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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 
Roderick hietbrink
Catalogue : 2011The Living Room | Installation vidéo | hdcam | couleur | 8:6 | Pays-Bas | 2011
Roderick hietbrink
The Living Room
Installation vidéo | hdcam | couleur | 8:6 | Pays-Bas | 2011

The private atmosphere of a Dutch living room is breached by the disturbing presence of a large oak tree that slowly enters the room. Close-ups of different kinds of furniture, potted plants, souvenirs and other personal belongings are carefully depicted. No longer protected from the outside by the thin sheets of glass, the vacuum is cancelled when the large oak tree enters the room, confronting the viewer with the impact this has to both tree and home. Being both realistic and absurd, the confrontation between the tree and the home raises questions about the meaning and symbolism of the tree and the private domain, and its representational aspects towards the outside world.

Roderick Hietbrink (b. 1975, the Netherlands) is a visual artist. He received his BA in Fine Art from the Art Academy St. Joost in Breda in 1999 and his MA in Fine Art from the Piet Zwart Institute in Rotterdam in 2002. He is a current resident at the Rijksakademie van beeldende kunsten in Amsterdam. His work is shown internationally in solo and group exhibitions at Museum Boijmans van Beuningen Rotterdam, Künstlerhaus Bethanien Berlin, Artspace Visual Arts Centre in Sydney, SMART Project Space Amsterdam and Where Where Exhibition Space in Beijing. Roderick Hietbrink lives and works in Amsterdam and Rotterdam, the Netherlands.

Claudia hill, stephane leonard
Catalogue : 2017Kon'voi' | Vidéo expérimentale | 4k | couleur | 9:23 | Allemagne | 2017
Claudia hill , stephane leonard
Kon'voi'
Vidéo expérimentale | 4k | couleur | 9:23 | Allemagne | 2017

A group of travellers of unknown origin arrive out of nowhere into an open landscape. Over the course of a day, they explore and scan the environment with their unique handmade triangular antennae. Through their sensual decoding of information and hypnotic choreography of sign language, a necessity of care for this strange and beautiful planet emerges.

Claudia Hill is a Berlin-based cross-disciplinary artist who makes objects that create possibilities for personal encounters and community. Hill’s work developed from a career in fashion presenting her collections between New York and Japan. As her designs expanded beyond the boundaries of the industry, she made costumes for choreographer William Forsythe, The Wooster Group, and became a frequent collaborator with choreographer Meg Stuart. Her interventions range from performative designs to constructing large scale, textile based sculptures, and conceiving participatory actions for art centers such as Centre Pompidou Paris, and ZKM Center for Art and Media, Karlsruhe. Hill’s own artist film Kon’voi’ has been presented in several international film festivals. She is currently developing new work for Supernova, an artist group formed around Damaged Goods´ Sketches/Notebook (extended version) for the HAU Berlin 2018 season.

Pat hillaire, rolf meesters
Catalogue : 2005Dansent le désert | Art vidéo | s-vhs | couleur | 2:50 | France | Espagne | 2004
Pat hillaire , rolf meesters
Dansent le désert
Art vidéo | s-vhs | couleur | 2:50 | France | Espagne | 2004

`Dansent le désert` Des paysages du corps se juxtaposent en images. Quelles danses sont possibles dans un tel environnement. C`est le défi que le désert pose aux danseurs. Créé par: Pat Hillaire Dansé par Rolf Meesters et Pat Hillaire Durée 2mn50


1998 initie un travail de vidéo-performance en présence de la danseuse Claudia Flammin puis de Rolf Meesters avec qui je commence en 2000 à expérimenter la danse. Dernière performance: octobre 2005 DA LI LI DA DA, Festival d?automne de Barcelone, 6 performers se réunissent pour expérimenter une performance oú l`important sera que chaque proposition aie la même intensité qu`une autre. Danse, poésie,vidéo, flute japonaise se fondent. En 2005 ont surtout lieu des performances de rue: bar opening exhibition, Festival de rue de Bcn, Museo Mares... 2003 à Berlin, ?KNOWHERE? 10 performances de rue, 3 performers,danseurs Rolf Meesters, Pat Hillaire, musicien sans instruments Johannes Bergmark. Celui-ci relève le défi de performer sans ses objets/instruments.

Jürgen hille
Catalogue : 2018koi beam boats retina | Vidéo expérimentale | mov | | 2:48 | Allemagne | 0
Jürgen hille
koi beam boats retina
Vidéo expérimentale | mov | | 2:48 | Allemagne | 0

1961 in Düsseldorf geboren 1980-86 Studium Freie Kunst, Kunstakademie Düsseldorf 1983 Reisestipendium der Kunstakademie, Italien 1987 Arbeitsstipendium NRW, Schloss Ringenberg 1994 Arbeitsstipendium Schlesw.-Holstein, Künstlerhaus Selk 1995 Künstleraustausch Düsseldorf-Ein Hod, Israel 1999 Projektstipendium Kunstfonds e.V., Bonn (für Videoprojekt “HALDE”) 2018 Cites internationale des arts Paris (Gastatelier) Mitglied im Deutschen Künstlerbund

Julien hilmoine
Catalogue : 2005A chaque instant mourir | Fiction | 16mm | noir et blanc | 20:20 | France | 2005
Julien hilmoine
A chaque instant mourir
Fiction | 16mm | noir et blanc | 20:20 | France | 2005

Une jeune femme à fleur de peau, Agnès. Son meilleur ami, Camille. Sa compagne, Marianne. La soeur de cette dernière, Astrid. Ils devaient se retrouver tous les quatre, pour la première fois depuis longtemps. Mais Marianne ne vient finalement pas. Agnès part sentimentalement à la dérive. Deux nuits et un jour où vont ressurgir de vieilles histoires, des désirs neufs ou enfouis, et une complète remise en cause de leurs rapports à tous.


