Catalogue > Liste par artiste
Parcourez la liste complète des artistes présentés dans le cadre des Rencontres Internationales depuis 2004. Utilisez le filtre alphabétique pour affiner vos recherches.  mise à jours en cours 
Ryan ferko
Catalogue : 2019Hrvoji, Look at You From the Tower | Doc. expérimental | 16mm | couleur | 17:0 | Canada | 2019
Ryan ferko
Hrvoji, Look at You From the Tower
Doc. expérimental | 16mm | couleur | 17:0 | Canada | 2019

How to resurrect a past that was never one's own to being with? The possibilities of reincarnation through satanic ritual or synthetic biology offer faint options against a landscape seemingly indifferent to the questions asked of it. Hrovji, Look at You From the Tower materializes in disparate parts of former-Yugoslavia, connected at its ends by an abandoned family farm now only accessible by illegally crossing the border of the European Union. Upon crossing, the film spirals from the perspective of a tower, down into the earth of pre-history and past lives. Through encounters with 1970's stadium rock, teenage idleness, and amateur archeology opens a hallucinatory state of memory between generations and morphing nations, searching to locate some trace of identity in an increasingly fractured present.

Ryan Ferko is an artist and filmmaker based in Toronto, Canada. Across cinemas and galleries his work is concerned with landscapes as unstable sources of narration, turning to myth, story-telling, amateur experts, and distorted memories as a way to find narratives alternative to official histories. Recent work has been shown at Projections (New York Film Festival), Wavelengths (Toronto International Film Festival), International Film Festival Rotterdam, International Short Film Festival Oberhausen, Media City Festival (Windsor/Detroit), Experimenta (Bangalore), Crossroads Festival (San Francisco), ZK/U Centre for Art & Urbanistics (Berlin), and Justina M. Barnicke Gallery (Toronto).

Javier fernÁndez vÁzquez
Ferrandes ferrandes
Catalogue : 2011The Oyster Effect | Vidéo expérimentale | hdcam | couleur et n&b | 12:51 | Royaume-Uni | Italie | 2010
Ferrandes ferrandes
The Oyster Effect
Vidéo expérimentale | hdcam | couleur et n&b | 12:51 | Royaume-Uni | Italie | 2010

Using as a starting point parts of archive footage shot by the anthropologist De Martino?s whilst researching the phenomenon of Tarantism, ?The Oyster Effect? develops into a collage of historical references as narrating voices over a visual journey. In the film, the portrayal of women and hysteria is shown as a series of parallels between built environments, architectural spaces, landscape and their narration. The viewer travels through foreign languages and non-descriptive locations, in a journey that challenges linearity and historicity. The attempt to bridge the specific representations of women?s subjectivity as products of their cultural environments, in the north and southern Europe, is persistently negated by the conflicting relation between image and narrating voice.

Valentina Ferrandes is a London based, Italian artist. She studied Disciplines of Art, Music and Drama at Bologna University. She gained a BA Fine Art at Chelsea College of Art, where she graduated in 2009. In 2008 she was selected to take part in a residency programme at China Academy of Art. Since 2008 her work has been shown internationally in galleries and film festivals, including the European Media Art Festival Osnabrueck, Director`s Lounge, Berlin, the Eastern Bloc Centre for New Media & Interdisciplinary Art, Montreal and the Museum of Contemporary Art, Rome, as part of the Biennale du Mediterranee.

Catalogue : 2012BERG | Doc. expérimental | hdv | couleur | 11:59 | Royaume-Uni | Allemagne | 2011
Ferrandes ferrandes
Doc. expérimental | hdv | couleur | 11:59 | Royaume-Uni | Allemagne | 2011

Teufelsberg is an artificial hill in the outskirts of Berlin. It was built by the American Allies with the rubble of a city destroyed by World War II in the 20 years that followed its end. Created out of debris on Grunewald?s plateau, Teufelsberg became the highest viewing point in Berlin and a favourable location for military observation of the city. Due to the evident vantage point it could offer, in the late 50s a permanent listening station for short-wave frequencies and encrypted messages, was built on Teufelsberg, to be run by the National Security Agency until the fall of the Berlin wall. With the end of the Cold War, the listening station became redundant, it was closed down and its equipment removed. ?Berg? investigates a historical site through an alternate shift between documentary and fictional representation. A soundscape produced from samples from a series of mainstream Spy Movies overlaps a carefully edited selection of classic shots, inspired by the most repetitive cinematic clichés to be found in the ?espionage genre?. If visuals and sound have a linear continuity in certain sections of the film, as the video unfolds, it becomes clearer that the voiceover belongs to a less recognizable past ? more or less fictional - whilst the location, Teufelsberg is depicted in its current condition.

