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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 
Regina vater, regina vater
Ana vaz
Catalogue : 2018Olhe bem as montanhas | Doc. expérimental | 16mm | couleur | 30:40 | Brésil | France | 2018
Ana vaz
Olhe bem as montanhas
Doc. expérimental | 16mm | couleur | 30:40 | Brésil | France | 2018

« Regardez bien les montagnes ! » : l`impératif vient de l`artiste Manfredo de Souzanetto, pendant les années de dictature au Brésil. L`exploitation minière était en train de détruire l`environnement dans l`État du Minas Gerais, dans le Sud-Est du pays. Par le biais du montage, Ana Vaz met en parallèle cette région et celle, géographiquement très éloignée, du Nord-Pas-de-Calais, également marquée par trois siècles d`exploitation minière. D`un côté, des montagnes érodées, dont les habitants subissent les glissements de terrain meurtriers. Les montagnes creuses, évidées, deviennent réceptacles d`une mémoire spectrale. De l`autre, en France, les traces de l`exploitation, un temps effacées, font aujourd`hui l`objet d`une revalorisation patrimoniale, et paradoxalement, les tas de déchets miniers sont devenus des montagnes, des réservoirs de biodiversité, la frontière entre nature et technique s`avérant insituable. La cinéaste surprend à chaque plan, la poésie primant sur tout discours militant ou environnemental – ainsi de la séquence des scientifiques qui mesurent les chauves-souris sous la lune. Le « regardez bien » pousse vers le détail, la matière visuelle et sonore. Jamais cependant détachées du politique : un plan du ciel pris du fond d`un ravin suffit à évoquer les fantômes de peuples indigènes éradiqués, dont subsistent encore cependant des peintures pariétales.


Née en 1986 à Brasilia, Ana Vaz est une artiste et cinéaste dont les films et le travail spéculent sur les relations entre le soi et l’autre, le mythe et l’histoire au travers d’une cosmologie de signes, références et perspectives. Des assemblages de matériau filmé et trouvé, ses films combinent ethnographie et spéculation dans l’exploration des frictions et fictions inscrites dans les environnements naturels comme bâtis. Diplômée du Royal Melbourne Institute of Technology et du Fresnoy-Studio National des Arts Contemporains, Ana Vaz fut également membre de SPEAP (SciencesPo School of Political Arts), un projet conçu et mené par Bruno Latour. Son travail est régulièrement projeté partout dans le monde : New York Film Festival, TIFF Wavelengths, CPH:DOX, Videobrasil, Courtisane, Cinéma du Réel, Lux Salon. En 2015, elle reçoit le Kazuko Trust Award présenté par la Film Society du Lincoln Center en reconnaissance de l’excellence artistique et de l’innovation de son travail filmique.

Catalogue : 2016Ha terra! (Terre!) | Vidéo | hdv | couleur | 12:0 | Brésil | 2016
Ana vaz
Ha terra! (Terre!)
Vidéo | hdv | couleur | 12:0 | Brésil | 2016

"Há terra !" est une rencontre, une chasse, un conte diachronique du regard et du devenir. Comme dans un jeu, comme dans une course-poursuite, le film oscille entre personnage et terre, terre et personnage, prédateur et proie.


Ana Vaz (b. 1986, Brasília) is an artist and filmmaker whose films and other expanded works speculate upon the relationships between self and other, myth and history through a cosmology of signs, references and perspectives. Assemblages of found and shot materials, her films combine ethnography and speculation in exploring the frictions and fictions imprinted upon both cultivated and savage environments and their multiple inhabitants. A graduate from the Royal Melbourne Institute of Technology and Le Fresnoy – Studio National des Arts Contemporains, Ana was also a member of SPEAP (SciencesPo School of Political Arts), a project conceived and directed by Bruno Latour. Recent screenings of her work include the New York Film Festival – Projections, TIFF Wavelenghts, CPH:DOX, Videobrasil, Courtisane, Cinéma du Réel and Lux Salon. In 2015, she was the recipient of the Kazuko Trust Award presented by the Film Society of Lincoln Center in recognition of artistic excellence and innovation in her moving-image work. Ana is also a founding member of the collective "Coyote" along with Tristan Bera, Nuno da Luz, Elida Hoëg and Clémence Seurat, a cross-disciplinary group working in the fields of ecology, anthropology, ethnology and political science through an array of cross­cutting platforms.

Ana vaz
Catalogue : 2014Occidente | Doc. expérimental | | couleur | 15:20 | Brésil | France | 2014
Ana vaz
Occidente
Doc. expérimental | | couleur | 15:20 | Brésil | France | 2014

Antiques become reproducible dinner sets, exotic birds become luxury currency, exploration becomes extreme-sport-tourism, monuments become geodata. A film-poem of an ecology of signs tracing a colonial history repeating itself: celebration and power relations, objects and fetishes, roots and branches, power and class relations in a struggle to find ones' place, ones' sitting around a table.

Ana Vaz (b. 1986, Brazil) is an artist and filmmaker whose films and other expanded works speculate upon the relationships between self and other, myth and history through a cosmology of signs, references and perspectives. Assemblages of found and shot materials, her films combine ethnography and speculation in exploring the frictions and fictions imprinted upon both natural and built environments and its multiple inhabitants. A graduate from the Royal Melbourne Institute of Technology and Le Fresnoy – Studio National des Arts Contemporains, Ana was also a member of SPEAP (experimental research group in art and politics), a project conceived and directed by Bruno Latour. Her films have been showed at a number of international film festivals including the New York Film Festival, Visions du Réel, TIFF Wavelengths, CPH:DOX, Media City and Ann Arbor as well as solo and group shows at Rosa Brux (Brussels), Museum of Contemporary Photography (Chicago) and Temporary Gallery (Cologne). In 2015, she was awarded the Grand Prize for the international competition at Media City Film Festival as well as the Main Prize at Fronteira Experimental and Documentary Film Festival for her film “Occidente”. She is the 2015 recipient of the Kazuko Trust Award presented by the Film Society of Lincoln Center in recognition of artistic excellence and innovation in her moving-image work. Ana is also a founding member of the collective "Coyote" along with Tristan Bera, Nuno da Luz, Elida Hoëg and Clémence Seurat, a cross-disciplinary group working in the fields of ecology, anthropology, ethnology and political science through an array of cross­cutting platforms.

