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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 
Joshua thorson
Catalogue : 2012Horizon | Fiction expérimentale | hdv | couleur | 13:0 | USA | 2011
Joshua thorson
Horizon
Fiction expérimentale | hdv | couleur | 13:0 | USA | 2011

En 1982, à Walt Disney World de la Floride, était le vernissage de la Centre EPCOT, un peu retard pour un tel projet utopique moderniste. Le parc original présenté un manège appellé ?Horizons,? qui a été parrainé par GE. Elle a montré un avenir où la technologie et l`innovation couplée à l`unité de la famille allait évoluer dans des territoires passionnants, et jusque-là inimaginable?avec des colonies dans l`espace et dans le fond des océans de la Terre. En 2000, le manège a été démoli pour faire place à un manège à sensation immersive intitulée ?Mission: L`espace." L`histoire dans cette vidéo, d`une famille à faire des recherches scientifiques sur une colonie dans le complexe Chamaleon dont les livraisons et le financement inexplicablement cesser d`arriver, et qui est déterminée à survivre comme ils peuvent, accompagner archives séquences vidéo Hi-8 du trajet.


Joshua Thorson est un vidéaste et écrivain basé à New York. Il travaille avec le récit conceptuel, l`exploration et l`exploitation de l`échange narratif à travers les thèmes de la science, la religion, la transcendance, l`authenticité, l`idéalisme, et les traumatismes. Utilisation décalages tonal et l`économie rigoureuse, cet ouvrage cherche à la fois à répondre aux attentes et usurpent, l`ouverture de «l`histoire» de l`ontologie. Thorson a présenté son travail dans les musées, galeries et théâtres à l`étranger.

Lena Maria thuering
Catalogue : 2009Das Haus | Vidéo | dv | couleur | 11:0 | Suisse | 2008
Lena Maria thuering
Das Haus
Vidéo | dv | couleur | 11:0 | Suisse | 2008

?The father shoots the first wild boar, it is being decomposed and skinned in the basement and hung in the laundry. 20 cents costs a glimpse on the shot animal. The nanny has to clean the wild boar teeth and to put them in a box.? What defines memory and what exactly does it set about? In Lena Maria Thüring?s video work ?The House? half a century of family history is reflected upon a detached house?s empty walls: Slowly and continuously the camera runs through hallways, rooms, and the staircase, while a background voice narrates the past. Thüring?s interaction with time and space in the film consecutively plays with the expectations of the observer and questions the relationship between documentation and fiction. By objectification of word and vision in the formal realisation, Thüring hence confronts the viewer with his own past. Annette Amberg

Lena Maria Thüring is born 1981 in Arlersheim, BL, Switzerland her native place is Basel, BS, Switzerland. She lives and works in Zürich, Switzerland. 2002 Artistic preparatory course at the School of Art Zurich, Zurich 2002?2007 Photography at the School of Art Zurich, Zurich since 2005 partial artistic cooperation with Annette Amberg.

Georg tiller
Catalogue : 2015White Coal | Doc. expérimental | 16mm | couleur et n&b | 70:0 | Autriche | 2015
Georg tiller
White Coal
Doc. expérimental | 16mm | couleur et n&b | 70:0 | Autriche | 2015

A mound of coal, black dust dissipating into the air, a stone statue of a worker: These are the opening images of White Coal. Loosely inspired by Hermann Melville`s "The Confidence Man", the story of a blind passenger aboard a Mississippi steamboat, the first thread of White Coal follows the journey of a Polish coal transport ship and a male figure dressed as in silent movies of the proletarian heyday. Always seeming to appear as if someone had called for him, this man wanders around a disintegrating industrial town aimlessly. We see dogs barking, and the sounds of heavy industry linger in the air. He enters a ship furtively, apparently unaware that it is a coal ship set to travel on down a narrow river. It is as if the boat had the entire crew under a spell cast by its slow but steady motion. Only minimal movements are possible on board this ship, and the "blind passenger" becomes the spectator of this self-contained routine. The film`s second thread portrays the physical structures and environment in which coal is exploited at the world`s largest coal-burning power plant, located in Taychung, Taiwan. Here color enters the film, yet it feels like the present is falling behind the past, industrial landscapes, truck transports, giant chimneys burning coal, monitoring stations following their own beat. Computers out of order and people scooting around in chairs. The drone of the Polish coal ship is mirrored by the crushing din of industry, then cancelled out by an aseptic control room vacuum that swallows whatever might otherwise be a human gesture. This is Melville`s steamboat, chugging slowly and unstoppably down a river with no end, where human beings have no voice with which to speak and exist encapsulated in their own imagined present tense. Although the film uses the material as the primary source of its investigation, White Coal is less a film about coal than an exploration of industrial film motifs from the 1920s to the present.

