icelandic Pavilion at the 1997 Venice Bienale. In 1999 she showed three installations in three countries: "Nuna" in Albuquerque, New Mexico, "Textures" in Reykjavik, Iceland and "Machine Vision" in Milano, Italy. She created two installations for the Art Festival 2000 in Reykjavik, Iceland. In 2001 she was invited to festivals in Norway, Russia, Estonia, Portugal, Montreal, England and Italy. Between July and October of 2002 she realized four installations in four locations in her hometown of 22 years, Santa Fe, NM

Jörg steinmann
Catalogue : 2005Monologue | Art vidéo | dv | couleur | 1:30 | Allemagne | 2004
Jörg steinmann
Monologue
Art vidéo | dv | couleur | 1:30 | Allemagne | 2004

La vidéo MONOLOGUE rassemble des photographies individuelles et apparaît comme un flip-book en mouvement. On peut y voir le reflet de l'auteur dans la fenêtre d'un appartement. Les photographies ont été prises sans pied, d'où une impression d'agitation de la photo-film. L'accompagnement musical est un air de guitare sèche en boucle. Au milieu de la vidéo interviennent les sons d'un code morse. Simultanément, l'image vidéo se colore en rouge. La traduction du code morse est le mot M-O-N-O-L-O-G-U-E. Ensuite l'image disparaît.


Je suis né le 4 février 1959 à Oberhausen dans le Rhineland, où j'ai grandi. C'est là que j'ai effectué toute ma scolarité de 1965 à 1978, année de mon baccalauréat. En 1978/1979, j'ai accompli mon service militaire à Emmerich (Rhine) en tant que routier. En 1979, j'ai entamé des études de latin et de géographie que j'ai arrêtées en 1980 pour étudier à l'Académie des Arts de Dusseldorf. J'ai étudié la sculpture auprès des professeurs Norbert Kriche et David Rabinovitch. En 1985, j'ai reçu le prix du meilleur élève. En 1990, j'ai terminé mes études. Depuis lors, je vis et travaille à Dusseldorf. En 1997, j'ai travaillé sur ma première vidéo-performance, toujours en lien avec la création de bruits et de sons. En 2004, j'ai fait la connaissance du duo d'Essen "Interzone perceptible", avec qui j'ai monté un projet vidéo sur la musique du compositeur américain Jeff Kowalkovski. Intitulée "Westbeth", cette œuvre a été exposée au Van Abbemuseum à Eindhoven (Pays-Bas) en avril et au cinéma Eulenspiegel à Essen en juin 2005.

Annett stenzel
Catalogue : 2018,D (Silence Song) | Fiction expérimentale | mov | couleur | 13:17 | Allemagne | 2018
Annett stenzel
,D (Silence Song)
Fiction expérimentale | mov | couleur | 13:17 | Allemagne | 2018

Annett Stenzel ist Künstlerin und Filmemacherin. Sie studierte Bildende Kunst in Halle, Berlin und aktuell Film in Hamburg. Sie lebt und arbeitet derzeit in Hamburg.

Mangriotis stephanos
Catalogue : 2016Blue Sky From Pain | Documentaire | hdv | couleur | 14:40 | Grèce | France | 2016
Mangriotis stephanos
Blue Sky From Pain
Documentaire | hdv | couleur | 14:40 | Grèce | France | 2016

Un homme est enfermé sans savoir pourquoi. Ou est-il ? Pour combien de temps ? Par des images de centres de rétention de migrant abandonnés en Grèce et à travers une reconstruction d’un récit, Blue Sky from Pain nous plonge dans un univers clos, effacé, en ruines…


Stephanos Mangriotis is a freelance visual artist, living and working in Marseille. He was born in Athens and first studied Maths and Philosophy in Bristol before studying photography in Paris. In his projects, he uses photography, film and multimedia forms to create stories about immigration, borders and marginality. Besides his personal work, he also coordinates a photography workshop with people that suffer from mental illnesses with the association Dekadrage, based in Marseille. In the last years he has collaborated with social scientists in order to create cross disciplinary projects in the form of multimedia pieces and short films.

Ann steuernagel
Catalogue : 2006Roar | Vidéo expérimentale | dv | couleur et n&b | 7:30 | USA | 2005
Ann steuernagel
Roar
Vidéo expérimentale | dv | couleur et n&b | 7:30 | USA | 2005

Il y a "quelque chose d'autre, de sans cesse et obstinément présent, bien que l'on ne l'entende pas, ou ne puisse pas encore l'entendre.- celui qui l'entend le premier a de bonnes chances d'hériter de l'avenir." - R. Murray Schafer


Ann Steuernagel est une artiste dans le domaine du son et de la vidéo expérimentale. Son travail accentue les gestes et rythmes quotidiens de ses sujets et prend sa source dans une collaboration de 20 ans avec le chorégraphe Caitlin Corbett. Le travail de Ann a circulé dans tous les Etats-Unis, le Canada, le Mexique et l'Europe. Elle a remporté en 1999 le grand prix du festival d'art vidéo à Locarno, Suisse, et bénéficie d'une bourse de la Somerville Arts Lottery et de la LEF, elle a le titre de membre du Massachusetts Cultural Council Media et du Radcliffe Institute for Advanced Study de Harvard. Ann est professeur assistante au département d'arts visuels de l'Université Northeastern , Boston, Massachusetts.