Pedro vaz
Catalogue : 2015Monólito | Vidéo | hdv | noir et blanc | 56:10 | Portugal | 2013
Pedro vaz
Monólito
Vidéo | hdv | noir et blanc | 56:10 | Portugal | 2013

A young man, the lonely character of this tale, is on a journey of (self) discovery inside an unbounded, abstract space, where primitive Nature reigns. In this space, the faint glimmers of the Man passage are offered by some constructions in ruins. However, most of the surrounding is uncharted Nature, this seems to have a magnetic effect on the character who, still an outsider, feels the urge to explore. Although he doesn`t know exactly what he is searching for, his journey is ordained by a calling – and his (uphill) journey progressively becomes more grueling.

Pedro Vaz (Maputo, 1977) obtains a degree in Fine Arts - Painting, Faculty of Fine Arts, University of Lisbon in 2006. This year, he exposed Atlântica individually in Baró Gallery in São Paulo, Brazil, Neblina in Galeria 111, Lisbon and Monólito in Casa da Cerca - Contemporary Art Centre in Almada, Portugal. In 2014 was awarded in the international competition "Beers Award for Emerging Contemporary Art" in London, and was granted a scholarship for the development of the project "Tour du Mont-Blanc"  by the Calouste Gulbenkian Foundation and the Duplacena. In the same year, Pedro Vaz exhibits: "Tour du Mont-Blanc" integrated into the Festival Temps D`images 2014 and presented at the MNAC: National Museum of Contemporary Art Chiado, in Lisbon; "Stimmung" exhibited in CAPC - Circle of Fine Arts of Coimbra and co-exhibits "Raukoon - Pedro Vaz X João Queiroz" at CAPC (Coimbra Fine Arts Circle) alongside another project "50 Years of Galeria 111" in Lisbon. Pedro Vaz, lives and works in Lisbon and Sao Paulo.

Carlos vÁsquez mÉndez
Catalogue : 2014Vientos del Oeste/Vientos del Este | Doc. expérimental | 16mm | noir et blanc | 15:46 | Chili | 2014
Carlos vÁsquez mÉndez
Vientos del Oeste/Vientos del Este
Doc. expérimental | 16mm | noir et blanc | 15:46 | Chili | 2014

Vientos del Oeste/Vientos del Este is a film about the frontier as a junction of eastern and western winds, an imaginary line crossed by multiple traditions, information and modernity embodied in the transit of people and merchandise through the chilean-bolivian high plateau. As an answer to the authority`s denial to film some activities proper to a delicate border between two countries without diplomatic relations, I search an analogy in the wind and its effects in the landscape, which as the frontier, it is also unable to be seen but easily perceived.

I studied at the Escuela de Cine de Chile, after I completed my degree with materials of visual anthropology and cultural studies, I worked at a film lab before moving permanently to Spain. After completing the Master of Creative Documentary at the Pompeu Fabra University, I concentrated on developing my own film work linked to essay and experimental cinema. Simultaneously I also collaborate on projects by other filmmakers, I teach and write about Art and Cinema. In 2012 along with Amanda Villavieja, we created Atelier La Faz, a sound art and experimental cinema laboratory.

Ivar veermÄe
Catalogue : 2014Crystal Computing (Google Inc., St. Ghislain) | Documentaire | hdv | couleur | 9:19 | Estonie | Espagne | 2014
Ivar veermÄe
Crystal Computing (Google Inc., St. Ghislain)
Documentaire | hdv | couleur | 9:19 | Estonie | Espagne | 2014

Data in the Cloud seems to be disembodied. But in reality, it does have a physical manifestation, albeit a small one, on the hard drives on internet servers. To cool the servers requires massive amounts of energy, so the data is stored in huge centres that look like factories, complete with chimneys releasing large clouds of vapour into the atmosphere. One of the largest data centres in the world with close to 300 000 servers is in St. Ghislain, Belgium, where Google Inc. uses a code name, Crystal Computing. Ivar Veermäe was not granted permission to visit the centre, so he filmed it from a distance. The distance makes the physical location of the data take on a magical quality, like an unattainable paradise, but with unfavourable auspices.

Ivar Veermäe is visual artist concentrating on issues of public space, mediation processes, new technology and networks. His projects are based on long term artistic research, which goal is to analyze the notions connected to information, networks, materiality, locality and also representation. He has had several solo exhibitions in Berlin and Estonia. His work has been exhibited in group exhibitions at transmediale Festival in HKW, the Zentrum für Kunst und Urbanistic, Forum Factory and Kleine Humboldt Gallery in Berlin, the Art Museum of Estonia, Art Hall of Tallinn, the Estonian Contemporary Art Museum, the Sociale Verzekeringsbank in Holland, the Kulturhuset Bronden in Denmark, the Mamara University in Istanbul. He has participated with perfomances in Hebbel am Ufer, Berlin and in Month of Performance Art Berlin in ACUD Theater. His videos are being screened in various screenings at the AND Festival in Manchester, EMAF in Osnabrück, Crosstalk festival in Budapest, Carneval of eCreativity in India, and in Virtual Memorial, Cambodia. Ivar Veermäe currently lives and works in both Tallinn and Berlin, Germany. He received a BA in photography from the Estonian Academy of Arts in 2009 and a MA in 2014 at Spatial Strategies department in Weissensee Kunsthochschule Berlin. www.ivarveermae.com

Catalogue : 2017Our Word Our Bond | Doc. expérimental | hdv | couleur | 14:14 | Estonie | Allemagne | 2017
Ivar veermÄe
Our Word Our Bond
Doc. expérimental | hdv | couleur | 14:14 | Estonie | Allemagne | 2017

The film is a journey of tracing the former Baltic Exchange´s building. 1903 it was built in neoclassical Edwardian style in the centre of London and 1992 destroyed by Provisional IRA´s biggest car bomb to the date. After the bombing there were plans to attach parts of Baltic Exchange´s house to a new building in the same location. Before dismantling it was fully documented and catalogued. These plans never materialized and in 2006 two estonian businessmen bought the facade and parts of the trade hall wanting it to be rebuilt in Tallinn. The stones were sent to Estonia, where they have stayed in shipping containers over 10 years (with the exeption of the facade sculptures, which were used in a project by estonian architects and artist in 2016). After the real estates developers won dispute with conservationists Foster and Partners iconic “ Gherkin ” - Swiss Re-s building has been constructed in the former Baltic Exchange´s site. Tracing the stones and the story of former building, in Estonia and London, leads to unpredictable outcomes. For example, terrorist attack being economic consideration; real estate boom in London; redesign of city space by incorporating anti attack measures.