Valentina Ferrandes is an Italian artist currently living and working in Berlin. Using video, photography and sound, she investigates possible relations between collective memory, social behaviour and geographic and architectural sites. She graduated from Bologna University in Disciplines of Art, Music and Drama, before enrolling in a BA Fine Art at Chelsea College of Art and Design, London, where she graduated in 2009. In 2008 she was selected to take part in a Recidency in the New Media Art department of China Academy of Art. Since 2009 her works have been shown internationally in private galleries, experimental video festivals and museums. Exhibitions include The Museum of Contemporary Art in Rome, the European Media Art Festival, Celeste Prize, Eastern Bloc Centre for New Media and Interdisciplinary Art in Montreal, Canada, Athens Video Art Festival.

Chris ferrantello
Catalogue : 2006The Pope's Hat | Animation | dv | couleur | 10:30 | USA | 2006
Chris ferrantello
The Pope's Hat
Animation | dv | couleur | 10:30 | USA | 2006

La population s´enflamme pour la collection de chapeaux du Pape, mais des bagarres éclatent à propos de qui a le plus beau chapeau. Donc,il n'y aura plus de chapeaux du Pape. Y aura-t-il une collection de chaussures du Pape dans le futur?

Les oeuvres d´animation de Chris Ferrantello ont été projetées lors des Festivals Sundance en 2002 et 2004, Cracovie 43 et 44, SeNef 2004 et 2005, Bitfilm 2003, the Viper 21 et 22, mais aussi Streaming Cinema 2.0,, The Bit Screen, le Future Cinema show au ZKM en Allemagne et au Musée Kiasma à Helsinki. Quelques un de ses films sont maintenant distribués par RIFF (Rome Independent Film Festival). Il est également peintre et illustrateur éditorial, avec pour clients Esquire magazine, MS. magazine, Sony Entertainment, The Progressive et le New York Times entre autres. Ses oeuvres sont parues dans des livres d´illustration annuels publiés par la Société des Illustrateurs (Society of Illustrators) et la publication de design "Print". Son travail est visible sur

Marco ferrazza
Catalogue : 2018Parallel | Concert multimédia | mov | couleur | 20:0 | Italie | 2018
Marco ferrazza
Concert multimédia | mov | couleur | 20:0 | Italie | 2018

"Parallel" is the result of an audiovisual performance where electro-acoustic music meets the experimental video. Natural and sound landscapes are digitally reworked to research new narrative configurations. All sounds and video have been processed in real-time by the performer. Therefore, at the base of the work there are concrete sounds and landscape shots (or human artifacts in relationship with the landscape). Human being is part of nature but, at the same time, affirms its otherness respect to it, not only in creative (or destructive) terms, but also as the development of Consciousness towards goals free from the simple instinctual finality. If its destiny runs parallel to that of the universe, it is nevertheless bound to the destiny of the same existence.

Marco Ferrazza is a sound artist, composer of electroacoustic tracks and performer in experimental music. His pieces have been performed in various international electronic music festivals and then released on CD. In his work he constantly investigates the relationships between electronic arts and concrete music, field recordings and digital manipulation of sound, improvisation and new technologies. Visual imaginary collected in abstract tales: this is perhaps the emerging aspect from his last explorations in the field of sound, researches in which the continuous re-codifications of signs is drawn at the same time from the temptation of unlimited semiosis and the structural coherence of the musical composition.