Catalogue : 2007Pledge | Vidéo expérimentale | dv | couleur | 6:0 | USA | 2006
Ann steuernagel
Pledge
Vidéo expérimentale | dv | couleur | 6:0 | USA | 2006

?Pledge? est un morceau de bande qui a été trouvé. Il a été créé à partir d?une collection de documentaires obscurs qui datent de la période de la guerre du Vietnam. La matière est malheureusement intemporelle et nous fournit un moyen abstrait de réfléchir sur la guerre et, on l?espère, la paix.


Ann Steuernagel est une artiste de vidéo expérimentale et une artiste du son. Son travail visuel accentue les mouvements et les rythmes quotidiens de ses sujets. Le travail sonore d?Ann ? un mélange de musique, de sonorité ambiante, de mots parlés et de bruit ? est né de sa collaboration avec la chorégraphe Caitlin Corbett. Le travail d?Ann Steuernagel a été présenté lors de festivals, mais aussi dans des galeries et des microcinémas à travers les Etats-Unis et au Canada, au Mexique et en Europe. Elle a reçu le grand prix au 20ème VideoArt Festival de Locarno en Suisse, elle a également reçu un Massachusetts Cultural Council Media Fellowship, un prix LEF, et un fellowship du Radcliffe Institute for Advanced Study. Elle est professeur assistant dans le département Art de l?université de Northeastern. Son travail est distribué par roARaTorio Distributors, Paris, France.

Catalogue : 2010The Garden | Art vidéo | dv | couleur et n&b | 9:30 | USA | 2010
Ann steuernagel
The Garden
Art vidéo | dv | couleur et n&b | 9:30 | USA | 2010

"The Garden" is a reflection on climate change. It is created from found, recycled film footage and is presented in three parts. "I work almost exclusively with found footage (educational and industrial films, and home movies). Once I have appropriated the footage I practice the art of montage with great pleasure by colliding disparate images, looping clips and manipulating time. Such techniques accentuate the gestures and quotidian rhythms of my subjects distilling the essence of a time, place or idea. Although a narrative is never explicit one may be implied."

Ann Steuernagel is an experimental video and sound artist. Her work has been presented throughout the United States and in Canada, Mexico, and Europe. She is the recipient of the grand prize at the XX VideoArt Festival in Locarno, Switzerland, a Massachusetts Cultural Council Media Fellowship, a LEF grant, and a fellowship from the Radcliffe Institute for Advanced Study. Ann is an Assistant Professor in the Department of Art + Design at Northeastern University.

Imogen stidworthy
Catalogue : 2010Barrabackslarrabang | Vidéo expérimentale | 0 | couleur | 9:13 | Royaume-Uni | 2010
Imogen stidworthy
Barrabackslarrabang
Vidéo expérimentale | 0 | couleur | 9:13 | Royaume-Uni | 2010

In this film Imogen Stidworthy interweaves standard and subverted English (backslang) with tropes of class and race, trade and desire in the hidden backwaters and idealised forms of the voice. Backslang developed as a linguistic disguise to protect speakers, especially from the ears of the law. Liverpool slang has absorbed fragments from the language streams of global trade, passing through the docks: Spanish, Dutch, Yiddish, Chinese and African languages. Like all languages Backslang is also a space of identification, spoken proudly. It could be seen as a sign of economic and social conditions and as a form of resistance ? a necessity, or a possibility for different social paradigms. In Barrabackslarrabang, the voice criss-crosses social borders to reflect the mirroring of structures and desires through ostensibly opposing spaces of language, legality and culture. The work continues Stidworthy?s ongoing concern with the social landscape of the voice, its space and borders.

Imogen Stidworthy is a British multimedia artist based in Liverpool. She has exhibited at documenta 12 and most recently her work has been shown at the Thessaloniki Biennale (2007), Shanghai Biennale (2006), ?Be What You Want but Stay Where You Are? at Witte de With, Rotterdam (2005) and ?Governmentality? at Miami Art Central (2004). Recent solo shows include ?Get Here? at Galerie Hohenlohe, Vienna (2006), ?Dummy? at FRAC Bourgogne, Dijon (2005) and ?Audio Cab?, a temporary public art work installed in taxi cabs in Luton (2005). In 2004, Stidworthy was shortlisted for the Beck's Futures prize, for a video work featuring Cilla Black impersonators. In 1996 she won the Dutch Prix de Rome.[citation needed] Stidworthy is a tutor at Piet Zwart Institute, Rotterdam and an Advising Researcher at the Jan van Eyck Akademie, Maastricht. In 2008 she won the Liverpool Art Prize.