The work of visual artist Ivar Veermäe (born 1982 in Tallinn, Estonia; lives in Berlin) circles around questions of public and private space, mediation processes, architecture and infrastructure, information technology and networks. As a result of long-term artistic research by means of photography, film and sound, his works are presented in versatile ways (such as video, on-site installations, interactive works and performances, also in public space). Ivar Veermäe aims to document and analyze the infrastructure underlying our contemporary culture of data and information. Concentrating on physical and local presence, confronting it with its representations creates a possibility for questions and doubts. His interest lays in hidden or stealty qualities of various spaces and objects. He has had solo exhibitions in Edith-Russ-Haus, Oldenburg, Gallery im Turm, Berlin, Freies Museum Berlin, City Gallery of Tallinn and Hobusepea Gallery in Estonia, among others. His work has been exhibited in group exhibitions at transmediale Festival in HKW, Venice Architecture Biennale, Athens Digital Arts Festival, Moscow Biennale for Young Art, the Bozar in Brussels, the CNB Contemporánea in Buenos Aires, the Zentrum für Kunst und Urbanistic, Forum Factory and Kleine Humboldt Gallery in Berlin, the Art Museum of Estonia, Art Hall of Tallinn, the Estonian Contemporary Art Museum, the Latvian Centre for Contemporary Art, the Kulturhuset Bronden in Denmark, the Old Sugar Factory in Groningen, the Kunstverein Wolfsburg, the Kunstverein Kassel, the Pinnacles Gallery in Australia.

Ana vega
Catalogue : 20153 shades (She blue, red, yellow) | Vidéo | hdv | couleur | 12:18 | Italie | 2014
Ana vega
3 shades (She blue, red, yellow)
Vidéo | hdv | couleur | 12:18 | Italie | 2014

Une Mercedes-Benz blanche dérobe la vedette à un pare-soleil. Elle (she) existe en trois modèles. Tourné en 2014 entre San Francisco, Los Angeles et Pismo Beach pour l’exposition I want to Live in Los Angeles / Not the one in Los Angeles au Torrance Art Museum (LA), le film est écrit en trois volets : trois figures, trois créatures dans leur environnement artificiel. D’une durée approximative de deux cents trente secondes, chaque volet se déploie telle une bannière pop-up, agissant comme un interlude publicitaire à l`intention trouble. Les films opèrent d`un amalgame de langages - cinématique, publicitaire, stratégie marketing, clip - auxquels ils n’adhèrent jamais tout à fait, et qui s`annulent par l`illisibilité de la résultante.


Ana Vega (1987) est diplômée de l’École nationale supérieure des Beaux-Arts de Paris (2012) et de l’ENSAAMA – Olivier de Serres à Paris (2008). Elle a également étudié la vidéo au CIEVYC à Buenos Aires. Depuis 2013, elle séjourne régulièrement en Californie dans le cadre de résidences de recherche et de production : Dickerman Prints à San Francisco ; 18th Street Arts Center et Commonwealth & Council à Los Angeles. Elle a participé à l’été 2014 à deux expositions à Los Angeles : Outside crease of elbow à Commonwealth & Council, en duo avec l’artiste Gina Osterloh, et I want to live in Los Angeles/not the one in Los Angeles au Torrance Art Museum, lors de laquelle elle a bénéficié de la publication d’un catalogue aux éditions du Torrance Art Museum. Son travail a été montré à Paris lors de l’exposition collective SUPERNATUREL (commissariat : Neïl Beloufa) à la Fondation Ricard en 2014, puis à la galerie Florence Loewy pour la Collection Joseph Kouli, ainsi qu’au Centquatre dans l’exposition Dépaysements (commissariat : Gunnar Kvaran) en 2013. En 2015, elle présente double décor (commissariat : Alexandre Quoi) en duo avec l’artiste Eléonore False, une exposition en deux temps, au centre d’art de l’Hotel de Gallifet, Aix-en-Provence, puis à la galerie Escougnou-Cetraro à Paris. En l’été 2015, Ana Vega projette son dernier film à cette même galerie, et participe, dans le cadre d’une exposition personnelle, à la programmation satellite du centre d’art Image/Imatge, ainsi qu’à l’exposition collective Acts of Transmission (commissariat : Sarina Basta) au Palais des Beaux-Arts de Paris. L’artiste prépare actuellement un nouveau projet filmique.

Ana vega
Catalogue : 2018Where Are We Going? (Hey Siri) | Vidéo | hdv | couleur | 13:59 | Argentine | France | 2018
Ana vega
Where Are We Going? (Hey Siri)
Vidéo | hdv | couleur | 13:59 | Argentine | France | 2018

Voix flottantes dans un espace que l'on devine par oscillations. Sorti.es faire une course, les deux protagonistes s'égarent dans les contextes historiques de l'objet qu'elles.ils cherchent, s'émeuvent et se désillusionnent des rapports humains, passent du temps ensemble et se trouvent des compagnons de voyage. Une séquence en clair-obscur, abstraite et figurative, qui suit les trajets d'une conversation entre personnages invisibles et incorporels, le temps d'un itinéraire indécis. Where do you want to go? I'm sorry, I can' t answer that. Where are we going? Here's what I've found : _ Un jeune homme et sa mère, Robin, Siri, Siri, Chris C. et d'autres.


Ana Vega (née à Bahia Blanca, Argentine, 1987) est une artiste qui vit et travaille à Paris et Saint-Ouen. Elle a étudié à l'Ecole Nationale Supérieure des Beaux-Arts de Paris et à l'école Nationale Supérieure des Arts Appliqués et des Métiers d'Art de Paris ; à Carnegie Mellon University, Pittsburgh (USA) ; à Pittsburgh Filmmakers Center for the Arts, Pittsburgh (USA) ; au Centro Cultural Rojas (Buenos Aires). Elle participe à l'exposition collective « Mademoiselle » curatée par Tara Londi au Centre Régional d'Art Contemporain à Sète (2018-19). Son travail a été montré en 2017 à Arondit, Paris ; au Centre d'Art Contemporain Chanot (Clamart) ; à Arnaud Deschin Galerie (Paris) ; à Vidéobox#4, Carreau du Temple, Paris ; la La Salle de Bains, Lyon, FR ; Festival d'art vidéo de Carcassonne, Cinéma le Colisée, Carcassonne, FR ; et précédemment, notamment au 22 rue Muller, Paris, 2016 ; au Festival vidéo les Rencontres Internationales à la Gaîté Lyrique, Paris, 2016 ; au centre d`art Image/Imatge, Orthez, FR, 2015 ; au Palais des Beaux Arts, Paris 2015 ; à la galerie Escougnou-Cetraro, Paris, 2015 ; à Commonwealth & Council, Los Angeles, USA, 2014 ; Torrance Art Museum, Los Angeles, 2014 ; à la Fondation Ricard, Paris, 2014 ; à la Galerie Florence Loewy, Paris, 2013 ; au Centquatre, Paris, 2013 ; à la Dickerman Gallery, San Francisco, USA, 2013 ; au 58e Salon de Montrouge, Le Beffroi, Montrouge, FR, 2013 ; à la Fondation Rosenblum, Paris, 2012.