-Julien Hilmoine est né à Fécamp, en 1979. -Il a passé son enfance et son adolescence à Rouen, dans "une famille de moyenne bourgeoisie, laïque et républicaine". Après des études de lettres et un B.T.S. Audiovisuel option Image, il entre à la Fémis en département réalisation. -Il mène une jeunesse française classique : histoires d?amour, amitiés ; passions, ruptures ; morts. -Parisien par la force des choses, il déclare essayer de réaliser des films. Il avoue aimer les acteurs, passionnément et mène une quête permanente d?images, de visages, de voix.

Steve hines
Catalogue : 2006Anyone | Vidéo expérimentale | dv | couleur | 2:11 | Royaume-Uni | 2006
Steve hines
Anyone
Vidéo expérimentale | dv | couleur | 2:11 | Royaume-Uni | 2006

Ce court métrage vidéo critique, parodie et renforce l'idée d'un Public Warning. Quelqu'un s'est emparé de la loi et a promis des poursuites judiciaires. On voit l'artiste, qui pourrait être n'importe qui, en train de défier et d'enfreindre la loi tout en la renforçant. Une planification minutieuse et une demande d'attention nous préparent à l'action en reproduisant la mise en garde, alors que la rapidité et l'humour sont utilisés pour la présentation et la mise en oeuvre de l'action.


Steve Hines a régulièrement exposé ces dix dernières années. Il a présenté son travail à un niveau national et international en participant à plusieurs festivals d'art interantionaux. Grâce à son expérience dans la photographie, la pratique de Steve Hines est solidement encrée dans cadre conceptuel à l'intérieur duquel il se sert de différents media pour travailler. Ceci lui offre une grande liberté et apporte constamment de nouveaux défis. Steve Hines aime réaliser des oeuvres conceptuelles minimales qui sont souvent combinées à la nature opposée, et pourtant complémentaire, des extrêmes. L'expérience personnelle et le quotidien l'inspirent et lui fournissent le matériau nécessaire à la création de son travail qui allie des récits à des éléments qui peuvent tous nous toucher.

Catalogue : 2005Speakers | Art vidéo | dv | couleur | 4:16 | Royaume-Uni | 2005
Steve hines
Speakers
Art vidéo | dv | couleur | 4:16 | Royaume-Uni | 2005

"Speakers" représente la notion d'un monde troublé et compétitif où les nombreux pays, factions, religions et cultures essayent tous de communiquer et de persuader le reste du monde que leur manière d'agir ou leurs croyances sont supérieures. Le film est une image impressionniste en kaléidoscope, accompagnée d'un message audio chaotique. "Speakers" est un court-métrage tourné en vidéo digitale, et composé de plans tournés au Speakers Corner à Hyde Park, Londres. L'oeuvre finale représente la notion d'un monde troublé et compétitif où les nombreux pays, factions, religions et cultures, dont la plupart appartiennent à une minorité, essayent tous de communiquer et de persuader le reste du monde que leur manière d'agir ou leurs croyances sont supérieures. Les Speakers (orateurs) : un homme noir musulman ; trois hommes blancs différents débattant des idéaux du socialisme ; un homme noir chrétien ; une femme et cinq différents hommes blancs chrétiens ; deux hommes noirs parlant de leurs expériences personnelles ; et un pasteur américain. Ce sont tous des personnes exprimant leurs idées, leurs espoirs, leurs peurs et leurs inquiétudes quant aux problèmes qui nous affectent tous. Les scènes filmées de tous les "participants" s'enchaînent directement les unes à la suite des autres. Il en ressort un montage et un chaos confus d'images mouvantes et de mots. Cet effet et cette méthode reflètent les problèmes dans le monde et dressent des comparaisons à travers des arguments et des désaccords touchant aux questions des frontières, des pays, des religions, des gouvernements et régimes,… Dans sa version finale, "Speakers" inverse le rôle original entre le public et l'orateur d'une façon particulière. Initialement, c'était les orateurs qui luttaient, criaient et rivalisaient pour faire passer leur message à travers un public varié, composé de personnes doutant de ce qu'ils disaient, s'y intéressant ou même s'en moquant. A présent, dans l'espace d'un musée, c'est le public qui se tient là, intrigué par ce qui leur est présenté, et qui commence alors à écouter plus attentivement, essayant de comprendre ou d'entendre un mot distinct par-ci par-là, ou de visualiser un visage dans la foule. L'image évoque une sorte de peinture mouvante impressionniste de nature kaléidoscopique, tandis que le son évoque davantage celui d'un monde civilisé en pleine confusion, comme celui de la Bourse à une heure de grande activité par exemple.


Steve Hines expose ses oeuvres régulièrement depuis près de 10 ans. D'abord nationale, leur diffusion est devenue plus récemment internationale, notamment grâce à sa participation à plusieurs festivals d'art dans le monde entier. D'abord centré sur la photographie, le travail de Steve Hines est à présent profondément ancré dans un cadre conceptuel et ainsi il travaille avec divers moyens d'expression. Il s'intéresse à la réalisation d'oeuvres minimalistes et conceptuelles, souvent combinées avec la nature opposée et pourtant complémentaire d'extrêmes. Des expériences personnelles et le quotidien lui fournissent l'inspiration et le matériel nécessaire à la création d'oeuvres alliant récits et éléments pouvant tous nous affecter.