After unfinished philosophy and theater studies, he studied film studies first with Harun Farocki at the Academy of Fine Arts Vienna, then film directing and cinematography with Michael Haneke and Christian Berger at the Film Academy Vienna and later film directing at the German Film and Television Academy Berlin (dffb). Since early on he has been working as a freelance artist and filmmaker later also as a producer of his own and his friends work, initially with the artist collective naivsuper. His films have been shown at numerous film festivals around the world and he has exhibited his work at the Bienal de Såo Paulo, the Centre Georges Pompidou and the Luleå Vinter Bienal among many other places. He is one of the co-founders of the production company Mengamuk Films and managing director of Subobscura Films. Georg currently lives in Vienna and Berlin.

Georg tiller
Catalogue : 2011Vargtimmen - Nach einer Szene von Igman Bergman | Film expérimental | 16mm | noir et blanc | 6:20 | Autriche | 2010
Georg tiller
Vargtimmen - Nach einer Szene von Igman Bergman
Film expérimental | 16mm | noir et blanc | 6:20 | Autriche | 2010

Vargtimmen?After a Scene by Ingmar Bergman is the exact reconstruction of a scene in Bergman?s 1968 film of the same name. Frame for frame, Georg Tiller and his cameraman Claudio Pfeifer reproduced the same shots?with the crucial difference that no actors are visible. All we see are the ocean and cliffs in black and white, steep rock formations, and with them the quiet surface of the water, ruffled slightly by the breeze. The soundtrack, which had no dialogue in the original either, was taken from the first film and adds narrative structure to the lonely landscape. While in Vargtimmen Bergman concentrated on the faces of people, the focus of Tiller?s film experiment is space, and nature. The camera glides over the barren countryside, and stone slabs with numerous cracks and gaps lie in the sun, providing a stark contrast with the velvety smooth, nearly black water. In Bergman?s film a nightmarish drama plays out before this background: In a frenzy, a man kills a boy, then lets the lifeless body slip into the water. Without human figures, the space itself becomes an actor. The camera examines the section of coastline from a number of different angles, includes the horizon to add a painterly touch, then the cliffs loom threateningly into the sky again. The music gives these images of empty countryside a dramatic arc, the tragedy in the original story can be sensed. At the same time the filmic representation of the landscape enters the foreground, like an empty stage becoming a projection screen. Tiller has created a study, and its conceptual rigor opens up a broad field of associations involving perception, representational forms and the construction of filmic space. (Andrea Pollach) Shot for Shot reconstruction of a scene from the film Vargtimmen (1968) by Ingmar Bergman using the same technical devices - Lenses, Framing, Length of Shots as well as movements of the Camera. The absence of the bodies of the actors opens the room for a complete concentration on the filmic space. This reconstruction is understood as a reenactment by the reconstructeur, a becoming of Ingmar Bergman, thus reenacting a specific style of directing.

Born 1982 in Vienna. Studied Philosophy and Russian at the University of Vienna, since 2000 at the Academy of Fine Arts, Vienna. Studied from 2005-2006 at the University of Music and Performing Arts Vienna, dept. film and television. Studies since 2006 at the Academy of Film and Television, Berlin.

Thadeusz tischbein
Catalogue : 2017Schneewittchen (Snow White) | Vidéo | hdv | couleur et n&b | 19:40 | Allemagne | 2017
Thadeusz tischbein
Schneewittchen (Snow White)
Vidéo | hdv | couleur et n&b | 19:40 | Allemagne | 2017

What role can culture play, when dead bodies are not burried after death, but being used for other purposes “Snow White” examines this question, using stalinist Mausoleums, preparated animals in Natural History Museums and relics in churches. What form of story telling is being used to hide actions and translate them?

Thadeusz Tischbein is a Germany-based video artist. He studied between 2008 and 2016 in Leipzig, Braunschweig (Germany) and Bucharest (Romania) with Candice Breitz, Clemens von Wedemeyer and Günther Selichar. His 2017 video essay SNOW WHITE (2K Cinemascope, 19:40 min) is a journey to the dead bodies in mausoleums, churches and museums. In THE ATLAS OF THE WOUNDED BUILDINGS (HD, 12:56 min, 2016) he is trying to examine narrations written in bullets holes. INVENTORY (HD, 16:9, 5:49 min) from 2015 is talking about the strange living room of so called office plants.