Javier velazquez cabrero, xolisile bongwana
Martijn veldhoen
Catalogue : 2006Public spaces | Fiction expérimentale | dv | couleur | 10:0 | Pays-Bas | 2006
Martijn veldhoen
Public spaces
Fiction expérimentale | dv | couleur | 10:0 | Pays-Bas | 2006

Il fut une époque où ?l?espace public? était un concept bien défini. C?était une sorte de moyen d?expression démocratique auquel tout le monde avait accès, disponible en toute sécurité et en toute liberté et qui permettait les échanges entre les personnes. Aujourd?hui les choses ont changé ; grâce aux systèmes de télécommunication, on emporte notre espace personnel avec nous, comme une bulle d?air, et la sphère publique est devenue un ensemble de sous-ensembles. Tout le monde est connecté en permanence à quelque chose ou quelqu?un d?autre, de sorte que l?espace de séparation prend une forme virtuelle propre à elle-même, qui change constamment avec le temps. Il reste entre les sous-ensembles quelque chose qui a les caractéristiques d?un vide qui génère des forces. Il aspire un grand nombre d?individus qui ne peuvent pas ou ne veulent pas ?participer?, ou qui n?ont pas accès ou ne veulent pas avoir accès aux moyens qui permettent de connecter les bulles individuelles entre elles. Veldhoen nous montre comment notre perception de l?espace publique a changé, nous ne le percevons plus du tout comme un endroit sûr. Bien que la voix off ait adopté un ton contemplatif, il reste un sentiment de menace et de paranoïa ; on peut lire le mot ?Bombe? sur un mur, comme un graffiti. Les personnages principaux se déplacent dans un espace que Veldhoen a représenté grâce à une sorte de technique de ?photographie en mouvement? grâce à laquelle une image en deux dimensions devient une image en trois dimensions et commence à bouger. On voit des images révélatrices d?un train, d?une station de métro et d?un marché. C?est une série ?d?endroits coupables?. On ne peut pas voir les ?suspects habituels?, mais le temps continue de s?écouler impitoyablement et l?événement annoncé aura lieu.


Martijn Veldhoen est né en 1962 aux Pays Bas. Son travail a été exposé dans des endroits tels que le CaixaForum Palma à Palma de Majorque, Le Fresnoy, Studio national des arts contemporains à Tourcoing, la Sala Rekalde à Bilbao, la Fundación La Caixa - CaixaForum à Barcelone, le National Museum of Contemporary Art (MNAC) à Bucarest, le Kunstmuseum de Bonn, la Dorottya Gallery à Budapest et la Städtische Galerie im Buntentor à Brême.

Martijin veldhoen
Catalogue : 2005Why do I keep going - FORWARD | Vidéo expérimentale | dv | couleur | 6:0 | Pays-Bas | Pays-bas | 2004
Martijin veldhoen
Why do I keep going - FORWARD
Vidéo expérimentale | dv | couleur | 6:0 | Pays-Bas | Pays-bas | 2004

Qu´il est bon d´avancer. Avec le vent dans les cheveux sur le pont d´un bateau ou sur la plateforme d´un wagon de marchandises - lorsque le paysage commence à défiler de plus en plus vite devant vos yeux, botre corps sait que vous vous dirigez vers le futur. Mais pourquoi est il tellement agréable d´avancer? "(pourquoi est-ce que je continue à) avancer" commence par cette question, mettant immédiatement en relation la sensation s´aller de l´avant et le `progrès`. Alors que des images enregistrées à bord de trains, bateaux, avions défilent devant nos yeux, on peut ontendre quelqu´un qui pense tout haut; quelqu´un qui se pose des queestions. Des questions sur notre amour de la nature et de la culture en tant que sources d´harmonie et de civilisation: la nature et la culture ne sont elles pas régies par les mêmes lois qui s´appliquent à l´économie? les évolutions qui ont conduit à faire nager les poissons, et à faire prospérer Venise sont elles différentes de celles qui alimentent la frénésie du monde des affaires à Manhattan? `Le progrès" présuppose une direction et un but, mais ni l´un ni l´autre n´a vraiment d´importance comparés à ce qu´on ressent à bord d´un train ou d´un bateau en mouvement. En avant ou en arrière dépend de la direction dans laquelle vous regardez; et en ce qui concerne le ´progrès´, la direction n´a en fin de compte pas plus d´importance tant qu´il y a du mouvememnt.


Veldhoen a reçu plusieurs bourses de la fondation BKVB et de la fondation Mondrian. Il a vendu plusieurs de ses oeuvres à des collections privées ou des sociétés, parmi lesquelles la collection de la banque ABN-ARMO et le Bouwfonds Nederlandse Gemeente. En 1999 et 2000 il travaille en tant que professeur invité à l´académie d´art Minerva (Groningen) et au HKA (Arnhem). En 2003 il fait partie du jury décernant les prix LSVB et René Coehlo. Les services d´"expert Extérieur" de Martijn Veldhoen ont été demandés à plusieurs reprises pour des examens de fin d´année de plusieurs académies d´art (AKI; Enschede, Institut Frank Mohr, Groningen, entre autres)

Nikos veliotis
Catalogue : 2005ObJet | Art vidéo | dv | couleur | 11:28 | Grèce | 2004
Nikos veliotis
ObJet
Art vidéo | dv | couleur | 11:28 | Grèce | 2004

Le contenu de "obJet's" consiste entièrement en images pornographiques de basse résolution. Cet "objet trouvé" pornographique a été téléchargé sur internet à la suite de douzaines de spams offrant des images gratuites. Peu de temps après avoir rassemblé ces images, le compte a été détruit car, en raison du nombre important de spams, il n'était plus gérable. La vidéo s'emploie à ralentir radicalement le rythme frénétique des rapports sexuels tirés de films pornographiques se déroulant à l'écran, en utilisant un simple procédé d'animation : des couches multiples de photos suivent lentement les mouvements d'un balancier. L'animation entraîne l'apparition continue de parties du corps disloquées et de visages qui émergent au sein d'une confusion mouvante qui les lie, juste avant d'être avalés par la vague d'images suivante. La superposition d'images dissimule autant qu'elle expose. Il n'y a que les parties de visages et de corps qui suggèrent une réalité à plusieurs couches invisible à l'oeil nu.