Axel stockburger
Catalogue : 2006Boys in the Hood | Vidéo expérimentale | dv | couleur | 60:0 | Autriche | Royaume-Uni | 2005
Axel stockburger
Boys in the Hood
Vidéo expérimentale | dv | couleur | 60:0 | Autriche | Royaume-Uni | 2005

La vidéo "Boys in the Hood" propose des interviews d?amateurs de Grand Theft Auto, jeu video particulièrement controversé. Les joueurs nous font part de leur point de vue sur la place de la narration dans le jeu en donnant des descriptions détaillées des lieux, mouvements et actions qui s?y trouvent. Ces comptes-rendus subjectifs à propos d?un espace partagé amènent à une confusion des frontières entre le ?réel? et le ?virtuel?.


Axel Stockburger est un artiste et théoricien qui partage sa vie entre Londres et Vienne. Il a étudié à l?Université des Arts Appliqués de Vienne avec Peter Weibel et a obtenu son PhD à l?Université des Arts de Londres. Ses films et installations sont présentés sur la scène internationale. Il est notamment à l?origine de la chaîne de télévision indépendante dédiée à l?art TIV à Vienne qui a commencé à diffuser en 1998, et a participé à divers projets internationaux en collaboration avec le groupe d'artistes de media arts D-Fuse qui travaille à Londres (2000-2004). A présent, il travaille comme membre de l?équipe scientifique de l?Académie des Beaux-Arts/ Département des Arts Visuels et des Outils Numériques à Vienne.

Catalogue : 2012White Transformer | Vidéo | hdv | couleur | 7:16 | Autriche | 2011
Axel stockburger
White Transformer
Vidéo | hdv | couleur | 7:16 | Autriche | 2011

The video White Transformer engages with the cosplay phenomenon in China and portrays the act of transformation from ?ordinary? human into fictional character. It was shot with the help of the Century Noah cosplay group in Chongqing, China who build and perform characters from a variety of narrative universes such as Gundam, Starcraft and World of Warcraft. The French theorist Gabriel Tarde once stated that in order to understand what the social is, one has to focus on the notion of imitation. The global cosplay culture is a perfect example for this approach, since the fans interact with each other on the basis of global signs that emerge from products of the cultural industry, when they appropriate characters from large video and game franchises. This leads to the issue of intellectual property, which comes into play because all of these characters are registered trademarks owned by large international entertainment companies. What does it mean for the fans and audiences to adapt and transform these symbols. Furthermore, cosplay opens up many questions in conjunction with identification, since cosplayers deliberately choose to identify with and perform as fictional beings from a realm beyond real life limitations such as race, class or gender.

Axel Stockburger is an artist and theorist who lives and works in Vienna. He studied at the University of Applied Arts in Vienna with Peter Weibel and holds a PhD from the Univeristy of the Arts, London. His films and installations are shown internationally. Among other projects he has initiated the independent art television channel TIV in Vienna in 1998 and collaborated on international projects with the London based media art group D-Fuse (2000-2004). At present he works as a senior artist at the Academy of Fine Arts / Department for Visual Arts and Digital Media in Vienna. Between 2010 and 2012 he was part of the artistic research project ?Troubling Research?, which engaged with the problems and possibilities of art in the context of knowledge production. In recent years his works were presented in the following exhibitions (selected): ?Games People Play?, CCANW, Exeter (2012), "Troubling Research: Performing Knowledge in the Arts", xhibit, Academy of Fine Arts, Vienna (2011),"Nothing in the World but Youth", Turner Contemporary, Kent (2011), ?Jingshenfenxi?, organhaus art space, Chongqing (2011),"Videorama", Museum der Moderne, Salzburg (2011) "Talk Talk - Das Interview als künstlerische Praxis", Galerie 5020, Salzburg (2010)"Worldeater", Winiarczyk Gallery, Vienna (2009).

Klara stoyanova
Catalogue : 2018Posred byal den | Fiction expérimentale | mov | couleur | 16:0 | Bulgarie | Allemagne | 2018
Klara stoyanova
Posred byal den
Fiction expérimentale | mov | couleur | 16:0 | Bulgarie | Allemagne | 2018

A young girl returns to a dying small town in northern Bulgaria. Her only plan is to sell the old house she has inherited. Meanwhile, a strong gust of wind starts blowing. Its direction is unknown and it seems that it won`t stop. Everyone is anxious that things could fall apart.

Born in 1991 in Vidin, Bulgaria, she lives and works in Hamburg, Berlin and Sofia. She studied film as well as art and time-based media at the University of Fine Arts of Hamburg. Apart from her own projects, she also works as a camerawoman, performer and videoartist.