Benjamin tiven
Catalogue : 2013A Third Version of the Imaginary | Installation vidéo | | couleur | 12:0 | USA | Kenya | 2012
Benjamin tiven
A Third Version of the Imaginary
Installation vidéo | | couleur | 12:0 | USA | Kenya | 2012

A Third Version of the Imaginary traces an encounter with the video and film library of the Kenya Broadcasting Corporation in Nairobi. We follow the station?s librarian through tightly-packed shelves of video cassettes: he is searching for a specific image, and must sift through the identifying paperwork from a number of tapes. As he methodically moves among the stacks, a Swahili voice-over speaks about the arrival of video technology in Kenya and its impact on the archiving of television images: video may have cheapened production, but its material expense put pressure on storage. Later, the librarian converts a basement storage closet into a makeshift cinema, in order to screen some 16mm film material. The voice-over shifts accordingly, moving from video to film, and to the linguistic problem posed by the very word ?image? in Swahili. A visual and narrative echo chamber, this video addresses video?s address of film: the material facts of these media become the aesthetic facts of the work.

Benjamin Tiven lives and works in Brooklyn, New York, US. Forthcoming exhibitions, 2014: ICA Philadelphia (solo); gallery 1/9 Unosunove, Rome, IT (in collaboration); Courtisane festival, Ghent, Belgium. Recent exhibitions: Henningsen Gallery, Copenhagen, DN; Westfälischer Kunstverein, Münster, DE; Charlottenborg Kunsthal, Copenhagen; Bronx Museum of Art, Bronx, NY; Vivo Media Arts Center, Vancouver; Center for Curatorial Studies at Bard College. Recent film screenings: Rotterdam International Film Festival; Migrating Forms, NY; Museum of the Moving Image, NY; Cinéphémère, FIAC, Paris, FR; Vienna International Film Festival, AT; Arsenal Cinema, Berlin, DE; FID Marseille, FR; RIDM Festival, Montreal, QB; Oberhausen Short Film Festival, DE; 25FPS Festival, Zagreb, HR; Images Festival, Toronto, ON. Journal contributions: Triple Canopy, Nka: Journal of Contemporary African Art, Bidoun, Bulletins of the Serving Library, Roulotte issue #10, ACM, Barcelona, ESP. Public presentations, 2013: the Drawing Center; the Colloquium for Unpopular Culture, Westfälischer Kunstverein.

Benjamin tiven
Catalogue : 2018The Mirrored Message | Doc. expérimental | hdv | couleur | 12:30 | USA | Suède | 2018
Benjamin tiven
The Mirrored Message
Doc. expérimental | hdv | couleur | 12:30 | USA | Suède | 2018

The Mirrored Message documents two scientists as they prototype a new device that transfers data between wireless computer networks and living plants. Observing their work from within a sealed electronics facility near Stockholm, we follow procedural steps in the device's programming and fabrication. The initially alien laboratory space slowly reveals itself as a kind of photographic darkroom, and we watch the light-sensitive production of the device's specialized circuitry. From the artificial air of this controlled lab we move to a coastal forest near the Baltic Sea, where the transmitter is installed for testing. Weather impedes the work. As the humans slowly fade from the scene, a living specimen comes online, finally addressable by a local network.

Benjamin Tiven is a filmmaker and the co-director of Library Stack. His films have screened at FID Marseille, Viennale, Rotterdam, Oberhausen, Courtisane, MUMOK, the Institute of Contemporary Art, Philadelphia, Delfina Foundation, London, Fotografisk, Copenhagen, the Museum of the Moving Image, NYC, and Arsenale Kino, Berlin.

Alain tjiong
Catalogue : 2013Voyeur | Fiction expérimentale | | couleur | 19:52 | Pays-Bas | Belgique | 2013
Alain tjiong
Voyeur
Fiction expérimentale | | couleur | 19:52 | Pays-Bas | Belgique | 2013

SYNOPSIS Out of the black night she emerges. Her waving soft fair hair reminds the glamour of the Hitchcock blondes. Her pale skin fragile like a china doll. She turns her head and looks at us.

BIOGRAPHY Alain Tjiong (The Netherlands, 1991) is currently a master student film at the School of Arts (KASK) in Ghent, Belgium. His films are first and foremost a means of personal expression, a way to communicate his feelings and his thoughts with a audience. While still operating in the field of narrative fiction, he is always searching for the bounderies of narrative cinema and trying to rediscover its (lost) relevance.