Nikos Veliotis est né à Athènes, Grèce, en 1970. Artiste vidéo prisonnier dans le corps d'un musicien, il travaille sur des revêtements statiques de déchets numériques et autres matériaux numériques trouvés (par internet ou par des diffusions) combinés avec un son live ou le silence. Il travaille également dans le domaine de la musique comme violoncelliste et artiste vidéo.

Javiera veliz, -
Dimitri venkov
Catalogue : 2016Krisis | Doc. expérimental | 4k | couleur | 32:26 | Russie | 2016
Dimitri venkov
Krisis
Doc. expérimental | 4k | couleur | 32:26 | Russie | 2016

The video Krisis is a reenactment of a facebook discussion among Russian and Ukrainian artists, which took place in December 2013 upon the tear-down of the statue of Lenin in Kiev during the early stages of the Maidan protests. The discussion unfolds at a pivoting point in modern history. In fact, it occurs at the very moment when History bursts into the scene as a force surpassing individual actors and dragging them into its course in an indefinite capacity somewhere between that of a witness and participant. Krisis should also be understood here as trial or judgment, where twelve jurors debate the meaning of the historical event but fail to pass a verdict. Just as with Pilate’s judgment of Jesus, the decision is not reached and the trial takes on “a continuous and implacable course, an incessant passing and progress through time.” The historical crisis is bound to last like trauma in psychoanalysis: separated from its original context, it reappears in pathological forms in every sphere and at every moment. Structurally and thematically it is a remake of the Sidney Lumet film “Twelve Angry Men.” This classic is an idealized image of the American democracy based on inclusiveness. In the film Krisis the situation is reversed: although the characters belong to the same circle or community, their positions are irreconcilable and mutually exclusive thus making a compromise impossible. There is no way out of this argument but to split apart. The film Krisis plays out a metaphor of a society divided by history, politics, and aesthetics. New challenges further polarize it and augment its internal contradictions revealing a crisis as a state of imminent threat that the society presents for itself.

Dimitri Venkov (born 1980) is a video artist and filmmaker working across art, film, and academic institutional contexts. His works have been presented at Vth Moscow Biennale, First Bergen Assembly, Hayward Gallery, Kino der Kunst, Documenta 14,Oberhausen and Moscow Film Festivals, and others. In 2012 he received the Young Artist Kandinsky Prize for his film Mad Mimes. He was nominated for the Moscow Innovation Prize and St. Petersburg Kuryokhin Prize. Dimitri is a professor of videoart at Moscow Rodchenko School of Photography and Multimedia and has lectured at Yale University, Moscow State University, Moscow Art and Multimedia Museum.

Devis venturelli
Catalogue : 2018Unframed | Vidéo | hdv | couleur | 4:22 | Italie | 2018
Devis venturelli
Unframed
Vidéo | hdv | couleur | 4:22 | Italie | 2018

In "Unframed", the city is object of observation from inside a nebula black, floating, cavernous, mysterious. As in the depths of a primordial cave, the urban overview is fragmented in a collage-city in form of video. The drone unveils the Milan urban fabric with its patterns, grains and densities: from historical city emerges a new contemporary skyline. "Unframed" investigates the possibility to create images with mobile and fluid outline, an aerial view, sinuous and oscillating, in an incessant fluctuation. "Unframed" documents the odeporic approach of the contemporary culture in which the perception is an idiomatic overview.

Born 1974 in Faenza, Italy. He lives and works in Milan, Italy. Multi-disciplinary artist and architect, in his practice he uses the languages of video, performance, sculpture and installation to document ephemeral architectures and temporary utopias. He has taken part in solo and group shows in institutions such as Lincoln Center for the Performing Arts, New York; Antology Film Archive, New York; PAC, Milan; Medialab-Prado, Madrid; Museo de Arte, Lima; Xinjiang Biennale; MACRO, Rome; Kulturhuset Museum, Stockholm; MMOMA - Moscow Museum of Modern Art, Moscow; Ace Gallery, Los Angeles; Angel Orensanz Foundation, New York; Istituto Italiano di Cultura, Amsterdam; Spazio Oberdan, Milan; Fondazione Sandretto Re Rebaudengo, Turin; Kunsthalle, Wien; Stadtgalerie, Kiel; Centre d'Art Santa Monica, Barcelona; Fondazione Merz, Turin; Kunstverein, Augsburg; National Museum, Wroclaw; Mart - Galleria Civica, Trento; Galleria Nazionale d'Arte Moderna, Rome. In 2013 he presented the film project Luciano Berio/Devis Venturelli/Tempo Reale. In My End is My Music produced by Fondazione Romaeuropa. His videos and experimental films have been screened in International Film Festivals including Dance on Camera Festival, Videoformes, 25FPS Experimental Film Festival, FIVA - Festival Internacional de Video Arte, Romaeuropa Festival, Tehran International Short Film Festival, Regensburg International Short Film Week, New Filmakers NY.

