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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 
Marie losier
Catalogue : 2006The Onthological Cowboy | Doc. expérimental | 16mm | couleur | 16:0 | France | USA | 2005
Marie losier
The Onthological Cowboy
Doc. expérimental | 16mm | couleur | 16:0 | France | USA | 2005

"Le théâtre est une question de sexe". En tout cas selon Richard Foreman, le fondateur du Ontological Hysterical Theater. "The Ontological Cowboy" illustre l'appel de Foreman, invoquant la 'destinée manifeste' du théâtre d'avant-garde, tandis que King Cowboy Rufus descend de San Jan Hill avec un soupir, en secouant son mouchoir. Foreman joue son propre rôle, le reste de la distribution mime ses préoccupations. Si "l'équipe des acteurs souffre ainsi," c'est pour une bonne cause : la renaissance du théâtre américain dans la violence, avec Foreman pour sage-femme.


Née à Boulogne (France) en 1972, Marie Losier est à la fois réalisatrice et conservatrice à New York City. Elle a présenté ses films et ses vidéos dans des musées, galeries, biennales et festivals, dont la Biennale Whitney 2006, à laquelle elle a participé avec son film sur Richard Foreman, "The Ontological Cowboy". Les autres évènements auxquels elle a pris part sont : P.S.1, Tribeca Film Festival, le Festival international du film de Rotterdam, le Festival du film de Séoul (Corée), le Festival du film de Lausanne (Suisse), la galerie Andrew Kreps, la galerie White Column, le Festival du film Blck Maria, la Biennale de Saint-Etienne (France), le Festival du film underground de York, le festival du film de Lake Placid, Pleasure Dome (Toronto), Anthology Film Archives, Ocularis, British Film Institute (London), Au Grand Action (Paris) et bien d'autres encore. En 2000, elle prend en charge la programmation des films à l'Alliance française de New York City, où elle organise une séance de films hebdomadaire. Elle a reçu de nombreux metteurs en scène et artistes renommés, dont Raoul Coutard, William Klein, Claire Denis, Isabelle Huppert, Chantal Akerman, Jane Birkin, Jeanne Moreau, Tavernier, et Anouk Aimée. Elle programme également des films expérimentaux au cinéma Rober Beck Memorial (désormais à la Participant Gallery de New York) et à Ocularis à Brooklyn. Elle organise des programmations en Europe et à travers les Etats-Unis. Marie Losier a également joué dans des films de George Kuchar, Mike Kuchar et Jackie Raynal, ainsi que dans des pièces de Juliana Francis et Tony Torn. Elle achève actuellement un court-métrage documentaire sur le musicien et réalisateur Tony Conrad. Son prochain documentaire, déjà en court, se concentre sur le génie de la musique Genesis P-Orridge et son groupe Psychic TV.

Catalogue : 2009Papal broken dance | Vidéo | dv | couleur | 6:0 | France | 2009
Marie losier
Papal broken dance
Vidéo | dv | couleur | 6:0 | France | 2009

Music video Papal Breakdance by PTV3-Genesis P-Orridge With Genesis Breyer P-Orridge and many friends. A campy music video in the style of a scopitone from the early 1960s, with the wonderful cast of 10 boys in sexy red singlets and girls in red tutus, all dancing with joy with Genesis P-Orridge in a boxing ring?all the ingredients for a slap stick boxing match in music.

Catalogue : 2010Cet air là | Fiction expérimentale | 16mm | noir et blanc | 3:0 | France | USA | 2010
Marie losier
Cet air là
Fiction expérimentale | 16mm | noir et blanc | 3:0 | France | USA | 2010

Cet Air la is a famous french song from 1963, sung live by NY singer April March in acapela with Julien Gasc. The couple is singing while flying over a superimposed 16mm projection of a stop motion animation of a series of clouds, birds, bubbles, smoke machines and glitters?the song has the texture of a dream. Part of Residency Unlimited Project.

Marie Losier, born in France in 1972, is a filmmaker and curator working in New York City. She was born in 1972 in Boulogne, France. She has shown her films and videos at museums, galleries, biennial and festivals, including this year for the 2006 Whitney Biennial with her on Richard Foreman, The Ontological Cowboy and at MOMA with Electrocute Your Stars. Also P.S.1, Tribeca Film Festival, Rotterdam International Film Festival, The Seoul Film Festival (Korea), The Lausagne Film Festival (Swiss), Andrew Kreps Gallery, White Column Gallery, The Black Maria Film Festival, The Biennial of Saint Etienne (France), The York Underground Film Festival, Lake Placid Film Festival, Pleasure Dome (Toronto), Anthology Film Archives, Ocularis, British Film Institute (London), Au Grand Action (Paris) and many others. In 2000, she became the film programmer at the French Institute / Alliance Francaise in New York City, where she presents a weekly film series. She has hosted many notable directors and artists, including Raoul Coutard, William Klein, Claire Denis, Isabelle Huppert, Chantal Akerman, Jane Birkin, Jeanne Moreau, Tavernier, and Anouk Aimée. She also programs experimental films at the Robert Beck Memorial Cinema (now at Participant Gallery, NYC) and Ocularis in Brooklyn and bring programs in Europe and all over in the States. She has also performed in films by George Kuchar, Mike Kuchar, and Jackie Raynal, and in plays by Juliana Francis, and Tony Torn. She is currently completing a short documentary on musician and filmmaker Tony Conrad and starting one on the musical genius Genesis P-Orridge, and her band Psychic TV.