Ali tnani
Catalogue : 2018Even The Sun Has Rumors | Doc. expérimental | mov | couleur | 18:4 | Tunisie | 2017
Ali tnani
Even The Sun Has Rumors
Doc. expérimental | mov | couleur | 18:4 | Tunisie | 2017

Dans la ville minière de Redeyef (Tunisie), un lieu désaffecté mais encore chargé d'affects : l'Economat. Institué et géré par la Compagnie de Phosphate de Gafsa durant la période coloniale, ce lieu vide porte encore en ces murs les strates de l'ambivalence d'une histoire où les surfaces miroitent et racontent la venue, là où il n'y a rien, d'un paradis de confort pour une société accablée par l'enfer du travail de la mine. Mais en deçà des apparences, c'est une réalité plus obscure que l'Economat draine : celle de l'extension commerciale d'une mine qui exploite autant la terre que ses hommes. Lieu-vestige, l'Economat est un lieu d'une mémoire désertée mais qu'un regard vidéographique et poétique investit et remet au jour, par les clairs-obscurs d'un temps qui passe, par la voix d'un enfant vivant encore dans les souvenirs d'un homme de la mine, les espaces, les surfaces et les épaisseurs historiques d'un lieu fait récits.


Born in 1982 in Tunis, Ali Tnani is a Tunisian contemporary artist based in Tunis and Paris. He received his Masters in 2007 from the Institut Supérieur des Beaux-arts of Tunis and has since exhibited widely and participated in international residency programs. Tnani recently completed a two-year residency at the prestigious Cité Internationale des Arts in Paris. A leading practitioner in the field of conceptual art, Tnani is known for his multimedia installation work examining social issues in post-revolutionary Tunisia. With a practice that draws on installation, drawing, and photography, he explores the question of erasure and the negative in narratives of traces, memory and history in an era of hyper-connectivity. He has participated in various solo and group exhibitions internationally, including the 13th Biennial of Dakar, the Musée du Bardo in Tunis, PA the Plateforme de création contemporaine and Cité Internationale des Arts in Paris, La Terrasse Nanterre Art Space and le Château d'Oiron (France), the 5th Marrakech Biennial, the Musée de Carthage in Tunis, the Musée des Beaux-Arts de Mons (Belgium) and the Biennial of young artists from Europe and the Mediterranean in Skopje, Macedonia.

Robert todd
Catalogue : 2017Restless | Film expérimental | 16mm | noir et blanc | 0:0 | USA | 2016
Robert todd
Restless
Film expérimental | 16mm | noir et blanc | 0:0 | USA | 2016

Changing winds, shifting moods, stirring, awaiting…

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. In the past twenty years he has produced a large body of short-to-medium format films that have been exhibited internationally at a wide variety of venues and festivals including the Media City Festival, San Francisco International Film Festival, Rotterdam International Film Festival, New York Film Festival, Le Rencontres Internationale, Black Maria Film Festival, Nouveau Cinema in Montreal, Cinematheque Ontario, the Harvard Film Archive, Pacific Film Archive, the Paris Biennial, Slamdance Film Festival, and others. His films have won numerous festival prizes, grants, and artist’s awards. He teaches film production at Emerson College in Boston.

Brad todd
Catalogue : 2018dresden.cuba.clouds | Vidéo expérimentale | mp4 | | 3:15 | Canada | 0 | 2018
Brad todd
dresden.cuba.clouds
Vidéo expérimentale | mp4 | | 3:15 | Canada | 0 | 2018

dresden.cuba.clouds is a generative video which incorporates imagery from the skies above the city of Dresden coupled with footage of clouded ice formations and video from the Museum of the Revolution in Havana. This small database of video is processed in realtime and is sensitive to a number of parameters derived from, and responsive to, an audio recording of the Cuban "sonic attacks" of 2017. The footage of the skies and ice in particular also speak to notions of veracity as they are indistinguishable from one another. As a number of the reported cases of aural and cerebral trauma were inaudible, so too is this work. The choice of imagery from Dresden is a nod to its primacy in the place it occupies in the historical record, most obviously as the site of the devastating aerial bombing campaign during WWII. It is also referencing Dresden`s post-war history as a center of the cold war headquarters of the east German KGB/Stasi security services, notorious for their psyops, whose legacy continues today, largely unseen (and unheard it would seem). As a parable, foil and metaphor for the machinations of power and policy, this work is intended as a mute and disquieting presence, background noise.