Mario verandi
Catalogue : 2006Klang-Film | Doc. expérimental | dv | noir et blanc | 12:12 | Argentine | Allemagne | 2005
Mario verandi
Klang-Film
Doc. expérimental | dv | noir et blanc | 12:12 | Argentine | Allemagne | 2005

?La Sortie des Usines Lumière à Lyon? (1895) est le titre du premier film à avoir jamais été projeté en public. D´une durée de 45 secondes, il montre les ouvriers sortant d' une usine photographique appartenant aux frères Lumière, à Lyon. Dans son film "Arbeiter verlassen die Fabrik", Harun Farocki explore cette scène en utilisant l´histoire du film. Pour "Klang-Film", le film de Farocki à été re-monté en une version plus courte. La plus grande partie des dialogues ont été coupés au remontage, faisant du film quasiment un film muet. La musique, rajoutée par la suite, est donc devenue un élément nouveau et d'influence sur la forme, et elle ouvre une nouvelle dimension dans la perception des images. "Klang-Film" explore le conterpoint sensoriel des sons et des images, ainsi que leur interaction, ambiguité et heurts. Comment une musique particulière façonne-t-elle la perception des images? Comment les images façonnent-t-elles la perception d´une musique particulière? Dans son livre "Audio-Vision: Sound on Screen", Michel Chion avance l´idée que son et image sont toujours indépendants, et que seuls notre conditionnement et l´utilisation de nos conventions de synchronisation nous font croire que ce n´est pas le cas. Citons la métaphore éclairante du réalisateur français Robert Bresson : "Images et sons, comme des gens qui font connaissance en route et ne peuvent plus se séparer"


Mario Verandi (Buenos Aires 1960) à étudié la musique en Argentine, à Barcelone et à l´Université de Birmingham (GB).Les oeuvres de Verandis comprennent de la musique éléctroacoustique, des morceaux audiovisuels, des installations sonores et des travaux radiophoniques. Il était compositeur résident à La Muse en Circuit (Paris), au Studio Césaré (Reims), TU-studios Berlin, au ZKM (Karlsruhe) et invité du programme des artistes-en-résidence (artists-in-residence) à Berlin. Verandi a été récompensé entre autres lors de la Bourges Electroacoustic Music Competition (France), Musica Nova Competition (Prague), CIEJ Electronic Music Awards (Barcelona), Prix Ars Electronica (Linz), Stockholm Electronic Art Awards (Sweden), et ZKM European Bell Days Commission Prize (Germany). Ses oeuvres ont été jouées et diffusées dans le monde entier. www.marioverandi.de Harun Farocki est né en 1944 à Nová Jicin, dans la partie de la Tchécoslovaquie annexée par les allemands. Il a étudié à la Deutsche Film- und Fernsehakademie Berlin (DFFB) de 1966 à 1968. Aprés avoir occupé quelques postes d´enseignant à Berlin, Düsseldorf, Hambourg, Manille, Munich et Stuttgart, Farocki a été nommé au poste de professeur invité à l´Université de Californie, Berkeley, entre 1993 et 1999. Farocki a réalisé près de 90 films, dont trois longs-métrages, des essais cinématographiques et des documentaires. www.farocki-film.de

Matthew verdon
Catalogue : 2012One thing after another | Vidéo | dv | couleur | 8:34 | Australie | Royaume-Uni | 2012
Matthew verdon
One thing after another
Vidéo | dv | couleur | 8:34 | Australie | Royaume-Uni | 2012

The work juxtaposes close up images of an ageing Donald Judd sculpture with a dialogue about biological adaptation, function and vestigial structures. The film appropriates the Judd piece that is said to exist in a place somewhere between art and architecture, but a full view is never shown, just upward looking shots of details and the effects of time and nature upon it that increase in frequency as the film progresses. The treatment of the Judd sculpture transforms it from a formal to a representational structure, becoming a questioning not just of the original, but also of function, the inherent qualities of physical and historical structures and permanence or resistance to change. The editing of the film also gradually develops along with the narrative, thus embodying structural adaptation whilst discussing it. The viewer is then left with questions of temporality and change, be it artistic, social, biological, historical or structural, of what something was, what it is now and what it might become.

Matthew Verdon?s practice deals with man made structures and constructs, challenging and questioning them as an attempt to understand social systems and processes that are in constant flux. Change is an unavoidable part of life, the question is how do we deal with it. Utilising past and vernacular structures, Verdon transforms them with notions of the present to speculate, experiment and adapt in order to think about the nature of things and objects in the world, how we shape them and how they shape us. The outcomes of his practice usually take the form of video, collage and small to medium scale objects. Verdon was born in Brisbane, Australia, and presently lives and works in London. He has studied at Chelsea College of Art, London and Goldsmiths College, London. He has exhibited widely both throughout the United Kingdom and internationally, with recent exhibitions including The Object as Image at Kunsthalle Exnergasse, Vienna (2012), An Exchange with Sol Lewitt, MASS MOCA, Massachusetts, USA (2011), Hors Pistes, Pompidou Centre, Paris (2011), All that glitters is not institution, Whitechapel Gallery, London (2010), and Madrid Abierto, La Casa Encendida & Spanish National Radio, Madrid (2010).

Catalogue : 2013Hugelkultur | Vidéo | hdv | couleur et n&b | 9:30 | Australie | Royaume-Uni | 2013
Matthew verdon
Hugelkultur
Vidéo | hdv | couleur et n&b | 9:30 | Australie | Royaume-Uni | 2013

In 1963 a spiral staircase was built in Salvador, Brazil, by the architect Lina Bo Bardi as part of the transformation of an old mill into a museum of modern art. The design of this staircase was based on a vernacular technique for making ox cart wheels. The agricultural practice of hugelkultur involves burying large pieces of old wood that rot over time and subsequently become rich fertiliser, providing enhanced growing conditions for the roots of new plantings. A spoken narrative describes the proposed renovation of an old room in need of repair into a new room of unspecified end uses. Such varying but related notions of material transformation and adaptive re-use are featured in the present work as ways of thinking about how the ?new? is produced and the relationship of such production to the already existent. Featuring filmed, found and hand drawn footage, the video is based upon the idea of a spiral staircase, this being utilised for not only its content but also its form through the structural use of evolving repetitions and loops. The work draws on plant science, architecture and speculation to arrive at a questioning of function, progress and growth.

Born: Brisbane, Australia Lives & Works: London, United Kingdom

Catalogue : 2014Water finds its own level | Vidéo | hdv | couleur | 10:17 | Australie | 2013
Matthew verdon
Water finds its own level
Vidéo | hdv | couleur | 10:17 | Australie | 2013

The work questions the conflation of abstractions such as economic growth and finance with organic natural processes. We hear of flows of capital and liquid assets, but can such dematerialised entities be equated with the movement of water that inherently acts under the influence of natural laws and gravity? Here nature is utilised in an attempt to give monetary concepts and mechanisms a form of naturalised comprehensibility, but perhaps both operate in fundamentally differing ways. This is highlighted in the work through featuring varying uses of running water in relation to accumulation and change over time. Ranging from a biomorphic corporate bank building surrounded by traditional water gardens, to cotton irrigation and fluctuating commodity prices, to a subversion of a Richard Serra’s 1968 film “Hand catching lead”, natural, historical and cultural references are appropriated in order to create a narrative that examines an equation that seems somewhat ubiquitous today.