Gavin hipkins
Catalogue : 2019The Valley | Vidéo | hdv | couleur et n&b | 14:18 | Nouvelle-Zélande | Royaume-Uni | 2019
Gavin hipkins
The Valley
Vidéo | hdv | couleur et n&b | 14:18 | Nouvelle-Zélande | Royaume-Uni | 2019

Devon’s moors are the backdrop for this hybrid film that constructs an imaginary community and frames sentiments of belonging at a time when parochialism and nationalism are globally prevailing. Inspired by Arthur Conan Doyle’s The Hound of the Baskervilles, Hipkins grafts portraits of his forebears across Devon?s uncanny landscapes. A subtext of Doyle’s classic novel negotiates yearnings for a homecoming and a mythical ancestral land.

Gavin Hipkins (b. 1968) is a New Zealand-based artist. He holds a Master of Fine Arts from the University of British Columbia. He is currently Associate Professor at Elam School of Fine Arts at the University of Auckland. His work explores the nation state, particularly in colonised countries in an era of re-imagined communities and ideas of social and political utopia. His recent moving image works engage film as a cinematic art that blurs conventional genres of essay film, documentary and experimental narrative structures. His work has been exhibited widely over the last two decades. His solo exhibition The Homely will open at the Museum of Contemporary Art Australia, Sydney in July 2020. Recent exhibitions and screenings include: Videoex, Switzerland (2019); 9th Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art, Brisbane, Australia (2018); International Film Festival Rotterdam (2018, 2015); International Short Film Festival Oberhausen (2017, 2016); The Jewish Museum, New York (2015); Museum of Arts and Design (MAD), New York (2014); City Art Centre, Edinburgh Art Festival (2014); Armory Film, New York (2012); Centre Pompidou, Paris (2011); Austrian Museum of Applied Art and Contemporary Art (MAK), Vienna, (2011).

Nadia hironaka, matthew suib
Catalogue : 2008The Soft Epic, or: Savages of the Pacific West | Art vidéo | dv | couleur | 3:6 | USA | 2008
Nadia hironaka , matthew suib
The Soft Epic, or: Savages of the Pacific West
Art vidéo | dv | couleur | 3:6 | USA | 2008

« The Soft Epic, or: Savages of the Pacific West » est une vidéo monumentale et une installation audio qui examine les représentations historiques et contemporaines de l'anxiété culturelle, et la relation fluide entre l'Histoire et le Cinéma, où réalité et fiction s?écroule l?une sur l'autre comme les plis d'un rideau de théâtre tiré. Composée de multiples projections et d?une bande son en surround ? nouvellement commandée à Bird Show (Ben Vida) ? l??uvre synthétise des images et des effets à partir de fresques historiques, d?épopées de science-fiction, de films de catastrophe et de peintures de Jérôme Bosch, en un paysage urbain fracturé et dystrophique, parsemé de flammes éternelles et de chimères. À travers la projection vidéo longue de cent pieds, la splendeur d?Hollywood usurpe le récit mythologique et historique au service de l'autorité politique et l'ordre social.


Nadia Hironaka réside actuellement à Philadelphie (USA) et est professeur au Maryland Institute College of Art. Elle a obtenu son MFA (Master of Fine Art) à l'Art Institute de Chicago (USA) et son BFA (Bachelor of Fine Art) à l'Université des Arts. En 2008, elle était membre du Pennsylvania Council on the Arts. Ses films et installations vidéo ont été montrés internationalement. Matthew Suib, artiste basé à Philadelphie, a exposé ses installations, vidéos, ?uvres audio, et photographies internationalement. En 2007, il a co-fondé Screening, avec Nadia Hironaka. Il est également membre du Pennsylvania Council on the Arts, et ancien membre de Vox Populi, un collectif d?artistes de Philadelphie.

Sin Tung ho
Catalogue : 2012Folie à deux | Doc. expérimental | dv | couleur | 73:0 | Hong Kong | 2011
Sin Tung ho
Folie à deux
Doc. expérimental | dv | couleur | 73:0 | Hong Kong | 2011

Ho Sin Tung?s Folie à deux, shows a sequence of 17 people reading a passage with their back to the camera - from a book they have chosen themselves, at different indoor and outdoor locations in Hong Kong, the mainland China and Macau. This deceptively simple video, however, has a psychological tension reflected in its title, folie à deux, a term describing ?a condition in which symptoms of a mental disorder, such as the same delusional beliefs or ideas, occur simultaneously in two individuals who share a close relationship or association.? In the video, the intimate relationship is between the reader and the on-looking viewer of her video, the audience. Each reading situation becomes an almost confessional as the read passage reflects an intimate and potentially embarrassing part of the personality or ?soul? of the reader. The viewer is drawn into the readers? spoken passage, its significance, its meanings, and each reader?s viewpoint appreciated, possibly even absorbed by the viewer.

Ho Sin Tung was born in Hong Kong in 1986, and graduated from the Fine Arts Department of Chinese University in Hong Kong in 2008.  Ho`s recent work predominantly uses pencil, graphite and watercolour in combination with found and ready-made images - such as stickers, maps, charts, rubber-stamps and timelines. These are reinterpreted to narrate stories of places, relationships and periods of time often within a considered, objective historical setting.