Brad Todd is an artist whose works span several fields of inquiry, principally involving the research/creation of responsive environments which implicate technology as a mirror, filter and catalyst for experience writ large in both an individually embodied sense and its attendant broader socio-political context. Having received an M.F.A. from Concordia University (Montréal), he began playing music in the post-punk band Sofa, which released the inaugural album and single on the critically acclaimed Constellation Records label. From the generative and reactive to the composed and performative, audio and sound design continues to play a key role in his works. Brad has received numerous grants and awards and has exhibited his works in galleries and media festivals in North America, South and Central America, Asia and Europe, including the 3rd Beijing International New Media Art Exhibition and Symposium in Beijing, Eyebeam, N.Y., Paços das artes, Sao Paulo, Brazil, The New Museum of Contemporary Art, N.Y., ISEA festivals in Nagoya, Japan, Belfast and Hong Kong and Cynet art in Germany. Presently he is an instructor in the Design and Computation Arts program at Concordia University in Montréal.

Rob todd
Catalogue : 2008cabinet | Film expérimental | 16mm | couleur et n&b | 10:0 | USA | 2007
Rob todd
cabinet
Film expérimental | 16mm | couleur et n&b | 10:0 | USA | 2007

Une salle destinée à l'exposition d'objets ou ?uvres d'art. Une vue dans, à travers, et à partir, d'un ensemble de « cabinets », récipients à la fois actifs et passifs. Le film se penche sur ce qui rend possible l?intimité dans la médiatisation, grâce à une étroite attention aux mouvements, aux contours, aux textures et aux couleurs des objets et des scénarios proches du réalisateur. L?instable sentiment de présence ressenti entre le sujet, le spectateur, l?auteur et la machine est ce qui anime les transformations visuelles de ce film.


Robert Todd réalise des courts-métrages dans la région de Boston depuis 1990. Son corpus d??uvres, visuellement étonnantes et difficilement définissables ou classables, provient d?un lieu très personnel, calme, réfléchi, et curieux. Ses films empruntent diverses approches poétiques pour examiner les manières personnelles, politiques et sociales avec lesquelles nous choisissons de vivre.

Catalogue : 2016Phases of Noon | Film expérimental | 16mm | noir et blanc | 11:25 | USA | 2016
Rob todd
Phases of Noon
Film expérimental | 16mm | noir et blanc | 11:25 | USA | 2016

Watching four species of paradise perform in four phases of noonlight reflecting on four film rolls, in four acts

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.

Catalogue : 2010Rayning | Film expérimental | 16mm | noir et blanc | 6:0 | USA | 2010
Rob todd
Rayning
Film expérimental | 16mm | noir et blanc | 6:0 | USA | 2010

Light rayns-rains-reigns across a dream of tranquility that thickens, darkens and evaporates.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. In the past twenty years he has produced a large body of short-to-medium format films that have been exhibited internationally at a wide variety of venues and festivals and have won numerous festival prizes, grants, and artist?s awards. He teaches film production in the Boston area, and works as editor, sound designer/editor, post-supervisor or music producer on various broadcast and theatrically-released productions.

Catalogue : 2012Habitat | Film expérimental | 16mm | noir et blanc | 10:0 | USA | 2012
Rob todd
Habitat
Film expérimental | 16mm | noir et blanc | 10:0 | USA | 2012

Locations that shift, split and spill over one another like sand in an hour glass. This is my world. A graphically-oriented spatial portrait, an in-camera layered tapestry: inversions and conversions that mark time with the chaos of my waking work-life, diffusing as it moves inward.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals.

Catalogue : 2013Free-Forms | Film expérimental | 16mm | noir et blanc | 7:0 | USA | 2013
Rob todd
Free-Forms
Film expérimental | 16mm | noir et blanc | 7:0 | USA | 2013

A small universe unbound.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals.

Catalogue : 2014LoveSong | Film expérimental | 16mm | couleur et n&b | 6:0 | USA | 2014
Rob todd
LoveSong
Film expérimental | 16mm | couleur et n&b | 6:0 | USA | 2014

Threads, strings, love`s touch attuned, rising like the dawn in song.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.

Catalogue : 2015ICE | Film expérimental | 16mm | noir et blanc | 9:0 | USA | 2015
Rob todd
ICE
Film expérimental | 16mm | noir et blanc | 9:0 | USA | 2015

Following the feel of black and white rising and falling through caverns and across plains.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.