Isabelle ferreira
Catalogue : 2006Parade | Vidéo expérimentale | dv | couleur | 1:49 | France | USA | 2005
Isabelle ferreira
Vidéo expérimentale | dv | couleur | 1:49 | France | USA | 2005

Parade est un dialogue silencieux entre deux mécanismes

Patrice ferreira
Catalogue : 2005Septikbioethik | Vidéo expérimentale | dv | couleur | 12:0 | France | 2003
Patrice ferreira
Vidéo expérimentale | dv | couleur | 12:0 | France | 2003

Certain de n'avoir plus rien à faire dans ce monde, un homme erre dans le metro de Tokyo. Son objectif: trouver quelqu'un qui l'aide à mettre fin à ses jours. Les couloirs s'ouvrent, les stations se remplissent peu à peu. Une première rame arrive. L'homme avance, l'air determiné. Il demande à quelqu'un: -"Excusez-moi,pouvez-vous me pousser?" -Pardon, que voulez-vous? Que je vous pousse dans le train? -Non...non, dessous..."

Luca ferri
Aurèle ferrier
Catalogue : 2015INFRASTRUCTURES | Vidéo | hdv | couleur | 22:38 | Suisse | Islande | 2014
Aurèle ferrier
Vidéo | hdv | couleur | 22:38 | Suisse | Islande | 2014

This film involves a journey through a landscape of infrastructures that are common to an everyday reality of routine. Yet here we find these environments are deserted. This allows attention to focus instead on the design and spatial arrangements of the objects, we find the features of these landscapes – which would not usually bear noticing – become centrally present. Infrastructures involves a series of seven tracking shots. A steady flow of objects in various contrived arrangements passes by the eye. The sound design incorporates the subtle noises given off by these ready-to-use sites devoid of users.

Biography Aurèle Ferrier, *1975 in St.Gallen (Switzerland), lives in Zurich. He attained an MA in Fine Arts at Zurich University of the Arts. His video works, actions and interventions explore the limits and connections between nature and civilization. His cinematic works display a calm contemplation and visual precision. Recent shows 2016 Slamdance Film Festival, South Park (US) 2016 Sluice Screens Prize, London (UK) 2015 24th Berkeley Video and Film Festival, Berkeley (US) 2015 Der entfesselte Raum, Gewerbemuseum, Winterthur (CH) 2015 Arquitectura Film Festival, Santiago de Chile (CL) 2015 Reykjavik International Film Festival, Reykjavik, (IS) 2015 Currents, Intlernational New Media Fesival, Santa Fe (US) 2015 Arkipel, Documentary and Experimental Film Festival, Jakarta (ID) 2015 Great Lakes International Film Festival, Erie (US) 2015 Athens Digital Arts Festival, Athens (GR) Studies 2014 MA Fine Arts, Zurich University of the Arts 2004 BA Leading Artist Theatre, Zurich University of the Arts 2003 Experimental Theatre Exchange, Tisch School, NYU Awards 2015 Winner Berkeley Video and Film Festival, Best Foreign Experimental Film, Berkeley (US) 2015 Winner IndieFEST Film Awards, Award of Merit: Experimental Film, La Jolla (US) 2015 Nominated Sluice Screens Prize, Video Art, Southwark London, (UK) 2010 Studio scholarship, Cité Internationale des Arts, Paris (FR)

Aurèle ferrier
Catalogue : 2018Transitions | Vidéo | 4k | couleur | 12:48 | Suisse | 2017
Aurèle ferrier
Vidéo | 4k | couleur | 12:48 | Suisse | 2017

TRANSITIONS is a journey from the civilizing void of the desert to a maximal urban, capitalistic and hedonistic density, which in the case of Las Vegas assumes some bizarre expression. The film is a contemplation without any people or moving machines in it, focussing on the built and designed.

Aurèle Ferrier (*1975 in St.Gallen, CH) lives in Zurich. With his video and cinematic works, actions and interventions he explores the margins of civilization. His works have been presented in more than 30 countries and won, among others, a Grand Jury Award at Slamdance Film Festival.

Simohammed fettaka
Catalogue : 2014Iqraa | Film expérimental | hdv | couleur | 27:5 | Maroc | 2013
Simohammed fettaka
Film expérimental | hdv | couleur | 27:5 | Maroc | 2013

Un âne chargé de pierres blanchies à la chaux gravit avec peine cols et étendues rocailleuses, jusqu’au sommet d’une montagne ; sur les hauteurs, à flanc de colline, des masses de ces mêmes pierres tracent en lettres gigantesques une formule, fameuse au Maroc puisqu’elle constitue le dernier vers de l’hymne national marocain : « Allah, Alwatan, Almalik » (« Dieu, Patrie, Roi »). La violence de cette figure trinitaire dévorant le paysage et surplombant les hommes, se révèle dans la mise en évidence de l’archaïsme brutal de cet « arrière-monde » de l’idéologie au pouvoir : la participation forcée des bêtes de somme à l’élévation d’un monument à la gloire de l’ordre institué et, par extension, de tout ceux qui n’ont pas voix au chapitre.