 Apart from painting, ho also do writing, installation and video work. Her work uses a lot of literature and cinema references. "Folie à deux" is an obvious combination of both themes.

Wei-ming ho
Catalogue : 2014Over my dead country | Vidéo | hdv | couleur et n&b | 11:11 | Taiwan | 2013
Wei-ming ho
Over my dead country
Vidéo | hdv | couleur et n&b | 11:11 | Taiwan | 2013

Is this the 100th anniversary celebration of a country or a prediction of doom, the last rays of a sun that is setting beneath the shadow of threats? Mixing the firework display and the self-immolation of freedom fighters, this work not only presents visual paradoxes but also re-visits the ghosts of history. Fusing tragedy and celebration, it reflects concerns about media monopolies and the current situation of the country. A historical process, repetition or an ending – what will be revealed through the flames?

Wei-Ming Ho was born in Taipei, Taiwan as a visual artist and filmmaker. He works across the fields of experimental film, video installation and media art. His works have been presented in cinemas and also in artistic contexts such as Museo Nacional Centro de Arte Reina Sofia, Egyptian Theater in Hollywood, National Taiwan Museum of Fine Arts and numerous art & film festivals in 40 countries.

Tzu Nyen ho
Catalogue : 2007The Bohemian Rhapsody Project | Film expérimental | dv | couleur | 6:52 | Singapour | 2006
Tzu Nyen ho
The Bohemian Rhapsody Project
Film expérimental | dv | couleur | 6:52 | Singapour | 2006

Le "Bohemian Rhapsody Project" est entièrement basé sur les paroles de la chanson de Queen, "Bohemian Rhapsody", et tourné à la cour suprême de Singapour. Un garçon est accusé, et son coeur est brisé à la vue de sa "mama" en larmes. Au cours des mois de juin et juillet 2006, il a fallu quatre tours d'auditions pour le rôle du personnage principal. La chanson de Queen, écrite en 1975, remplace la structure de la chanson pop de base (couplet-refrain-couplet), par un jeu de rôle multiple et un mélange quasi schizophrénique de styles musicaux différents. Sur les nombreux professionnels et non professionnels auditionnés, 22 ont été invités à un dernier tour d'audition qui s'est tenu dans une ancienne salle d'audience de l'hôtel de ville. Etaient présents des spectateurs spécialement invités, 18 autres membres du casting, ainsi qu'une équipe de film. Sur ces 22 auditionnés, 21 ont été sélectionnés pour le film final, composé uniquement de ces images d'audition. Le film qui en résulte, découpé sur la durée exacte de la chanson (5mn 52), fonctionne en même temps comme enregistrement de cette audition. De plus, le film, qui oscille entre texte parlé et texte chanté, est un moyen de solliciter la mémoire musicale des spectateurs et d'encourager leur participation à un exercice de karaoké mental.


Born in Singapore, Ho Tzu Nyen is a visual artist and filmmaker. His first project was Utama - Every Name in History is I (2003), a film and installation that has been shown in art exhibitions and film festivals such as the 26th Sao Paulo Biennale (2004); the 3rd Fukuoka Asian Art Triennale (2005), before being presented as a performance lecture at KunstenFESTIVALdesArts (2006). In 2005, he scripted and directed 4 x 4 ? Episodes of Singapore Art, a unique hybrid of the art documentary, video essay and drama that was broadcasted over 4 weeks on a public television channel in Singapore. It was last shown at ZKM, Germany (2007). In 2006, he was commissioned by the inaugural Singapore Biennale to produce The Bohemian Rhapsody Project, a film that has since been shown in film festivals such as the 53rd International Short Film Festival Oberhausen, and the 30th Clermont-Ferrand Film Festival. In 2007, he completed a short film called Reflections, based on a 19th Century parable by Lafcadio Hearn, which was exhibited in Zendai Shanghai Museum of Modern Art and the National Gallery of Poznan. Reflections will be shown in 2008 at the 54th International Short Film Festival Oberhausen and the 8th Jeonju International Short Film Festival. He is now making his first feature film, Here. In 2006/2007, he conceptualized and wrote the first and second parts of King Lear ? The Avoidance of Love, a live audition / film shoot / lecture / theatre performance, which he co-directed with Fran Borgia.

Do hoang
Catalogue : 2014Tôi muốn rao lên | Fiction expérimentale | hdv | noir et blanc | 20:0 | Viet nam | 2014
Do hoang
Tôi muốn rao lên
Fiction expérimentale | hdv | noir et blanc | 20:0 | Viet nam | 2014

The movie is about traces, disintegration, and the feeling of being adrift. Two people are in love with each other through the tangible objects. The film opens with a break-in and several stolen objects. A sense of losing traces, filled with shadows of violence and unexpectedness is provoked, foreseeing a disintegrated future. In theanxious space remained an old cloth - a hidden, humble and sensitive trace. The story tells the journey of the old cloth with the Man – the Woman and the Anonym, challenging their sensitive and hard-to-identify existences.

DO VAN HOANG 26/6/1987 Director, Screenplay, Actor Mobile: + 84(0)1668606403 Email: dovanhoang266@gmail.com EDUCATION Documentary and Experimental Film-making Course, Hanoi DOCLAB, Goethe Institute, 2010-2011 Faculty Cinema, The HaNoi Academy of Theatre & Cinema, 2007-2011

Jan hoeft
Catalogue : 2014Exit Strategies | Vidéo | hdv | couleur | 18:0 | Allemagne | 2014
Jan hoeft
Exit Strategies
Vidéo | hdv | couleur | 18:0 | Allemagne | 2014

In Exit Strategies an endless sequence of industrial fire escapes is shown. While somebody tells us how his life would change in case of a disaster, we see more and more examples of architecture that prepares us for the worst.