Marie losier
Catalogue : 2005Eat My Makeup! | Film expérimental | 16mm | couleur | 6:0 | France | USA | 2005
Marie losier
Eat My Makeup!
Film expérimental | 16mm | couleur | 6:0 | France | USA | 2005

"Un toit de San Francisco est arpenté par de grands enfants en tutu jouant insoucieusement à se coller des tartes au visage. Avec George Kuchar." "Cinq charmantes damoiselles pique-niquent sur le toit d'un entrepôt dans la non moins charmante ville de Long Island, forêt de gratte-ciel se reflétant sur la rivière. Mais lorsqu'une nuée de mouches vient interrompre leur festin composé de bretzels au chocolat et de tartes à la crème, les jeunes femmes perdent tout contrôle d'elles-mêmes.


"Marie Losier est réalisatrice et conservatrice à New York. Elle est née en 1972 à Boulogne, en France. Ses films et ses vidéos ont été présentés au sein de musées, galleries, biennales et festivals, notamment au P.S.1, au Tribeca Film Festival, Rotterdam International Film Festival, au Seoul Film Festival (Corée), au Festival du Film de Lausagne (Suisse), à la Andrew Kreps Gallery, à la White Column Gallery, au Black Maria Film Festival, à la Biennale de Saint Etienne (France), au York Underground Film Festival, au Lake Placid Film Festival, au Pleasure Dome (Toronto), à l?Anthology Film Archives, à l'Ocularis, au British Film Institute (Londres), Au Grand Action (Paris) et beaucoup d?autres. En 2002, elle est devenue programmatrice au French Institute/ Alliance Française à New york, où elle présente une série de films chaque semaine. Elle a accueillie de nombreux rélisateurs et artistes réputés, tels que Raoul Coutard, William Klein, Claire Denis, Isabelle Huppert, Chantal Akerman, Jane Birkin, Jeanne Moreau, Tavernier, et Anouk Aimée. Elle programme également des films au Robert Beck Memorial Cinema (à présent à la Participant Gallery, New York City) et à l?Ocularis à Brooklyn et propose des programmes en Europe et dans tous les Etats-Unis. Elle a également joué dans des films réalisés par George Kuchar, Mike Kuchar, et Jackie Raynal, et dans des pièces mises en scène par Juliana Francis, et Tony Torn. Actuellement, elle tourne un court documentaire sur le musicien et réalisateur Tony Conrad. On a récemment annoncé que le film de Marie sur Richard Foreman, The Ontological Cowboy, avait été sélectionné pour la Biennale de Whitney de 2006.

Pavel lounguine
Catalogue : 2005La Maison Haute | Documentaire | | couleur | 90:0 | Russie | France | 2004
Pavel lounguine
La Maison Haute
Documentaire | | couleur | 90:0 | Russie | France | 2004

"Depuis la disparition de l`Union Soviétique, plus personne ne sait vraiment qui sont les Russes ? à quoi ils rêvent, en qui ils croient, comment ils vivent. La Maison Haute, « ce Titanic insubmersible » construit sous Staline, est, depuis plus de 50 ans, une véritable métaphore de la Russie et de son immense peuple. Anciens apparatchiks, enfants ou petits-enfants de l?élite soviétique côtoient, dans ce gigantesque gratte-ciel moscovite, nouveaux riches et hommes d?affaires. Tous oscillent entre nostalgie de l?époque soviétique, avec ses formes grandioses, son bonheur préfabriqué mais rassurant et les plaisirs immédiats du capitalisme. Dans les couloirs de la Maison Haute, Pavel Lounguine est parti à la recherche de l`âme russe. Il a frappé aux portes de cet édifice mythique et à travers les personnages qui y habitent, il a dressé un portrait ironique, décalé et plein de poésie de la Russie d`aujourd`hui." source: dossier de presse Arte


"Pavel Lounguine étudie à l`Université de Moscou de 1965 à 1971 avant d'intégrer l'école de cinéma de Moscou en 1973. Il y suit une formation de scénariste jusqu`en 1975 et écrit les scripts de nombreux films russes comme Nepobedimyj (1983) et Poputchik (1986). En 1990 est présenté au Festival de Cannes son premier long métrage en tant que réalisateur, Taxi blues. Ce drame met en scène l`amitié qui lie un chauffeur de taxi à un saxophoniste sans le sou. Le succès critique est au rendez-vous et le réalisateur devient un habitué de la Croisette. Luna Park (1992), l`histoire d`un jeune homme à la recherche de ses racines juives, et La Noce (2000), une comédie dramatique sur le déroulement inattendu d`une cérémonie de mariage, y sont également projetés. Pavel Lounguine s'intéresse par ailleurs aux changements économiques et sociaux que traverse son pays avec la chute du communisme. En témoignent Ligne de vie (1996), où Vincent Perez se retrouve aux prises avec la mafia russe, et Un nouveau Russe (2003), un drame dans lequel un ancien scientifique (Vladimir Machkov) est prêt à tout pour s`enrichir. En 2005, Pavel Lounguine réalise Familles à vendre, film traitant de l'exil et de la division géographique du peuple russe. Parallèlement, il poursuit une carrière sporadique à la télévision russe, y réalisant parfois des téléfilms." Allocine.com

Liisa lounila
Catalogue : 2008GIG | Film expérimental | 35mm | couleur | 3:36 | Finlande | 2007
Liisa lounila
GIG
Film expérimental | 35mm | couleur | 3:36 | Finlande | 2007

« Gig » est une vidéo de trois minutes sur des personnes qui assistent à un concert dans un club. Au lieu d?attirer l?attention sur la scène et les musiciens, la vidéo se concentre sur les regards croisés des habitués du club, qui s?observent les uns les autres.