Vladimir todorovic
Catalogue : 2009the snail on the slope | Animation | dv | noir et blanc | 7:42 | Serbia | Singapour | 2009
Vladimir todorovic
the snail on the slope
Animation | dv | noir et blanc | 7:42 | Serbia | Singapour | 2009

The Snail on the Slope is a generative movie based on a book of the same title by Strugatsky brothers. The novel is set on an unknown planet, where humans have a base from which they are investigating and trying to conquer the Forest. The Forest, which is a huge single organism is constantly changing and fighting back. It is also dangerous and there are a lot of unexplained phenomena that they are discovering, frequently. The movie is made of five chapters, which critically address the questions of artistic and scientific efforts to understand nature. The topics that arise in those chapters and that are rendered in semiotic relationship with nature are: sublime view, role of knowledge, escape from ubiquitous bureaucracy, and apocalyptic tone that comes with the destruction of nature. By applying an organic narrative structure to the generative dynamic forms, a spectator witnesses a definition of a novel cinematic experience. In the movie, all the scenes are generated with computer programming language Processing. They are created as abstractions and visualizations of the atmospheres in which all of the action takes place. The music is generated with various analog, digital synthesizers and software instruments.

Vladimir Todorovic, born 1977. Zrenjanin (Serbia), studied visual arts, at the Academy of the Arts in Belgrade and University of California Santa Barbara. Currently, he is working as Assistant Professor at the School of Art, Design and Media, NTU, Singapore. He co-founded the new media art collective called ʻsyntfarmʼ based in Singapore and the Institute for Flexible Cultures and Technologies `NAPON` in Novi Sad, Serbia. His research and art practice focus on generative art forms that are defining novel approaches in new media art and design. In his work, generative forms are utilized in the development of media performances and installations. They are used in various media including: generative video, audio-visual installation and performance, rapid-prototypes, computer games, mixed-reality systems, nano-fabrication, and various others. His projects were exhibited at events and venues like: ICA Singapore, ISEA08, Wired NextFest, Dislocate07, Enter3, ISEA06, Siggraph 06, Transmediale 05, File 2004, MuseumsQuartier Vienna, Machinista, Entermutlimediale 2, WRO05 Biennale, Museum of Contemporary Arts Belgrade, etc; and reviewed at/by: Channel NewsAsia, Reuters, ?Smart Surfaces? ? Springer/Birkhäuser, Wired, New Scientist, Gamasutra, Futures-labs, Neural.it, Res Magazine, Selectparks.net, Turbulence, Artmagazine, Remont, Danas, etc. Recently, he served as the chair of Ludic Interfaces theme and the organizer of ISEA08 in Singapore.

Chelsea tonelli knight
Catalogue : 2008The Official | Installation vidéo | dv | couleur | 6:30 | USA | 2007
Chelsea tonelli knight
The Official
Installation vidéo | dv | couleur | 6:30 | USA | 2007

Dans l?installation vidéo à trois canaux « The Officiel », Chelsea Tonelli Knight explore les fantasmes du pouvoir au sein de la bureaucratie. Tourné dans les bureaux privés et les couloirs de l'ONU à New York, « The Officiel » entreprend d?examiner le rôle d?un diplomate de sexe masculin au sein d?une institution idéalisée. Ce qui semble à première vue être un documentaire ou une interview se transforme en un récit fragmenté dans lequel le théâtre de l'autorité et de la séduction se joue entre le diplomate et son interlocuteur, non identifié. Les deux personnages adoptent une série d'attitudes, en déplaçant les tensions entre institutionnel et intime et en questionnant la manière dont ils se définissent l?un l'autre.


Chelsea Tonelli Knight est une vidéaste et artiste performance basée à Chicago (USA). Elle a obtenu son MFA (Master of Fine Arts) à la School of the Art Institute de Chicago en 2007 et a été boursière Fulbright en Italie en 2007. Knight a exposé aux USA et en Europe, notamment lors d?expositions à la Werkschauhalle Gallery des Spinnereigalerien de Leipzig (Allemagne), au St. Louis Art Museum (USA), au Centro Arte Moderna e Contemporanea della Spezia (Italie) et a participé en 2007 à la Biennale d?Istanbul (Turquie).

Oliwia & Jerem tonteri
Catalogue : 2009Unknown | Fiction | 35mm | couleur | 4:45 | France | Finlande | 2008
Oliwia & Jerem tonteri
Unknown
Fiction | 35mm | couleur | 4:45 | France | Finlande | 2008

?Then I saw the face belonging to the voice that had spoken all night long.?

Oliwia Tonteri studies documentary film and Jerem Tonteri film editing at University of Art and Desing (UIAH), Helsinki.