Jan Hoeft (b. 1981) is a visual artist based in Cologne. He was a researcher at the Jan Van Eyck Academy Maastricht in 2013/14. He is a graduate of the Academy of Media Arts Cologne and the Karlsruhe Institute of Technology.

Philippine hoegen
Catalogue : 2014Arena | Vidéo | dv | couleur | 65:0 | Pays-Bas | 2014
Philippine hoegen
Arena
Vidéo | dv | couleur | 65:0 | Pays-Bas | 2014

Arena is part of an on-going examination into the nature of display, and the ways in which objects and bodies are made to perform, through their display. The material for this work was shot at the Mission Museum of Steyl near Venlo in The Netherlands. The museum holds a collection of animals and artifacts that were collected by missionaries from the Steyl Monastery during their travels all over the world in the 19th and early 20th centuries. The museum was built specially to house the collection and its display has never been changed since it was first installed in the 1930’s and it uniquely reveals and exemplifies the perceptions and views of its time, many of which persist in the present. The animals’ bodies, stuffed and stiffly set in eternal grimaces, growls and howls, are made to perform these perceptions, ideas and ideologies that are projected upon them. The film is made of slow vertical pans that map the entire collection. The camera’s position is close up; skin fur and feathers take equal attention, as do painted backdrops, stones and attributes. As we stand before the projection, larger than life, of these animals, what becomes unclear and what is questioned is: Who is displaying what and for whom? Who is looking at whom?

Philippine Hoegen lives and works in Brussels and Amsterdam. Her work consists of installations and performance. She is currently a participant of apass artistic research program in Brussels and tutor of visual art at AKV St Joost Academy for Visual Art, Breda/Den Bosch, NL. With Carolien Stikker she runs BREW, a space in Brussels, which organises and hosts events in the field of contemporary art. She is founder and board member of Calcite Revolt, a transnational platform of exchange for artists, curators, critics and theoreticians, and with Banu Cennetoglu she conceived, produced and edited Bent, a series of artists’ books from Turkey. Recent projects, presentations and performances include: 2014 Kunstallmend (Transnational Art Commons: collective on-going project), Bern Biennial, Bern CH; Masist Gül by Banu Cennetoglu and Philippine Hoegen, KunstraumLakeside, Klagenfurt AT; 2013 Performative lecture Exterior Monologue followed by a workshop, University of Art and Design, Cluj-Napoca, RO; Exhibition; Exhibition and public discussions Adaptations, with Banu Cennetloglu, The Collective Gallery, Edinburgh SCO. Recent publications include: 2013 ‘Going Underground”, review by P. Hoegen and S. van Stein on the Sarajevo Biennale, Metropolis M online, April 2013, Kunstwordtterugkunst, Cahier for Contemporary Art, (artist’s contribution). 2012 Mutualisms Proximity Edition, magazine for contemporary art and culture, Public Media Institute, Chicago, artist’s contribution P. Hoegen and C. Stikker.

Catalogue : 2018Crossed Wires | Doc. expérimental | hdv | couleur | 23:44 | Pays-Bas | Belgique | 2018
Philippine hoegen
Crossed Wires
Doc. expérimental | hdv | couleur | 23:44 | Pays-Bas | Belgique | 2018

This document is an exploration of the Belgian art scene. It shows a series of conversations, with an informal, subjective mapping of the scene as a backdrop. In the conversations, questions are approached through the specificity of peoples' own trajectories: their practical, artistic or social paths, how such trajectories shaped certain practices and how these practices connect to the biotope of the art scene within its contemporary societal and political context. In preparation of the film numerous people were asked the question which persons, places or practices are important for them. We asked every interlocutor to suggest new interlocutors, so that every conversation generated new conversations. We let ourselves be guided by the suggestions we received, resulting finally in a varied assortment of interviewees. The notes for the informal preparatory conversations became the set for the film: they were drawn up on the walls, creating a haphazard, subjective mapping. The set functions as a performative space, as the interviewees are immersed in this unruly apparatus which they begin to correct, add on to, disagree with and debate

Philippine Hoegen is an artist living in Brussels. Her multi-stranded practice engages with issues of objectness and personhood, through the notion of versioning: How we create different versions of ourselves, the processes and technologies we use for that and what the existence of those multiple versions means for our understanding of self. Her work consists primarily of performance and performative interventions or events. She is researcher at CARADT, Avans University, NL; teacher at AKV St Joost, Breda and on an irregular basis mentor at apass, Brussels. Recent activities include: "Being as Becoming", a residency / exhibition and collaborative research project at Onomatopee, Eindhoven (2018); "Ventriloquists III", solo performance, at Plymouth University in the SAR conference Artistic Research Will Eat Itself and at the University of Twente in the conference Narrative Matters (2018); "Crossed Wires", a film commissioned by and launched at Art Brussels (2018); "The Many Machine", a performative collaborative event at AKV St Joost, Breda (2018). Recent publications include: "Ventriloquists III", a contribution to Proceedings 9th SAR Conference: Artistic Research Will Eat Itself (2018); "Body of Books: The BAS Collection", essay on the artists' run space BAS in Istanbul, published by Collectorspace, Inc, New York/Istanbul (2017).