Liisa Lounila est née en 1976, vit et travaille actuellement à Helsinki. Ses principaux médiums sont le film et la vidéo expérimentaux, la photographie et la peinture. Ses ?uvres traitent généralement d?obscurs besoins de changement, de grandes attentes et des lieux pleins de potentiel. Habituellement, ses photos, fixes ou en mouvement, tirent leur origine des films, de la presse à scandales, des magazines d?art de vivre et des paroles de chansons pop.

Julien loustau
Catalogue : 2006Sub | Doc. expérimental | dv | couleur | 45:0 | France | Chine | 2006
Julien loustau
Sub
Doc. expérimental | dv | couleur | 45:0 | France | Chine | 2006

Le lac Vostok est prisonnier sous les glaces de l?Antarctique, isolé du reste du monde depuis des millions d?années. Cet environnement exceptionnel, privé de lumière, soumis à des températures et des pressions extrêmes, abrite peut-être des formes de vie inconnues.La seule technologie qui permettrait d?atteindre le lac sans risquer de le contaminer serait le Cryobot, une sonde conçue par la Naza pour l?exploration d?oceans subglaciaires sur Mars et sur Europe. En Chine, dans la région des Trois Gorges, on finit de construire le plus grand projet hydroélectrique du monde. Le barrage a déja noyé 600km de vallées, entraînant la disparition de centaines de villes et le déplacement de 1,8 millions de Chinois. Le long d?un voyage nocture sur le fleuve Yangtze, dans l?exploration distante de ses berges en sursis, le film envisage l?odyssée solitaire du cryobot à travers les glaces jusqu?au lac Vostok.


Julien Loustau est né en 1971 à Salies-de-Béarn. Il vit et travaille à Paris.

Julien loustau
Catalogue : 2006DeWind | Fiction expérimentale | 35mm | couleur | 15:0 | France | 2000
Julien loustau
DeWind
Fiction expérimentale | 35mm | couleur | 15:0 | France | 2000

Un plan-séquence saisit le paysage depuis une voiture, le long d?une crête battue par les vents et bordée de grandes éoliennes. La nuit vient. Le film est ponctué par l?apparition de titres : une filmographie fabulée.


Julien Loustau est né en 1971 à Salies-de-Béarn. Il vit et travaille à Paris.

Catalogue : 2006Norias | Vidéo expérimentale | dv | couleur | 15:0 | France | 2003
Julien loustau
Norias
Vidéo expérimentale | dv | couleur | 15:0 | France | 2003

Pendant ce temps, depuis des siècles, les norias tournent. Elles chantent le courant de l`Oronte. Des bords de Seine, un dialogue les rejoint....


Julien Loustau est né en 1971 à Salies-de-Béarn. Il vit et travaille à Paris.

Birgit ludwig
Catalogue : 2018The Partition | Fiction expérimentale | hdv | couleur | 21:21 | Luxembourg | Royaume-Uni | 2018
Birgit ludwig
The Partition
Fiction expérimentale | hdv | couleur | 21:21 | Luxembourg | Royaume-Uni | 2018

Blake awakes from a comatic episode for which there doesn't seem to be any explanation. Set in London, the film interweaves his and other characters' discontinued journeys marked by peculiar moments and encounters. At once sober and enigmatic, "The Partition" reflects on singularity, alienation and intangible windows in the wider context of a shifting techno-capitalist environment.

Birgit Ludwig (b. Luxembourg) is a filmmaker and artist based in London. Her films take the form of unconventional dramas or documentaries, interweaving realism and a poetic uncanny. She is a graduate of Central Saint Martins School of Art (BA Fine Art/Phoebe Llewellin Smith Scholarship Award) and Kingston University (MA Experimental Film).

Immo luedemann
Catalogue : 2007Estate | Doc. expérimental | dv | couleur | 9:34 | Allemagne | USA | 2005
Immo luedemann
Estate
Doc. expérimental | dv | couleur | 9:34 | Allemagne | USA | 2005

La vidéo est composée de scènes qui décrivent une matinée dans une banlieue de Sud-Californie. Des vues subjectives et observatrices de l'espace et des détails établissent le lieu. Les images et le montage suggèrent un développement narratif fermé du film. Rapidement après qu'il semble qu'un personnage devient établi, une coupure intervient. Les images montrant des opinions subjectives changent l'on peut entendre trois marines US répondre sur leurs conditions de vie en Iraq pendant que les images, elles, restent en banlieue.


Immo Lüdemann wurde 1975 in Düsseldorf geboren und studierte bis zum Jahr 2005 an der Universität der Künste Berlin und dem California Institute of the Arts, Los Angeles, bei Heinz Emigholz, Harun Farocki und James Benning. Seine Arbeiten beschäftigen sich mit strukturellen Problemen des filmischen Erzählens und mit Fragen der narrativen Beziehungen von Bildern. Er lebt und arbeitet in Berlin und Hamburg. Immo Lüdemann was born in Düsseldorf in 1975. Until 2005 he studied at the University of the Arts Berlin and the California Institute of the Arts, Los Angeles, with Heinz Emigholz, Harun Farocki and James Benning. His works deals with structural problems of cinematic storytelling and with questions of narrative relations between images. He lives and works in Berlin and Hamburg.