Né en 1981, Simohammed Fettaka est un artiste multidisciplinaire basé entre Paris et Tanger. Après l`université d`été à La Fémis (Paris), il a produit des documentaires ainsi que des vidéos expérimentales. Il a fondé le festival de cinéma Cinema Nachia à Tanger.

Markus fiedler, stanley edward, nanna katrine hansen, thomas elsted 
Catalogue : 2019Cast Away Souls | Documentaire | hdv | couleur | 34:14 | Allemagne | 2019
Markus fiedler , stanley edward, nanna katrine hansen, thomas elsted 
Cast Away Souls
Documentaire | hdv | couleur | 34:14 | Allemagne | 2019

Cast Away Souls looks at the political structures behind the conditions at the deportation centre Sjælsmark, as well as at the controversial methods used to push the centre's residents to leave Denmark voluntarily. Some call the methods inhumane, while others call them necessary. Through a conversation between the Sjælsmark unit manager Niels Johannessen and one of the residents, Stanley Edward, the film talks about everyday life under constant pressure and about a life where human rights and international conventions are put to the test. Cast Away Souls hits squarely home in one of today's great political discussions, not just about the conditions that children live in at Sjælsmark, but also more generally about human compassion and human rights at centres such as Sjælsmark.

Markus Fiedler, born 1972 in Hamburg/Germany, successfully completed his Studies of Psychology at the University of Hamburg in 2001. In addition he started the Studies of Visual Communication at the University of Fine Arts Hamburg (HfbK) between 1998 and 2003. From 2007 to 2011 he he completed the Postgraduate Studies of Audio-Visual Media / Film & TV at the Academy of Media Arts (KHM) in Cologne/Germany with his graduation film 'Elif's Boys', a 99min documentary about the story of three generations of men of a turkish-kurdish family who migrated to Germany. Since 2002 Fiedler is working as an independent filmmaker, mainly in the field of narrative documentaries. He has been working as screen printer, graphic artist and billsticker.

Andrej filatow
Nikolay filippov
Catalogue : 2017Bulba | Doc. expérimental | hdv | couleur | 3:50 | Russie | 2017
Nikolay filippov
Doc. expérimental | hdv | couleur | 3:50 | Russie | 2017

In "Bulba", a group of people is eating in KFC. The camera is a Peeping Tom now staring at everyday unseen: we will see the story of the whole process told by tonal shifts given in change-of-state glances and expressions. Under the rolling sound of spoken lines from "Taras Bulba", en epic novella by Nikolay Gogol, the figures are delicately melting in the expanded cultural background, the background always being neutral. Such projections are about to touch the constraints of natural perception, where the cultural mechanism is the editor-in-chief.

Nikolay Filippov was born and lives in Moscow. During his studies in theoretical and applied linguistics at Lomonosov Moscow State University he got involved in fieldwork project in Northern Udmurtia, studying beserman (a small ethnic group) language and contributed to the creation of beserman grammar and thesaurus. He also studied history and theory of cinema at the High School of Art Practices in RSUH. Being particularly interested in the philosophy of natural language, he has been developing a logical approach to cinematographic means since his debut "The Herbage", foсusing on fresh and raw areas of habitual speech and dramatic performance.