Peter hoffmann
Catalogue : 2011La dernière année | Doc. expérimental | 16mm | noir et blanc | 78:0 | Allemagne | France | 2010
Peter hoffmann
La dernière année
Doc. expérimental | 16mm | noir et blanc | 78:0 | Allemagne | France | 2010

Gerard holthuis
Catalogue : 2005Careless Reef: 1. preface | Film expérimental | 16mm | noir et blanc | 3:50 | Pays-bas | 2004
Gerard holthuis
Careless Reef: 1. preface
Film expérimental | 16mm | noir et blanc | 3:50 | Pays-bas | 2004

"Preface" est un film sur notre vision des choses. Que voit-on dans un visage, et comment nous décodons ce que nous voyons. En introduction à "Careless reef", 6 films sur le monde sous la surface.


Gerard Holthuis est un cinéaste indépendant.

Barbara holub
Catalogue : 2008Make News Instead of | 0 | dv | couleur | 22:0 | Allemagne | Autriche | 2008
Barbara holub
Make News Instead of
0 | dv | couleur | 22:0 | Allemagne | Autriche | 2008

La double projection vidéo « Make news instead of » est basée sur la double projection diapositive d?une exposition de l?artiste, « More Opportunities », à l?Arts Center de Plymouth (Royaume-Uni) en 2007- 2008. Cette ?uvre traite de la question de la transformation de la ville de Plymouth, comme un exemple de changement d?une ville industrielle mise au service de l'économie, dans le contexte de la mondialisation. Il traite du changement d?identité rapide et radical d'une ville et ses habitants, dans un docu-fiction réalisé à partir du collage de matériaux divers, notamment « A Voyage to the Bottom of the Sea », film de Science-fiction de Irwin Allend (1961), un film-documentaire en 16 millimètres sur la grève du chantier naval de Plymouth du Southwest Filmarchive Plymouth (1969), « The Way We Live », documentaire de Jill Craigie sur l?architecte Abercrombie (1946), ou « More Opportunities », une manifestation mise en scène de Barbara Holub (2007).


Parallèlement à son travail d'artiste, la carrière de Barbara Holub comprend notamment la Présidence de la Sécession de Vienne depuis 2006-2007. De 2004-2007, elle a été membre du Comité d'Art Public de Basse-Autriche. En 1999, elle a créé la compagnie d'architecture et d'urbanisme Transparadiso, avec son associé Paul Rajakovics. Leur travail expérimental reflète l'architecture et le développement urbain dans le contexte des questions posées par la mondialisation, en même temps qu?il développe de nouveaux outils pour ce que Transparadiso appelle l?« urbanisme direct ». Parmi les récentes expositions de Barbara Holub, signalons notamment « This is a Gallery and a Gallery is Many Things » à l?Eastside Projects de Birmingham (Royaume-Uni), « Orientierungen » au Regionale 08 de Styria, « Periscope Elevator » à Amsterdam/Ijburg (Pays-Bas), « Ganz nah so fern » à Vienne (en collaboration avec Grita Insam Gallery), ou « More Opportunities » à l?Austrian Cultural Forum du London Festival of Architecture.

Heidrun holzfeind
Catalogue : 2009Friday Market | Installation vidéo | betaSP | couleur | 8:0 | Autriche | Egypte | 2008
Heidrun holzfeind
Friday Market
Installation vidéo | betaSP | couleur | 8:0 | Autriche | Egypte | 2008

LONG SHOT: In one long shot the camera travels along the section of Cairo?s Friday market that is set up on railroad tracks. Here, framed by the highway and the Al-Imam As Safi?i cemetery, every Friday locals and vendors from all over the city offer their products for sale, set up on tables or spread on the ground. The camera moves at a steady, slow paste along the tracks, like a train passing a closed down station. The people inhabiting the market ? the sellers and buyers, and the people living at its edge become the protagonist of the film, collapsing the borders between performance, documentary and fiction film. The slow paste of the shot allows the viewer?s attention to oscillate between the market in the foreground ? the goods for sale, the dynamics between sellers and buyers, and the many (informal) architectural layers of the housing area and cemetery directly behind. I am equally interested in the complex and multilayered architectural constructions as in the informal economy of the market. The range of products for sale questions our western concepts of what holds value, and the very notion and definition of a ?product? in itself: What we easily label as trash - useless or broken parts - are being recycled and offered for sale, a sign not only of desperation and economic need, but also of faith in the creativity of the buyer to find a possible new use for these items. MAKING-OF: The making-of documents the film shoot during the course of the day (from 6 am to the early afternoon when rain and a sandstorm hit the market) and offers glimpses into the socioeconomic context of the market, the location and its inhabitants through close ups of sellers, buyers and products, and short interviews with locals.

Heidrun Holzfeind studied at the Academy of Fine Arts in Vienna and at Cooper Union in New York. She lives and works in New York. solo exhibitions include CCA, Ujazdowski Castle, Warsaw (2010); De Vleeshal, Middelburg, The Netherlands (2009); Sala de Arte Público Siqueiros in Mexico City (2008), Galerie im Taxispalais, Innsbruck (2007); Lado b, MUCA Museum Mexico City (2005), Artists Space (project room), New York (2005), W139 in Amsterdam (2004) Recent group shows and screenings include CASM, Barcelona; Manifesta7, Trentino; Photocairo4, Cairo; MOMA, New York; Zendai Art Museum, Shanghai; Goethe Institute Dublin; OK Centrum Linz, Austria; Grazer Kunstverein; Festival der Regionen 2007; Exit Art, New York; Architecture Museum Basel; Salzburger Kunstverein, Austria; Bronx Museum of the Arts, New York; Swiss Institute New York; BAK Utrecht, and others. Festivals include European Media Arts Festival, Osnabruck; Assim Vivemos Festival Brazil, Rio de Janero & Brasília; Duisburger Filmwoche, Germany;
 Diagonale, Graz, Austria; Impakt Festival, Utrecht; Transmediale Festival Berlin; Videoart Center Tokyo; SKIF Festival, St. Petersburg; SNIFF Int. Short Filmfestival, Novo Mesto, Slovenia, and others.