Stephan lugbauer
Catalogue : 2011The Mackeys | Film expérimental | hdv | couleur | 23:0 | Autriche | 2010
Stephan lugbauer
The Mackeys
Film expérimental | hdv | couleur | 23:0 | Autriche | 2010

THE MACKEYS evolved out of a six months residency during the MAK Schindler Program in Los Angeles. The Movie A filmic collage on Los Angeles based on former residents?s memories, diary entries, references to art, literature and film. It starts with a young woman talking about a confusion of two movies with nearly identical titles - L.A. Plays Itself and Los Angeles Plays Itself. Subsequently follows a remake of the opening titles to Thom Anderson?s Los Angeles Plays Itself. A couple of minutes later we hear the sound of an helicopter taken from the opening sequence of Robert Altman?s Short Cuts while the camera pans in bird?s-eye view across the hedge?s and front yard of R.M. Schindler?s Mackey Apartment House. A voiceover recites a passage from Memoirs of My Nervous Illness by Daniel Paul Schreber: ?To make myself at least somewhat comprehensible I shall have to speak much in images and similes, which may at times perhaps be only approximately correct. For the only way a human being can make supernatural matters, which in their essence must remain incomprehensible, understandable to a certain degree is by compairing them with known facts of human experience.?

Stephan Lugbauers Arbeiten verbinden filmische, installative und performative Momente. Stephan Lugbauer (geb. 1976 in Feldkirch) lebt und arbeitet in Wien. Studium der Architektur an der Technischen Universität in Wien und Diplom an der Akademie für bildende Kunst Wien. Atelier Residency des BMUKK in Mexiko und MAK-Schindler Stipendium in Los Angeles, Ausstellungen und Performance- Projekte in Wien, Peking, Hong Kong, Los Angeles, Bern, New York, Köln, Las Palmas, Sofia etc. Mitbegründer des SAPROPHYT Project Space in Wien. www.stephanlugbauer.net www.saprophyt.net

Catalogue : 2012About Me | Vidéo | hdv | couleur | 10:3 | Autriche | 2011
Stephan lugbauer
About Me
Vidéo | hdv | couleur | 10:3 | Autriche | 2011

This work interlinks filmic, installative and performative layers. Joseph Kosuth?s compiled collection of contemporary art in the Freud Museum in Vienna is used as a filmset. Accompanied by a cameraman and sound technician a journalist interviews an artist pacing through the exhibition. The takes of this scene discuss conditions of myths of biographical narration and are being repeated over and over for about 50 minutes. The spectators transform into extras.

born 1976 in Feldkirch (Aut), lives and works in Vienna and Lower Austria 1994 Studies Architecture at the Technical University Vienna. 1996-2003 Studies at the Academy of Fine Arts Vienna. since 2008 Saprophyt, Projectspace (Co-founded with Barbara Kapusta), Webgasse 29, Vienna.

Catalogue : 2013The North Capital | Fiction expérimentale | hdv | couleur | 42:7 | Autriche | 2013
Stephan lugbauer
The North Capital
Fiction expérimentale | hdv | couleur | 42:7 | Autriche | 2013

The goal of this filmproject was to transgress cultural, linguistic and structural borders and to bring this experiment via improvisation into the shape of a movie. As point of origin and/or abstract storyboard served an interview which I conducted with Xian Min Zhan - a chinese filmcritic and curator of various chinese film festivals.  Our conversation did range from thoughts on independent cinema to the city of the future.  One of the main topics of this conversation - theories on postfordistic, neoliberal social utopias after paolo virno, forms as a conceptual pattern the dogma of the production of ?The North Capital?. We shot for about 5 days in Beijing with amateurs willing to participate in this truly improvised movie. Rarely scripted dialogues, no rehearsals and improvisations on the spot. A movie about an utopia: The North Capital. The movie`s language is mandarin chinese with english subtitles. ?So visually this utopia will be transparent, almost colorless, washed out? all the colours there are will be fabricated or fake and only for visual effect. all the buildings will be mostly ruins. if people dont procreate, they will talk or create. artist will make up the majority of the population and work under precarious circumstances - you know, minimal wages or unpaid labour, although the characteristics of their work would not really differ from the work of the privileged class. the privileged managing class will decide on who or what to support. they will say that the real support is your dream. they offer some kind of support for your dreams, you excercise yourself in these dreams and wake up with bigger muscels. in this kind of coming dictatorship of globalisation or pretended democratic system they will encourage people to commit suizide and use it for propaganda.?

Stephan Lugbauer born in Feldkirch Austria in 1976 now lives and works in Vienna and Lower Austria. He studied Architecture at the Technical University Vienna, received his MFA at the Academy of Fine Arts, New Media Department, Vienna and was fellow of the MAK Schindler Residency, Los Angeles and of the BMUKK Studio Resicency in Mexico City. He is co-founder of Saprophyt, an independent conzeptual art space and project (www.saprophyt.net). His work has been featured in several international exhibitions and festivals such as Hors Pistes, Centre George Pompidou, Les Rencontres Internationales Paris, Madrid, Berlin, CAAM, Gran Canaria, Kunsthalle Wien, Secession, Vienna. His work is fundamentally critic and analytic, interrogating the role of creation and artists. It re-evaluates the porosity of art, which is pervaded with contemporary political and economical areas.

Catalogue : 2014Fragments Of A Jam | Vidéo | hdv | couleur | 11:34 | Autriche | 2014
Stephan lugbauer
Fragments Of A Jam
Vidéo | hdv | couleur | 11:34 | Autriche | 2014

In Fragments of a Jam my intention was to stage a choice of research material circling the topics of the voyage, the search and espionage. The project emerged as part of a group show of commissioned works on behalf of the abbey of Melk to celebrate the anniversary year of their patron. The curatorial notion circled around similar topics. On the opening night the audience could attend the filming in the abbeys pavillon. Similar to About Me and The Tour (The Mackeys), that combine forms of live performance with filmic language, this work is oscillating between a theatrical performance and a film shoot. For the duration of the exhibition, the various coloured frames/panels used as props for the set, now form an environment to present the resulting film of the opening night.