2013 Les Rencontres Internationales, Haus der Kulturen der Welt, Berlin, Germany Ghost Town, Saison Video, Lille, France 2012 Les Rencontres Internationales, Palais de Tokyo, Paris, France PVM-2130, Furnished Space, London, UK Oriel Davies Open, Oriel Davies Gallery, Newtown, Powys, UK The Lewton Bus: Coming Soon & Conditions, Shortwave Cinema & Vitrine Gallery, London, UK 2011 Open, New Gallery, London, UK Video Guerrilha, Sao Paolo, Brazil Hors Pistes, Pompidou Center, Paris, France 2010 All that glitters is NOT institution, Whitechapel Gallery, London, UK Pop-up Show, The Old Police Station, London, UK Art / Value / Currency Part 2, Eastern District, Brooklyn, New York, USA Images Contre Nature, Theatre des Chartreux, Marseille, France agency, The Agency Gallery, London, UK Saison Video, Espace Croise, Lille, France The Pursuit of Happiness, Arsenal Gallery, Poznan, Poland 2009 Art / Value / Currency, The Pigeon Wing, London, UK The Pursuit of Happiness, This Is Not A Gateway Festival, Kobi Nazrul Centre, London, UK 2007 Visual Deflections, The Roxy Screen, London, UK Punk, Ada Street Gallery, London, UK & Rote Flora / Galerie Lecocon, Hamburg, Germany

Catalogue : 2017Hyperthermia | Vidéo | hdv | couleur | 11:39 | Australie | Royaume-Uni | 2016
Matthew verdon
Hyperthermia
Vidéo | hdv | couleur | 11:39 | Australie | Royaume-Uni | 2016

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Matthew Verdon was born in Brisbane, Australia, and currently lives/works in London. After completing studies in agricultural science and art, he has exhibited widely both throughout the United Kingdom and internationally.

Snear vered
Catalogue : 2017Crack the Window | Vidéo | hdv | couleur | 17:40 | USA | 2016
Snear vered
Crack the Window
Vidéo | hdv | couleur | 17:40 | USA | 2016

In this work, I appropriate user tutorials as a genre in order to investigate the relationship between technology and culture. The work presents a teenage vlogger instructing how to use a fictive app.With media increasingly becoming more life-like and life increasingly adapting the logic of media, sleek interfaces of operating systems, internet browsers, and websites makes it difficult to stop, identify, and think critically about how these things actually structure and monopolize our experience, despite the misleading empowerment of “ user-generated content ” or “ customizable ” options. I am interested in interrupting this seemingly closer getting circuit and seeking not only to deconstruct the formal and instrumental aspects of Internet browsing, but also the identities that are constructed with and within it.

Vered Snear (b. Israel 1982) is an artist based in Toronto and Tel Aviv. Recent group exhibitions include: Superpositions, 21st Biennale of Sydney (in collaboration with Brook Andrew), Museum of Contemporary Art, Sydney (2018); Bronx Calling: The Fourth AIM Biennial, The Bronx Museum of the Arts, New York (2017); I can because you do, Participant Inc, New York (2016); Universum, The International Photography Festival, Jaffa, Israel (2016). Snear was a NYC Art + Law Fellow (2016) and part of the AIM Program, Bronx Museum (2017). She has undertaken residencies at Banff Centre, Canada (2016), MASS MoCA (2018), Vermont Studio Center (2018), and UNSW Art + Design, Australia (2018). Research-based artist Vered Snear investigates the role of visual and textual language to explore intricate relationships between media and ideology. Through her practice, she aims to challenge dominant narratives and representation as a tool that articulates subjectivities, affects, and desires. Working predominantly in video, installation, photography, and sculpture, Snear uses a combination of text and imagery from archives, television, video-sharing and social media that she reworks into fictional scenarios. These fictions hold the potential to create a space of re-imagination and agency.

Iris verhoeyen
Catalogue : 2005deux hectares | Documentaire | dv | couleur | 14:0 | Belgique | 2004
Iris verhoeyen
deux hectares
Documentaire | dv | couleur | 14:0 | Belgique | 2004

A deux pas de la gare du Nord de Bruxelles se trouve le quartier Gaucheret. `Deux hectares` presente les problemes auxquels ce quartier et ses habitants sont confrontés depuis quarante ans et qui se posent une nouvelle fois à eux aujourd`hui. Comment survivre dans l`ombre de la plus grosse erreur d`urbanisme jamais vue a Bruxelles: le quartier Manhattan ?


Katleen vermeir, ronny heiremans
Catalogue : 2010The Good Life | 0 | dv | couleur | 16:0 | Belgique | 2009
Katleen vermeir , ronny heiremans
The Good Life
0 | dv | couleur | 16:0 | Belgique | 2009

In the background technicians are installing a prestigious exhibition,whilst a smartly dressed lady is guiding a group of people around a series of pristine white spaces, some of them filled with crates and wrapped-up paintings. Along the way she not only comments on the art but also reveals the building to her audience from a unique perspective. Describing interiors, great views and the city?s vibrant opportunities, the lady turns out to be an estate agent who is selling an up-market architectural proposal and a lifestyle that grafts the ?value? of art with its institutions. Moving through the labyrinthine building, she finds herself lost in narrow corridors and staircases. Meanwhile the future development projects itself into the group?s collective imagination, fed by the visionary architectural model on display. ?The Good Life (a guided tour)? redefines our perception of the art institution and raises our awareness of its part in the ?creative city?, a scenario that is being played out in metropoles around the globe. The apparently ?neutral? frame of the gallery space which envelopes the spiritual and cultural heritage of our society, recedes in favour of that of a real estate opportunity. The estate agent is the embodiment of the denial of any possible negative impact that the creative race between cities in a neo-liberal context might generate. Through a generic language that excludes any notion of ?gentrification?, her hyperbolic tour creates an exclusive identity. The film?s elaborate treatment of sound ? as well as the absence of it ? disrupts the untenable perfection of the architecture, and its mediated forms, making the emptiness of the building sensible, which actually is what the estate agent is selling: a lifestyle fantasy projected on an empty shell. ?The Good Life (a guided tour)? is an autonomous single screen video piece that can be presented either in an exhibition or screening context. In its first presentation the video functioned as a ?marketing tool? for a fictional real estate development ?The Good Life?, which was the title of the Vermeir/Heiremans solo exhibition at Arnolfini, Bristol (UK) in Spring 2009. The show was curated by Nav Haq.