Duro toomato
Catalogue : 2005Happy Horse 1 & 2 | Vidéo expérimentale | dv | couleur | 4:30 | Pays-bas | 2004
Duro toomato
Happy Horse 1 & 2
Vidéo expérimentale | dv | couleur | 4:30 | Pays-bas | 2004

Activités sportives dans lesquelles un cheval tente sa chance.


Duro Toomato est né en Croatie en 1960. Il travaille comme artiste visuel ou de spectacles et comme réalisateur. Il vit et travaille à Amsterdam.

Jaan toomik
Catalogue : 2007HARE CHRISTMAS | Art vidéo | dv | couleur | 2:0 | Estonie | 2007
Jaan toomik
HARE CHRISTMAS
Art vidéo | dv | couleur | 2:0 | Estonie | 2007

In the medieval Town Hall Square, in the heart of the Old Town of Tallinn stands a huge fir tree. Christmas is in the air. On the streets is the hustle and bustle of present buying and preparation. Around the tree itself is a Christmas market, a range of kitsch, purpose built, festive stalls almost filling the square with their decorative, superfluous bric-a-brac. Approaching faintly is the familiar sound of the Hare Krishna, those naives with their innocent philosophy who always bring a condescending smile to our faces, blissfully chanting their way through the city ? ?Hare Krishna - Hare Rama?. But as the sound approaches it becomes clear that the chant is not Hare Krishna but actually ?Hare Christmas - Hare Christmas?, and it is not our friends from the Krishna community but in fact a line of Santa Clauses in the familiar red attire and with flowing white beards, skipping along to the rhythm of the chant. A young girl is explaining to us her desire to do something good and worthwhile in the world. She wants to help others. She is kind. The sound of her voice is honest but we do not see the speaker ? what we see is an interior, a living place, if it can be called that. The slum, of an alcoholic, anti-social character, who it is hard to believe has any hope left or even cares anymore. The rooms are infested with cockroaches and flies. Heaps of decomposing rubbish strewn around. We can easily imagine the smell of the place. Two different worlds that at some point in time will collide.

Jaan toomik
Catalogue : 2010OLEG | Fiction | | couleur | 20:0 | Estonie | 2010
Jaan toomik
OLEG
Fiction | | couleur | 20:0 | Estonie | 2010

Jaan Toomik (born 1961; lives and works in Tallinn) is a video artist and a painter, often described as the most widely acknowledged Estonian contemporary artist on the international scene. In the Estonian art world Toomik received recognition as a painter from the late 1980s and from the early 1990s as an installation and video artist. The critics often refer to him internationally as the most well-known contemporary artist from Estonia [2] mainly due to his short video works that have received wide international acclaim (e.g. Father and Son, 1998). He has participated at the São Paulo Biennale (1994), ARS ?95 (1995), Manifesta 1 (1996), Venice Biennale (1997; 2003), 4th Berlin biennial of contemporary art (2006).

Patrick topitschnig
Catalogue : 2016Carusel | Doc. expérimental | 4k | couleur | 5:41 | Autriche | Roumanie | 2015
Patrick topitschnig
Carusel
Doc. expérimental | 4k | couleur | 5:41 | Autriche | Roumanie | 2015

With precisely composed filmic-tableaux and through minimal movements the work Carusel evokes the image of a post-apocalyptic playground, while somewhere outside or above various doomsday scenarios take their course. It is a setting of the Zeitgeist-phenomenon celebrated by our pop culture in graphic novels, computer games and television series in all of its enjoyment and pessimism. Carusel triggers trails of thought in-between mythical traditions and actual fear of the dark. In an elevator ride in one of the sequences, we eavesdrop a conversation of a family: Arguably, the rest of the world still standing. Carusel was shot in the damp caverns of a former Romanian salt mine which was reused as a bomb shelter in the second world war and is now refurbished as an erie underground amusement park. Though equipped with a carousel, ping-pong tables, a childrens’ playground and rowboats, the combination with large threatening steel structures and surreal light-objects still produce a gloomy atmosphere and ambience of fear. It seems that the mythical echos of the historically charged site are still abound, yet absurdly translated into an uncanny and bizarre „amusement park“. Marlies Wirth

Patrick Topitschnig is a Vienna based filmmaker and audio artist and also collaborates on theatre projects. After he finished his studies in Commercial Information Technology he studied Intermedia Art and Narrative Film in Vienna and Berlin under the likes of Bernhard Leitner, Erwin Wurm, Constanze Ruhm and Thomas Arslan. For his diploma in 2012 he produced the experimental video “Right to Hospitality”. He received several awards, such as the Fred Adelmueller Grant and the Ursula Blickle Preis for his video "Concision of the Whole" (2007) ("Zerschneidung des Ganzen"). In 2013 he was granted the STARTstipendium for video and media art (Austrian Federal Ministry for Culture and Arts). He works primarily with video and sound, often within installative contexts. His works center on direct physical experience and immediate reception of time, as well as on enduring and measuring the passing of time on a visual or on an acoustic basis. Permanent repetitions or continuous oscillations constitute a recurrent theme.