Stephan Lugbauer born in Feldkirch Austria in 1976 now lives and works in Vienna and Lower Austria. He studied Architecture at the Technical University Vienna, received his MFA at the Academy of Fine Arts, New Media Department, Vienna and was fellow of the MAK Schindler Residency, Los Angeles and of the BMUKK Studio Resicency in Mexico City. He is co-founder of Saprophyt, an independent conzeptual art space and project (www.saprophyt.net). His work has been featured in several international exhibitions and festivals such as Hors Pistes, Centre George Pompidou, Les Rencontres Internationales Paris, Madrid, Berlin, CAAM, Gran Canaria, Kunsthalle Wien, Secession, Vienna. His work is fundamentally critic and analytic, interrogating the role of creation and artists. It re-evaluates the porosity of art, which is pervaded with contemporary political and economical areas. "My notion of art has always been a sphere apart from any kind of constraints. A realm of freedom which most probably can only exist in our imagination, but for which I nonetheless fight for. In my vision of art the artist himself plays the role of the antagonist to the mainstream. He is the rebel, the outsider - a professional un-professional. "

Catalogue : 2017Eating Secrets | Film expérimental | 16mm | couleur | 8:41 | Autriche | 2017
Stephan lugbauer
Eating Secrets
Film expérimental | 16mm | couleur | 8:41 | Autriche | 2017

In Eating Secrets, we bear witness to a mysterious ritual, based on psycho-magic exercises by the cult filmmaker Alejandro Jodorowsky. In psycho-magic, images are used as symbols to appear to the unconscious mind as real events. A similar thing can be said about the impression of films onto the soul. Haunted by a suggestive soundtrack from the recently deceased Mika Vainio (Pan Sonic) we enter into a dreamlike state, where time is fluid and the ritual is very real. This eight minute short film was shot on super 16mm in my studio and its adjacent garden.

tephan Lugbauer (1976, AUT) now lives and works in Paris, France and on the countryside in Austria. He studied Architecture at the Technical University Vienna, received his MFA at the Academy of Fine Arts, New Media Department, Vienna and was fellow of the MAK Schindler Residency, Los Angeles, the BMUKK Studio Resicency in Mexico City and of the Cite? des Arts, Paris. He is co-founder of Saprophyt, an independent conceptual art-space and project (www.saprophyt. net). His work has been featured in several international exhibitions and festivals such as Hors Pistes, Centre George Pompidou, Paris; Les Rencontres Internationales Paris, Madrid, Berlin; Videobureau, Beijing and Guangzhou; Sigmund Freud-Museum, Vienna; MAK Center for Art and Architecture, Los Angeles; Kunsthalle, Vienna; CAAM, Las Palmas, Gran Canaria; Secession, Vienna. Stephan Lugbauer’s work analyses and interrogates the role of creation and artists. It re-evaluates the porosity of art, which is pervaded with contemporary political and economical areas.

Xavier lukomski
Catalogue : 2006Un pont sur la Drina | Documentaire | 35mm | couleur | 18:0 | Belgique | 2005
Xavier lukomski
Un pont sur la Drina
Documentaire | 35mm | couleur | 18:0 | Belgique | 2005

De la guerre en Bosnie, on se souvient surtout des noms de villes, Sarajevo, Mostar, Bihac, Tuzla, Gorazde? et d?un massacre à Srebrenica. Mais de Visegrad, on ne se souvient pas. Parce que de Visegrad, les médias occidentaux n?ont jamais parlé. Comme s?il ne s?y était rien passé. Comme si Visegrad n?avait jamais existé. Visegrad existe pourtant. C?est une ville de Bosnie orientale, avec un pont. Un pont symbolique et majestueux. Un pont rendu célèbre par le roman d?Ivo Andric. Un pont comme une emblème, comme un pilori, comme un mausolée? comme un témoignage.


XAVIER LUKOMSKI Diplômé de l?Institut Supérieur des Arts du Spectacle (INSAS) (1984). Comédien, notamment avec Philippe Sireuil et Michel Dezoteux au Théâtre Varia de Bruxelles et avec les « jeunes compagnies » de Layla Nabulsi et de Christine Delmotte. Création du théâtre des 2 Eaux (1984) et mise en scène de « Un Jour mon Prince Viendra » (1985) d`après Blanche Neige des frères Grimm. « Il y a Parfois des Tempêtes » (1988) d`après Lulu de Frank Wedekind. « La Bonne Vie » (1994) de Michel Deutsch au Théâtre Varia. « Donne Moi Tes Yeux, J?ouvrirai une Fenêtre sur ma Caboche » (1996), d?après Daniil Harms au Théâtre la Balsamine. « La Mécanique des Femmes » (1999) d?après Louis Calaferte, au Théâtre Les Tanneurs, « Au Théâtre ce Soir» (1998) d?après Roland Dubillard, au Théâtre Arc en Ciel de Rungis (France). « L?Europe, L?Europe » (2000) de Marek Pivovar, dans le cadre du Marathon Européen de la Création Théâtrale. « Quand j?ai tué pour de vrai » (2001), de Chantal Myttenaere au Théâtre de L?L. « Crève tu n?as pas d?âme » (2002), d`après Daniil Harms, au Théâtre Les Tanneurs dans le cadre du KunstenFestivaldesArts. « X, les travers du hasard » (2003), sur un texte propre, au Théâtre Les Tanneurs. « Armageddon » (2004), opérette pour robots et musiciens, en collaboration avec Art Zoyd 3 et Louis Philippe Demers, à l`Aéronef (Lille), dans le cadre de Lille 2004. « La Mouette » (2005) d?Anton Tchekhov, au Théâtre le Public. "Artiste associé" au théâtre d`Angoulême Scène Nationale et "compagnon" du théâtre les Tanneurs (2000/2003). A également dirigé de nombreux stages dans différents cadre en Belgique et en France. Comme réalisateur de cinéma, a réalisé « Ça Va?... Ça Va... » (1996), court-métrage de fiction, Belgique, 14`. « Le Petit Bout du Monde » (1998), un documentaire, Belgique, 59`. « Un pont sur la Drina » (2005), court-métrage documentaire, Belgique, 18?. Egalement critique de cinéma dans les revues, Starfix, Vidéothèque, Les Inrockuptibles, 7 à Paris, Cinéphage en France et Andere Sinema en Belgique; producteur à France Culture pour Nuits Magnétiques; directeur de collection à K-Films vidéo (1989/1993) et Animateur théâtre et vidéo à la maison de jeunes de Quartier Maritime à Molenbeek (1998).