Luciana fina
Catalogue : 2016Terceiro Andar | Documentaire | hdv | couleur | 27:0 | Italie | Portugal | 2015
Luciana fina
Terceiro Andar
Documentaire | hdv | couleur | 27:0 | Italie | Portugal | 2015

Fatumata and Aissato, the mother and the eldest daughter of a large family originally from Guinea-Bissau, discuss love and happiness. At 7pm, from the third to the fifth floor where I live, a regular sound, always the same, like the beating of a heart, reverberates through the building. The installation invites the viewer to the space of the word and the dialogue between the mother and the daughter,and to the physical and acoustic setting of the building where this family and the filmmaker live. As a poem, a story, a letter and a prayer are spoken, words travel from one language to another, from one speaker and one voice to another, creating connections. With the diptych Third Floor, in a migration to the exhibition space, Luciana Fina once again uses cinematography to question cinema’s narrative forms and matter. ------------- TERCEIRO ANDAR is also a documentary film (62min), that had its premiere in october 2016 at DOCLISBOA`16

Luciana Fina has worked in Lisbon since 1991. Following a long collaboration with Cinemateca Portuguesa as an independent programmer, she made her debut as a filmmaker in 1998. Since then she has developed a practice that frequently migrates from the cinema to the exhibition space, as she explores the possibilities and potential of film within the sphere of the arts. In 2003, she began a series of video portraits that came together in the "O Tempo de um Retrato" [Time for a Portrait] project. Her work has been shown internationally at festivals and exhibitions. Her most recent documentary, “In Medias Res” [In the Midst of Things], was awarded an Honourable Mention at the Temps d’Images Films on Art Award and the Best Portuguese Film Prize at the Arquiteturas Film Festival. In 2016 she presents a new installation work, the diptych TERCEIRO ANDAR, at Doclisboa ‘16, section Passages, Museu Calouste Gulbenkian, and she presents once again her first installation, CHANTportraits (2003), at Casa das Artes, Famalicão, and at Festival Temps d’Images, Lisbon. The film premiere of TERCEIRO ANDAR was at Doclisboa 2016, official selection in the portuguese competition.

Jem finer
Catalogue : 2005The centre of the universe | Vidéo expérimentale | dv | couleur | 5:0 | Royaume-Uni | 2005
Jem finer
The centre of the universe
Vidéo expérimentale | dv | couleur | 5:0 | Royaume-Uni | 2005

En juin 2005, Jem Finer a construit un observatoire sculptural dans le parc de l'Université d'Oxford qu'il a appelé "The Center of the Universe". Cette sculpture en bois et fils de fer a été installée dans une tour spirale de 15 mètres de haut comme une "assiette de radio" (la réunion des anciens et nouveaux observatoires), dans laquelle a vécu Jem Finer. Dans ce bâtiment, les signaux reçus, témoignant de l'expansion du cosmos, ont été recueillis grâce à un équipement électronique dont un vieil enregistreur graphique avant d'être décodés en sons. Le film présenté nous montre une sélection des nombreux films sur la fin du temps que Jem Finer a réalisé pendant sa résidence dans le parc, regardant et filmant les ombres quotidiennes tournant autour de lui.

Jem Finer est un artiste pluridisciplinaire, créant des ?uvres mélangeant la vidéo, la musique, la photographie, la sculpture,... La plupart de son travail traite du temps et de l'espace sur des échelles extrêmes comme "Longplayer", une pièce musicale millénaire, ou "Wave/Particle", un film explorant le monde en gravité zéro. Cette année, Jem Finer a construit deux observatoires sculpturaux explorant également les thèmes du temps et de l'espace mais cette fois-ci sur des échelles cosmologiques : "Landscope" à Lough Neagh en Irlande du Nord et "The Center of the Universe" à Oxford en Angleterre. Récemment, il a reçu le premier prix de la Fondation PRS Pour La Nouvelle Musique pour son projet musical "Score for a Hole in The Ground" dont les instruments principaux dont le vent et la pluie. Jim Finer travaille actuellement sur cette nouvelle composition dans une forêt du sud-est de l'Angleterre.

Andaleeb firdosy
Catalogue : 2006Threading the needle | Doc. expérimental | 16mm | couleur | 16:30 | USA | 2004
Andaleeb firdosy
Threading the needle
Doc. expérimental | 16mm | couleur | 16:30 | USA | 2004

Ce film expérimental tisse les mémoires d'une lignée de femmes racontant l'histoire d'un crue survenue à la fin des années 50 et qui provoqua une actastrophe sur leur village en Inde. Les trois soeurs et leur mère retracent les récits de serpents et de gens agrippés aux arbres, de noyade de leurs animaux piégés, de la peur et de la panique de tous ceux, saints et saufs qui assistaient à la scène du haut des toits de leurs maisons, l'héroïsme de leur père dans un tel chaos et la rescousse de la précieuse machine à coudre de leur mère, la seule chose, outil de création, qu'elle possède. Le sens de la métaphore révèle l'intéraction complexe de l'immortalité, l'amour et la compétition, au sein d'une famille, à travers différentes perspectives sur l'événement à la fois devastateur et irréel. "Threading the Needle" compare les attachements liés aux mémoires personnelles illusoires et la beauté complexe de la mémoire collective faite de métaphores et d'imagination lucide.