Kerstin honeit
Catalogue : 2017My Castle Your Castle | Doc. expérimental | hdv | couleur | 14:47 | Allemagne | 2017
Kerstin honeit
My Castle Your Castle
Doc. expérimental | hdv | couleur | 14:47 | Allemagne | 2017

my castle your castle Set up as a somewhat retro TV talk show my castle your castle operates from within the skeleton of the Prussian castle that is currently being re-built in the center of Berlin. Erected on the foundations of the dismantled GDR parliament building called Palace of the Republic, the castle is not only an imperialist architectural remake, in its future function as exhibition space for the “ Ethnographic Collections ” of Berlins National Museums it literally embodies Germany’s legacies of colonial violence. The video engages with the building site as a stage for the material and social construction “ as well as the queer contestation ” of “ nation ” and (white) “ masculinity”: Interviewed by a talk show host over a piece of cake from porcelain dishes with reproductions of the castle and its disappeared counterpart, two construction workers evoke an opaque third in a language of structural matter. Peter Friedrich had supervised the construction (1973-76) of the Palast der Republik, and Gunter Teichert worked as the head of its deconstruction (2006-08). In the matter of fact conversation between the “ makers of the palace ”, their body of work “ in other words architecture, political representation, memory ” disintegrates in the builder’s jargon. However, the material and machinic vocabulary of construction site itself resonates the massive urban reconstructions, redistributions of properties and redefinitions of political meaning through architecture that have followed the disappearance of state socialisms in Europe. This vocabulary is emphasized and queered in short interludes to the talk show in which the talk show host, who is performed by the artist Kerstin Honeit herself incorporating elements of drag, appears sitting on a huge excavating machine or between metal poles that stabilize casts for concrete. (Text by Suza Husse)

Kerstin Honeit was born in Berlin, where she still lives and works. She studied Fine Art and Theatre Design at the Kunsthochschule Weissensee in Berlin. Since 2014 Honeit has been teaching at the Kunsthochschule Kassel (künstlerische Mitarbeiterin, class of Bjørn Melhus). Using video works, performance and installations in her artistic research, Honeit examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms. Her recent work has been shown at Berlinische Galerie - Museum of Modern Art, Haohaus Taipei, Stuttgarter Filmwinter - Festival for Expanded Media, Bärenzwinger Berlin, SixtyEight Art Institute Copenhagen, Kunstverein Leipzig, International Short Film Festival Oberhausen, Arsenal - Institut für Film u. Videokunst Berlin, Monitoring Dokumentarfilm- u. Videofest Kassel, Neuer Berliner Kunstverein, Videonale.15 Kunstmuseum Bonn, Les Complices* Zurich, Gallery 400 Chicago, CCNY New York, Site Gallery Sheffield.

Catalogue : 2018PANDA MOONWALK or WHY MENG MENG WALKS BACKWARDS | Doc. expérimental | 4k | | 8:0 | Allemagne | 2018
Kerstin honeit
PANDA MOONWALK or WHY MENG MENG WALKS BACKWARDS
Doc. expérimental | 4k | | 8:0 | Allemagne | 2018

Since 2017 the Giant Panda Bears Meng Meng and Jiao Qing have been hired out to the Berlin Zoo from China to attract more visitors and to therefore increase profit. Unfortunately for the Berlin Zoo this advertising campaign did not work out as planned - in fact it worked backwards. Meng Meng, the female Panda will only walk backwards - probably protesting the fact that she is kept in captivity and in a totally different continent from her origins. But instead of rethinking the problematic concepts of zoos in general, international media is taking on a different debate: blaming Meng Meng’s behavior on the fact that she has not bred yet and is just looking for attention. Kerstin Honeit’s video aligns Meng Meng’s protest with other performances of protesting bodies using movement in public space to address grievances.

Kerstin Honeit studied fine arts and stage design at the Berlin Weissensee School of Art. She has been teaching at Kunsthochschule Kassel since 2014. Using video works, performance an d installations in her artistic research, Honeit examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms. Most recently, her works were shown at Off Biennale Cairo (2018); Videoart at Midnight, Berlin (2018); Moscow Museum of Modern Art (2018); La Centrale, Montreal (2018); Bärenzwinger, Berlin (2018); Schwules Museum, Berlin (2018); Rencontres Internationales Paris / Berlin (2018); International Short Film Festival Oberhausen (2017); Berlinische Galerie (2017); SixtyEight Art Institute, Copenhagen (2017).