Armando lulaj
Catalogue : 2011IT WEARS AS IT GROWS | Film expérimental | hdcam | couleur et n&b | 18:23 | Albanie | 2011
Armando lulaj
IT WEARS AS IT GROWS
Film expérimental | hdcam | couleur et n&b | 18:23 | Albanie | 2011

It Wears as it Grows is a story about paranoia, dictatorship and nowadays corruption. All begins on 25th May 1959, at the height of the Cold War, when Nikita Khrushchev visited Albania. Soviet plans to arm Enver Hoxha`s state with submarines and warships, positioning long and medium-range missiles along the Albanian coast, were devised to counter the U.S. missile bases installed in Italy in order to control the Mediterranean. A large number of young Albanian sailors took part in military training under the Soviet army. In 1963, after the break in relations with the USSR, the Albanian navy, in paranoiac fear of enemy attacks, sighted an object that repeatedly appeared and vanished in the sea off the coast at Patok. Believing it to be a submarine, they fired. The object was in fact a Cachalot (Physeter catodon L), the Mediterranean sperm whale. After being recovered, its remains were displayed in the Museum of Natural History in Tirana, where it can still be found. After all, in 2011 the object reappears in the streets of Tirana and like a ghost it wonders around the city, then to be enclosed inside the "Piramida", Hoxha?s mausoleum in Tirana, that was built in 1987. This pyramid-shaped structure was designed by the daughter and son-in-law of the late Albanian communist leader Enver Hoxha to glorify his figure and create an eternal monument like the pyramids of the Egyptian pharaohs. The museum was closed with the ending of communist regime in 1992. Among other activities during the 1999 Kosovo War, the mausoleum was used as a base by NATO and a number of international humanitarian organisations. Gradually stripped of its marble cladding and now abandoned, the 17,000 square metre complex will be destroyed so that the new Albanian parliament can be built on the site.

Born in 1980 in Tirana, Albania. He lives and works in Tirana. ?Writer of plays, texts on risk territory and film author, producer of conflict images, Armando Lulaj is a lucid and disrespectful analyst of the dispositive and mechanisms of power hidden backstage of the international claimed forms. He has no desire to rivendicate the context of local belonging; rather, he is orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context?. In 2003 he founded the Debatikcenter of Contemporary Art. Debatikcenter is a debate centre who wants to analyze the recent changes in contemporary society. Recently, Debatikcenter has become more of a centre for film production run by Armando and his sister Anola Lulaj. Armando Lulaj has participated in exhibitions such as: The Prague Biennial (2003, 2007), Tirana Biennial (2005), the Albanian Pavilion in the 52 Venice Biennial (2007), the 4th Gothenburg Biennale (2007), the 8th Baltic Biennial of Contemporary Art, Szczecin, Poland (2009), the 6th Berlin Biennial (2010). Among other residency programs we can mention IASPIS (2010). (Marco Scotini)

Catalogue : 2013NEVER | Documentaire | hdv | | 22:0 | Albanie | 2013
Armando lulaj
NEVER
Documentaire | hdv | | 22:0 | Albanie | 2013

44 years after the name of Albania?s dictator was painted on the Shpirag mountain, a group of villagers take the effort to climb the mountain and change the letters by overwriting a new word, referring to the past dictatorship and the current government.

Born in Tirana Albania, 1980. Writer of plays, texts on risk territory, film author and producer of conflict images, Armando Lulaj is a lucid and disrespectful analyst of the dispositive and mechanisms of power hidden backstage of the international claimed forms. He has no desire to rivendicate the context of local belonging; rather, he is orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context?. In 2003 he founded the Debatikcenter of Contemporary Art (DCCA) to analyze the recent changes in contemporary society. Recently, Debatikcenter (DCPD) has become more of a centre for film production. Armando Lulaj has participated in exhibitions such as: The Prague Biennial (2003, 2007), Tirana Biennial (2005), the Albanian Pavilion in the 52 Venice Biennial (2007), the 4th Gothenburg Biennale (2007), the 8th Baltic Biennial of Contemporary Art, Szczecin, Poland (2009), the 6th Berlin Biennial (2010) and the 63` Berlinale Film Festival (2013). His work is present in important public and private collections.