Andaleeb Firdosy est une musulmane, Indienne d'Amérique, une artiste basé à Los Angeles qui laisse derrière elle, une traînée de texture et d'idées d'images qui se situent entre le film, la vidéo et le collage, en passant par les médias du digital et le travail de conservatrice. Elle détient un diplôme de l'École de Design et Cal Arts (programmes basés sur des personnages et des animations experimentales) de Rhode Island et a travaillé dans l'industrie du film, de l'imprimerie, du web et de la création d'émission et ce pendant 8 ans, pour des clients qui vont du "Musée de l'art de Los Angeles" en passant par la chaine télévisée "History Channel". Elle est membre- fondatrice de ArtWallah, un festival des arts du multi-média et d'organisations qui nourrissent et mettent en vitrine l'art visuel de différents Diaspora avec l'art visuel provenant de communauté d'Asie du Sud. Les films expérimentaux de Melle Firdosy trace les histoires faites-main et d'objets immobiles animés comme des monuments de mémoire (mémorial). Son oeuvre filmique, créative et artistique a éte présentée à un niveau national et international. Son travail d' aide au public, non-lucrative, continue de s'élargir et développe un sens de la communauté, une célébration de diversité et une sensibilisation quant l'ambiguïté de l'expérience de la diaspora.

Constanze fischbeck, daniel kötter
Catalogue : 2018Desert View | Documentaire | 4k | | 83:0 | Allemagne | Egypte | 2017
Constanze fischbeck , daniel kötter
Desert View
Documentaire | 4k | | 83:0 | Allemagne | Egypte | 2017

The film "Desert View" is dedicated to the study of building and living in the semi - built satellite city Madinaty, located in the desert east of Cairo. Madinaty is a fully privately owned city that, unlike a gated community, claims to be an open but self-contained and secure city. All public services are not provided by the state, but by the Arab real estate company Talaat Mustafa. The movie "Desert View" was made during a four-week residency, to which the filmmakers had invited the three-generation Barakat family from ashweyat (informal residential district) Bashtil as a sort of cinematic diary. The temporary residents of Madinaty, filmmaker and Barakat family, captured their observations and experiences of architecture and their use from their respective perspectives and cameras. Two external perspectives on the desert dreams of the Egyptian middle and upper classes. Also part of the project were discursive evenings, to which filmmakers and the Barakat family invited new and old neighbors, architects, artists and urbanists from Cairo to the living room of the villa. Here the different perspectives on the topic "How do we want to live?" were discussed and documented.

Constanze Fischbeck works as stage designer, filmmaker, curator and lecturer in the context of theatre and art. Her artwork is based on the space and present of specific locations. In her films she investigates the interference of documentary and staged moments in the urban context. Her work was presented at various festivals, art institutes and theatres. She has been working with Daniel Kötter (since 2007 ) collectively conducting research and creating experimental documentaries. Their works include Benzin, a reconstruction of exchange systems in Lagos (2008), Making of History (2012) on reconstructions of history and memory and the work about space and place of theatre: state-theatre (2009-2014). She lives in Berlin.

Nina fischer, maroan el sani
Catalogue : 2016I Live in Fear - Record of a Living Being After March 11 | Vidéo | hdv | couleur | 32:57 | Allemagne | 2014
Nina fischer , maroan el sani
I Live in Fear - Record of a Living Being After March 11
Vidéo | hdv | couleur | 32:57 | Allemagne | 2014

For their movie “I Live in Fear After March 11”, Fischer & el Sani invited refugees who escaped from the aftereffects of the nuclear disaster in Fukushima, to a screening of Akira Kurosawa’s film “I live in fear - Record of a living being” (1955) to reevaluate Kurosawa’s concerns after the nuclear weapon tests at the Bikini Atoll in the 50’s. The screening triggered an identification-process of the fugitives with the protagonist of Kurosawas movie, as they recognized their desperate situation. It was followed by an experimental setup of cinematic improvisations with refugees and actors, focusing on the exploration of fears and uncertainties surrounding the nuclear catastrophy and ongoing threat of radiation.