Jun-yuan hong
Catalogue : 2019Where do you come from-1981 | Vidéo | 4k | couleur | 16:44 | Taiwan | 2019
Jun-yuan hong
Where do you come from-1981
Vidéo | 4k | couleur | 16:44 | Taiwan | 2019

The film consists of the photographic narratives of individuals’ polaroid pictures taken at the time of their birth, which is used as the intertwining signifiers. A few of the selected actors came from broken families and had similar life experiences as the concept expressed in this work. In other words, the subjects in the images are not only a semiotic interpretation of role-playing? but also a reiteration of life experiences that overlap with these actors. That is, the creative approach adopted constantly seeks subjects close to its own life trajectory as a way to realize internal, psychological imageries and spiritual restoration.

Jun-Yuan Hong was born in 1981 in Taiwan and is currently a candidate in the Doctoral Program in Art Creation and Theory of Tainan University of the Arts. Video has strong inner emotional problems. The main reason comes from his incomplete original family. Therefore, in the video, he likes to construct these tangled feelings through close-up, and look for people with similar family situations, let them be his elements of the image that respond to and express their emotional state of facing family problems through the encounters of these different living individuals.

Mike hoolboom
Catalogue : 2005Public lighting | Doc. expérimental | dv | couleur et n&b | 76:0 | Canada | 2004
Mike hoolboom
Public lighting
Doc. expérimental | dv | couleur et n&b | 76:0 | Canada | 2004

« Public Lighting est une méditation sur la photographie et la création d'images, qui peuvent capturer, remplacer nos expériences, et leur survivre. Le film est divisé en 7 parties. Chaque chapitre est une étude de cas, de différents types de personnalités identifiés par le jeune auteur, qui nous guide dans le prologue. Le premier, homme gay, nous emmène faire la tournée des bars et des restaurants, où il a vécu des ruptures amoureuses. Il nous raconte sur le mode ironique ses histoires avec ses ex amants. Un hommage à Philipp Glass est suivi, de manière plutôt incongrue, par Hey Madonna, lettre de confession adressée à la chanteuse par l'un de ses fans, séropositif. Amy célèbre un autre anniversaire, mais avoue qu?elle n?a aucun souvenir de ce qu?elle voit à la télévision. Ceci dit, au moins elle a une caméra : "Je prends des images non pour m?aider à me souvenir, mais pour enregistrer mes oublis" . Hiro vit sa vie à distance, et s'aventure rarement au-delà de l'objectif. Un jeune mannequin anxieux raconte des événements poignants de son passé. Peu de réalisateurs se réapproprient le footage de manière aussi forte : à la fois drôles et incisives, ces images nous ramènent à des parties de nous-mêmes. Le travail récent de Mike Hoolboom a une telle empathie avec la condition humaine qu'il nous parle directement au c?ur. » Mark Webber, London film festival


Mike Hoolboom vit et travaille à Toronto, vidéaste et cinéaste, il a aussi écrit plusieurs livres, dont Plague Years en 1998, et Fringe Film in Canada en 2001. Il est membre fondateur du collectif Pleasure Dome, et a travaillé comme directeur artistique de l?Images Festival et dans le comité de direction de Canadian Filmmakers Distribution, pour le cinéma expérimental. Son travail a été montré notamment au festival de Berlin, de Rotterdam, de Locarno. Il a eu plusieurs rétrospectives dans huit grandes villes européennes.

Catalogue : 2015Scrapbook | Doc. expérimental | 16mm | noir et blanc | 18:0 | Canada | 2015
Mike hoolboom
Scrapbook
Doc. expérimental | 16mm | noir et blanc | 18:0 | Canada | 2015

Lensed in Ohio’s Broadview Developmental Center in 1967 by secret camera genius and audio visual healer Jeffrey Paull, Scrapbook tells the story of audacious autistic Donna Washington in her own words, as she encounters pictures of one of her former selves fifty years later.

Born: Korean War, the pill, hydrogen bomb, playboy mansion. 1980s: Film emulsion fetish and diary salvos. Schooling at the Funnel: collective avant-geek cine utopia. 1990s: experimentalist features, transgressive psychodramas, questions of nationalism. 2000s: Seroconversion cyborg (life after death), film-to-video transcode: feature-length-found-footage bios. Fringe media archaeologist: copyleft author 7 books, co/editor 12 books. Curator: 30 programs + www.fringeonline.ca Occasional employments: artistic director Images Fest, fringe distribution Canadian Filmmakers. 80 film/vids, most redacted. 10 features. 70 awards, 15 international retrospectives. 3 lifetime achievement awards. www.mikehoolboom.com

Catalogue : 2017Nursing history | Film expérimental | hdv | noir et blanc | 4:0 | Canada | 2017
Mike hoolboom
Nursing history
Film expérimental | hdv | noir et blanc | 4:0 | Canada | 2017

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Mike Hoolboom is a Canadian artist working in film and video. He has made over eighty films and videos, though most have been withdrawn from circulation, approximately a dozen remain on view. His work has appeared in over four hundred festivals, garnering thirty awards. He has been granted the Tom Berner Award for community service and two lifetime achievement awards, the first from the city of Toronto, and the second from the Mediawave Festival in Hungary. He has enjoyed retrospectives of his work at the Images Festival (Toronto), Visions du Reel (Switzerland), Xenix (Switzerland), Cork International Festival (Ireland), Cinema de Balie (Amsterdam), Mediawave Festival (Hungary), Impakt Festival (Holland), Vila do Conde Festival (Portugal), Jihlava Documentary Festival (Czech Republic), Stuttgarter Filmwinter (Germany), Musée des Beaux-Arts de Caen (France), Sixpack Film (Vienna), the Buenos Aires International Festival (Argentina), Pacific Cinematheque (Canada) and A Million Different Loves Festival in Poland.