Catalogue : 2015Recapitulation | Film expérimental | hdv | couleur et n&b | 13:0 | Albanie | Italie | 2015
Armando lulaj
Recapitulation
Film expérimental | hdv | couleur et n&b | 13:0 | Albanie | Italie | 2015

On December 23, 1957, at 11:10 AM, a US Lockheed T-33 Shooting Star aircraft flown by Major Howard J. Curran left Chateauroux, France, heading for Naples, Italy. Above Turin, the aircraft radio failed and after hitting bad weather with strong winds, the plane veered off its flight path to end up, by mistake, in the sovereign airspace of the People`s Republic of Albania. At 1:28 PM, the intruder was intercepted by the Albanian Air Force Command, which instantly ordered two MiG-15 fighter jets to take off and identify it. By 3:50 PM, the fighters reported that they had spotted the intruder in the area around Rinas Airport, flying at 500-650 km/hr at an altitude of 150-200 m. Prompt countermeasures were taken. The airplane was forced to land and, to keep it from taking off again, the airport was locked down.

Born in 1980 in Tirana, Albania, Armando Lulaj is a writer of plays, texts on risk territory, film author, and producer of conflict images, orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context. Exhibitions include the Prague Biennial (2003; 2007), Tirana Biennial (2005), 4th Gothenburg Biennale (2007), the 6th Berlin Biennial (2010), the 63rd Berlinale International Film Festival (2013) and the 56th Venice Biennale - Albanian Pavilion (2015).

Henrik lund jÖrgensen
Catalogue : 2015The Recruitment (And Escape) Of A Plastic Soldier | Vidéo | 4k | couleur | 10:15 | Danemark | Suède | 2015
Henrik lund jÖrgensen
The Recruitment (And Escape) Of A Plastic Soldier
Vidéo | 4k | couleur | 10:15 | Danemark | Suède | 2015

With references to landscape painting from the Romantic era and to silent film Henrik Lund Jørgensen draws inspiration from the works of the Danish film maker Carl Th. Dreyer in the making of his new video The Recruitment (And Escape) Of A Plastic Soldier (2015). In a cinematic language a narrative arises that exchange concepts as recruitment and flight and for whom it concerns. 

Henrik Lund Jørgensen received his Master’s degree in Fine Arts in 2005 at the Malmö Art Academy, where he also lives and works today. In addition, he has a Bachelor’s degree in photography and a Master’s degree in film. In recent years, he has taught in the Master’s Programme Cinematic processes at Valand Academy of Film at Gothenburg University. Lund Jørgensen has exhibited both in Sweden and internationally, including at the Kunstmuseum Bonn, Kunsthalle Rostock, Museum Kunst der Westküste (DE), Kiasma (Helsinki), Norrtälje Konsthall, Scandinavia House (New York), The Hirschsprungske Collection (Copenhagen) and at the Atelier Nord ANX (Oslo) and was recently a grant holder at the Iaspis program in Stockholm.

Cecilia lundqvist
Catalogue : 2013The Quiet Game Starts Now | Vidéo | hdv | couleur | 5:47 | Suède | 2012
Cecilia lundqvist
The Quiet Game Starts Now
Vidéo | hdv | couleur | 5:47 | Suède | 2012

The animated video The Quiet Game Starts Now (Tysta leken börjar nu) is a satire about the current escalation of self-absorption. Two women meet in a conversation, which from the start is a one-way communication, with one dominating party. After a while there is a shift in power and the silence grows stronger and starts to speak.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm, Sweden. Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. Over 30 videoworks have been created between 1994 and 2014, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Catalogue : 2015Tilt | Animation | hdv | couleur | 5:6 | Suède | 2014
Cecilia lundqvist
Tilt
Animation | hdv | couleur | 5:6 | Suède | 2014

The animated video "Tilt" describes a deep relation that is abruptly broken up and as a result, the existing life is turned into ruin. The video is a contemplation of a human being’s inability to comprehend its own transience.

Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours.
My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Catalogue : 2017En av dem (One of them) | Animation | hdv | couleur | 1:53 | Suède | 2017
Cecilia lundqvist
En av dem (One of them)
Animation | hdv | couleur | 1:53 | Suède | 2017

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Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Catalogue : 2010Eternal Start | Art vidéo | | couleur | 3:16 | Suède | 2010
Cecilia lundqvist
Eternal Start
Art vidéo | | couleur | 3:16 | Suède | 2010

The video is a description of two people who are situated in an constant state of present, where the past is continuously fading and the future seems unreachable. It appears as if the woman and the man are unaware of their situation, which amplifies the sense of meaninglessness. "Eternal Start" illustrates a relationship where everything is routine, and every day is the same. Eternity becomes a reflection of a life without meaning, in which they are unable to change their accustomed behaviour. They converse like a record that is stuck, and never gets the chance to develop. The video highlights and gives insight to the importance of having the ability to make new memories, so that life can go on.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm, Sweden. Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. Around 30 videoworks have been created between 1994 and 2010, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Catalogue : 2005Power Play | Art vidéo | dv | noir et blanc | 10:55 | Suède | 2004
Cecilia lundqvist
Power Play
Art vidéo | dv | noir et blanc | 10:55 | Suède | 2004

Power Play est une vidéo d'animation, comprenant dix différentes scènes dans lesquelles deux hommes se font compétition, à travers leur virilité, qu'ils exagèrent, et l'utilisation de différents attributs, dans une série d'actes sans queue ni tête.La vidéo commente et ridiculise clairement les stéréotypes que les deux personnages emploent dans leur conversation d'homme à homme, les coutumes qui sont généralement établies dans la culture occidentale. Le film s'intéresse à ce jeu d'actes, pour montrer clairement au spectateur à quel point ce comportement est dépourvu de sens.Quand l'?uvre est présentée en galerie, un contrepied, spectateur de la vidéo, est installé. Dans cette autre vidéo, qui contient seulement une scène, une femme complètement, qui s'ennuie profondément, regarde les hommes dans leur performance.