Katleen Vermeir (Bornem 1973) works and lives in Brussels (BE) Education/international studio programs 1992-1996 Hogeschool voor Wetenschap en Kunst (painting), St.-Lukas, Ghent (BE) // 1996-1999 HISK, Antwerp (BE) // 1997 Germinations, Miscolc (HU) // 1997-1998 Academy for Fine Arts, Tianjin (CN) // 1999-2001 Ateliers 63, Amsterdam (NL) // 2001-2002 P.S.1, International Studio Program, New York (US) // 2004 Research & residency with Ronny Heiremans, New Mexico (US) // 2006 Platform Garanti, Istanbul (TR) // 2009-2010 CEAC, Xiamen (CN) // 2010 Theater In Motion (T.I.M.), Beijing (CN) Solo & duo shows 2010 LOOP (in collaboration with Ronny Heiremans), The Good Life (a guided tour) at LOOP Video Art Fair with Koraalberg Gallery, Barcelona (SP) // 2009 VIDEO LOUNGE (in collaboration with Ronny Heiremans), CEAC, Xiamen (CN) also featuring a commissioned screening program compiled by Vincent Meessen & Nav Haq // A.I.R extension #15 THE GOOD LIFE (in collaboration with Ronny Heiremans), Arnolfini Center of Contemporary Art, Bristol (UK) // THE PASSING OF A PERFECT DAY (REVISITED), Insert Katleen Vermeir, MuHKA, Antwerp (BE) // 2007 CONJONCTIONS (in collaboration with Ronny Heiremans), Piano Nobile, Geneva (CH) (also presenting Anouk De Clerck) // 2006 THE IDEAL CITY (CONSTRUCTION MODELS) Therese Dion Gallery, Montreal (CA) // A.I.R extension #01 (in collaboration with Ronny Heiremans) One-man show Art Brussels, Koraalberg Gallery, Brussels (BE) // 2005 THE PASSING OF A PERFECT DAY (for GM-C) Koraalberg Gallery, Antwerp (BE) // 2004 CADAVRE EXQUIS, (in collaboration with Ronny Heiremans) STUK, leuven (BE) // 2003 BIGG, (in collaboration with Francis Denys) UTIL, Brussels (BE) // 2002 PARAMOUNT BASICS (EXTENTED) (in collaboration with Ronny Heiremans), hosted by Richard Venlet and Netwerk at MuHKA, Antwerp (BE) // 2001 HORTUS CONCLUSUS, De Ateliers, Amsterdam (NL) // WHEN DID YOU LAST MOVE YOUR FURNITURE AROUND? (in collaboration with Ronny Heiremans), private apartment, Brussels (BE) // 2000 CIRCUITS, De Vierkante Zaal, Sint-Niklaas (BE) (also presenting Eva-Maria Bogaert) // CIAP hosted by Netwerk, Hasselt (BE) (also presenting Karel Breugelmans) // 1999 AMBULANTE ARCHITECTUUR, Netwerk, Aalst (BE)

vermeir & heiremans, ronny heiremans
Catalogue : 2016Masquerade | Doc. expérimental | hdv | couleur | 51:1 | Belgique | 2015
vermeir & heiremans , ronny heiremans
Masquerade
Doc. expérimental | hdv | couleur | 51:1 | Belgique | 2015

Katleen Vermeir and Ronny Heiremans observe human relations, which have become pure transactions, in an ironic critic of the cultural and investment funds sectors. Art, like finance, is a belief system. The Maison Des Artistes, defined like a work of art, becomes a financial instrument.

Since 2006 Ronny Heiremans and Katleen Vermeir have engaged in a long-term collaborative practice A.I.R (short for 'artist in residence'). A.I.R examines the dynamic relation between art, architecture and economy. Click here to continue to the A.I.R website: www.in-residence.be

Catalogue : 2018A Modest Proposal (in a Black Box) | Vidéo | hdv | couleur | 28:7 | Belgique | Royaume-Uni | 2018
vermeir & heiremans , ronny heiremans
A Modest Proposal (in a Black Box)
Vidéo | hdv | couleur | 28:7 | Belgique | Royaume-Uni | 2018

In A Modest Proposal, Vermeir & Heiremans are discussing a new financial model with a lawyer. They question if financialisation can be re-purposed towards generating a more equitable arts ecology. Considering the financialisation of public art collections and museum buildings, the financial model should benefit not only investors, but also its stakeholders, the creators of the art`s value, the art workers. The artists propose to financialise Pump House Gallery in Battersea Park as their case-study. It is located close to Battersea Power Station, a former coal-fired power station that will soon house Apple's London headquarters and luxury apartments. The artists propose to "pump" up the gallery`s value, and generate a return for the wider art community. The conversation between artists and lawyer takes place in Vermeir & Heiremans` house, which they define as an art work. Meanwhile the absent-minded lawyer`s assistant often slips away from the discussions. She appears to be able to materialise and dematerialise at will the lofty space by caressing the walls, playing with a scale model of the house or using the latter as a framing device, manipulating the window views. When the artists and the lawyer go on to celebrate the proposal on the loft's rooftop garden she takes control…

The videos and installations of the artist duo Vermeir & Heiremans investigate the complex relationship between economy, spatiality, and social reality in today's highly globalized world. The artists define their own house as an art work, which they use as a framing device to focus on the growing financialisation of the arts, real estate and daily life in general. The duo raises questions about the role the arts play within the ever-growing entanglement between urban development, financialisation and governing. The artists employ financial tools, historical references, technology, and cinematic language to reflect on social codes as well as on the production of value in today's artistic and non-artistic realms. Vermeir & Heiremans have presented their work at 10th Istanbul Biennial (2007), Arnolfini, Bristol (2009), Nam June Paik Art Center, Yongin (2010), Viennale, Vienna (2011), 7th Shenzhen Sculpture Biennial (2012), Manifesta 9, Limburg (2012), Argos, Brussels (2012), Extra City, Antwerp (2012), 13th Istanbul Biennale (2013), Rotwand Gallery, Zurich (2014), Triennale Brugge (2015), Dojima River Biennale, Osaka (2015), Curated by_Vienna at Georg Kargl Gallery (2015), Transmediale, Berlin (2016), Bucharest Biennale 7 (2016), Rencontres Internationales Paris/Berlin (2010, 2012, 2017), Glassyard Gallery, Budapest (2018), Art Brussels (2018), The Atlantic Project, Plymouth (2018), Pump House Gallery, London (2018)