Noam toran, onkar kular
Catalogue : 2007Postponing the Inevitable | Fiction | 16mm | couleur | 16:0 | USA | Royaume-Uni | 2007
Noam toran , onkar kular
Postponing the Inevitable
Fiction | 16mm | couleur | 16:0 | USA | Royaume-Uni | 2007

"Postponing the Inevitable" est un film présentant trois interprétations différentes du thème de la mort proche. Basés sur des histoires vraies, les chapitres "Falling", "Faking" et "Freezing" se situent entre le récit cinématographique traditionnel et un espace ambigu de représentation visuelle, demandant au spectateur d'interpréter les indices qui lui sont proposés: un éboueur est photographié par une femme pour une raison inconnue, un homme va et vient sur une plage, un hôpital ne contient qu'un seul patient.


Noam Toran est né en 1975 à las Cruces à New Mexico. Il a étudié les beaux arts. Il a réalisé des décors de théâtre et de cinéma avant de recevoir son MA en design au Royal College of Art de Londres. Son oeuvre utilise plusieurs disciplines et médias, du film à l'installation en passant par le design conceptuel, et explore les implications sociales, psychologiques et éthiques des technologies naissantes, de la culture de masse, du cinéma et de la photographie. L'oeuvre de Toan est exposée, projetée et publiée sur le plan international, notamment au MOMA de New York, au MUDAM du Luxembourg, au Centre Pompidou de Paris, et au Kulturhuset de Stockholm. Actuellement, il enseigne au Royal College of Art et donne des conférences à travers le monde.

Jose Luis torres leiva
Catalogue : 2005Ningun Lugar en Ninguna Parte | Documentaire | dv | couleur | 70:0 | Chili | 2004
Jose Luis torres leiva
Ningun Lugar en Ninguna Parte
Documentaire | dv | couleur | 70:0 | Chili | 2004

?No Place Nowhere? peut parler de plein de sujets. C?est un voyage personnel à travers l?image et le temps. C?est le portrait d?un quartier marginal. C?est la rencontre entre la réalité et la fiction. C?est la recherche constante d´une réalité dans le documentaire. C?est une répétition musicale et la construction permanente d?un film. C?est un documentaire qui traite plus des questions que des réponses. Un visage silencieux, une autoroute vide, un paysage d?hiver, le vent qui souffle dans les feuilles d´un arbre, la mer, n?importe quel quartier donne pour ?créer par les moyens du registre?, une vérité unique pour chaque spectateur.


José Luis Torresest un jeune réalisateur chilien né en 1975. Avec le court métrage ??The Dead?? il a gagné le Fondart Award en 1998. Depuis, il a réalisé beaucoup de vidéos courtes et indépendantes. En 2003, il a reçu une bourse de la Fundación Andes pour la création du documentaire ??No Place Nowhere??. Il travaille en ce moment sur ce qui sera son Opera Prima en réalisation de film : ??The Sky, the Earth and the Rain??, pour lequel il a eu la bourse de la Fundación Carolina pour le projet de développement de la réalisation ibéro-américaine à Madrid en 2003, en Espagne, et la subvention Hubert Bals 2004 du Rotterdam?s Film Festival pour les projets de développement et une mention pour la qualité du projet dans le II Bal du 6e Independent Filmmaking Festival, Buenos Aires, 2004. Dernièrement, il a fini un film en 35 mm ??Women Workers coming out of Factory?? avec le support de la Fondo de Fomento Audiovisual Nacional (FONDART) et qui fut sélectionné dans de nombreux festivals de cinéma comme Toulouse, Huesca, Belo Horizonte, Sao Paulo, Drama (Grand Prix Best Short Film) Viña del Mar and Leeds. Le documentaire ??No Place Nowhere?? a été sélectionné dans plusieurs festivals de film dont le Barcelona DOCUPOLIS 2004 Documentaries International Festival, dans la catégorie Opera Prima, Rotterdam Film Festival, Rencontres de Toulouse, It?s all true documentary festival in Brazil, Vancouver, Canada, Viennale in Austria, etc. Il a été nommé meilleur réalisateur au VIII Santiago Documentaries Festival, FIDOCS 2004.