Nina Fischer & Maroan el Sani are visual artists and filmmakers, based in Berlin. From 2007 until 2010 they have been Associate Professors for Film and Media Art at Sapporo City University, Japan. Since 2015 Nina Fischer is Professor for Experimental Film and Media Art at Uninversity of the Arts, Berlin. They have been recipients of the Karl-Hofer-Prize of the University of the Arts, Berlin and were awarded several artist in residence stipends e.g. at German Academy Villa Massimo, Rome, DAAD in Tokyo, Cité des Arts in Paris, Stedelijk Museum in Amsterdam and Villa Kamogawa, Kyoto. International exhibitions they have participated in include Gwangju Biennale 1995, 2002, 2008, Liverpool Biennial of Contemporary Art, 1999, Manifesta 4, Frankfurt 2002, Sydney Biennale 2002, 10th Istanbul Biennial 2007, Media City Seoul Biennale 2012 and 2014, Aichi Triennale, Curitiba Biennale 2013 and solo exhibitions at Metropolitan Museum of Photography, Tokyo, 1998, Yamaguchi Center for Arts and Media, 2005, Stedelijk Museum Bureau Amsterdam, 2007, Kunsthaus Glarus, 2009, Cobra Museum, Amstelveen, Museum of Contemporary Art Hiroshima, 2010, Austin Museum of Art - Arthouse, Austin, 2012, Mamam Recive 2013, MART, Dublin, 2014, Aargauer Kunsthaus, 2015 K21 -Kunstsammlung Nordrhein Westfalen, Düsseldorf, 2016, Maxxi Museum, Rome, 2017

Florian fischer, johannes krell
Catalogue : 2015STILL LIFE | Doc. expérimental | 4k | couleur | 12:0 | Allemagne | 2014
Florian fischer , johannes krell
Doc. expérimental | 4k | couleur | 12:0 | Allemagne | 2014

The film makers leave the classical nature film behind in order to explore new ways of conceptualising our understanding of nature and ourselves. A hitherto familiar environment develops strange characteristics and meanders between stagnation and movement, realism and hypnosis, naturalness and artificiality.

• Professional Masterclass / Werkleitz, 2013 • M.A. in Image Science (DUK Austria), 2012 • Master Scholar of Arno Fischer (Ostkreuzschule Berlin), 2011 • Photo / Design diploma at FH-Potsdam, 2009

Ulrich fischer
Catalogue : 20054 courtes pièces | Art vidéo | super8 | couleur et n&b | 9:5 | Suisse | 2004
Ulrich fischer
4 courtes pièces
Art vidéo | super8 | couleur et n&b | 9:5 | Suisse | 2004

L'oeuvre d'Ulrich Fisher, les 4 courtes pièces, fait suite à une commande de la chaîne suisse alémanique SFDRS pour l`émission philosophique STERNSTUNDEN. Elle se compose de 4 clips: Ballast, Signes d´éconduite, La ville révée des grues et Mi rage. Ballast : Un quadrillage symétrique soutient et fait décoller l?image ? pas de mouvement sans ballast? Signes d´éconduite : Se laisser entraîner par des lignes fuyantes, jusqu?au point où l?espace du voyage se dissout en de multiples pistes : autant de signes qui bouclent le mouvement sur lui-même. La ville révée des grues Entre la ville cartographiée et la ville réelle, les grues ont leur mot à dire. Mirage : Que se passe-t-il quand des objets mouvants gèlent dans leur course et deviennent un solide qui marque l?espace ? On peut alors voir une sorte de mémoire d?un lieu, ce qui nous interpelle à nouer de nouvelles relations au contexte.

Né en 1971 à Genève, Ulrich Fisher réalise entre 1993 et 1996 divers films en super-8 et vidéo. Il obtient en 2000 le diplôme à l'Ecole Supérieure d'Art Visuel de Genève (ESAV). Il devient ensuite permanent au Cinema Spoutnik. Il est aussi producteur, monteur et caméraman pour Perceuse Productions.