Cecilia Lundqvist est née à Eskilstuna en Suède. À la base ingénieur, elle a changé de carrière en 1991 pour s?orienter dans les arts et depuis 1994, elle travaille sur des vidéos animées qui furent projetées à plusieurs occasion partout dans le monde. Elle est représentée, par exemple, au Museum of Art de Stockholm et au Centre G?rges Pompidou de Paris avec de ses ?uvres vidéos. Sa formation artistique commence dès 1991, où elle va à la Gotland Art School jusqu?en 1993. L?année suivante elle suivra des cours au Birkag?rden Art Department de Stockholm. Pendant cinq ans, jusqu?en 99, Cecilia Lundqvist étudie au University College off Arts, dans le département de Crafts and Design et Art à Stockholm. Elle parachève ensuite da formation au Royal College of Art, dans le département vidéo. Aujourd?hui, elle travaille et vit à Stockholm et à Londres.

Catalogue : 2006Making Pancakes | Animation | dv | noir et blanc | 4:58 | Suède | 2005
Cecilia lundqvist
Making Pancakes
Animation | dv | noir et blanc | 4:58 | Suède | 2005

Making Pancakes est une vidéo d'animation qui montre un homme et une femme engagés dans une relation totalement déséquilibrée. Parfois, on assiste à ce qui ressemble à des événements ordiaires, et d'autres fois ils sont dans des situations plus menaçantes. L'homme se complaît dans l'autosatisfaction et pourtant il émane de lui une incertitude et un désir de reconnaissance. La femme est comme engourdie par la routine et fait tout ce qu'elle peut pour maintenir les apparences. En renversant la situation et en transposant les violences domestiques à l'extérieur du domicile, où elles sont visibles, alors qu'à l'intérieur du domicile il s'agit de maintenir une apparence parfaite, on montre l'absurdité de ce comportement. Les erreurs insignifiantes que la femme commet en préparant le dîner agissent comme un catalyseur des actes de violence, elles sont les gouttes d'eau qui font déborder le vase.


Catalogue : 2008Oh, I'm So Happy | Art vidéo | dv | noir et blanc | 3:7 | Suède | 2008
Cecilia lundqvist
Oh, I'm So Happy
Art vidéo | dv | noir et blanc | 3:7 | Suède | 2008

« Oh, I'm So Happy » est une vidéo d?animation où nous rencontrons une femme d'âge moyen qui vit dans un isolement total et, par conséquent, dans une extrême solitude. La femme récite un monologue, dans lequel elle fait de son mieux pour nous convaincre qu?elle est heureuse et contente de sa situation actuelle. Cependant, sa tentative est totalement superficielle et transparente.


Cecilia Lundqvist est née en 1971 à Eskilstuna (Suède) ; elle vit et travaille actuellement à Stockholm (Suède). Durant son éducation artistique, elle a fréquenté l'Université des Arts de Stockholm (Département de l?Artisanat, du Design et de l?Art, 1994-99) et l?Université Royale des Arts de Stockholm (troisième cycle, 1999/00). Elle se spécialise aujourd?hui dans l'animation et, depuis 1994, elle a travaillé presque exclusivement avec la vidéo. Ses ?uvres vidéo ont été projetées dans de nombreux musées et galeries, ainsi que dans des festivals du monde entier comme le Centre Pompidou ou le Moderna Museet de Stockholm.

Catalogue : 2009Area of Use | Animation | dv | noir et blanc | 5:12 | Suède | 2009
Cecilia lundqvist
Area of Use
Animation | dv | noir et blanc | 5:12 | Suède | 2009

The video Area of Use is an illustration of a housewife?s inner thoughts about alternative ways of using her most common working tools. It is also a manifestation of a sealed existence that exposes a mind which gives a sense of being trapped in a treadmill.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm, Sweden. Artistic education: 1999-00 Royal University Collage of Art, Postgraduate, Stockholm, Sweden 1994-99 University Collage of Arts, Crafts and Design, Art Department, Stockholm, Sweden Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. Around 25 videoworks have been created between 1994 and 2009, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Johann lurf
Catalogue : 2013RECONNAISSANCE | | | | 5:0 | Autriche | 2012
Johann lurf
RECONNAISSANCE
| | | 5:0 | Autriche | 2012

In silent shots, Lurf offers a clip-like depiction of the Morris Reservoir near the Californian city of Azusa?a huge reservoir, which long served as a testing site for torpedoes , or rather, underwater warfare. RECONNAISSANCE targets details of the terrain in a seemingly motionless way, to unfold a subtle play with light and movement within this ?framing.? First is a stone wall on which the incidence of light begins to oscillate almost imperceptibly. Then come parts of the dam, ramp-like concrete colossi, obstructed sections of road, underground shafts; and also medium shots of the surroundings?all sublimely alienated. One alienating effect is the partially abrupt, and partially barely perceptible change of light. The other, much more ghostly, is the sliding movement of individual areas of the landscape or the building.

Born in Vienna in 1982. Since 2002 he has studied at Vienna´s Academy of Fine Arts. 2009 diploma at Harun Farocki´s filmclass.

Johann lurf
Catalogue : 2015Embargo | Vidéo | hdv | | 10:0 | Autriche | 2014
Johann lurf
Embargo
Vidéo | hdv | | 10:0 | Autriche | 2014


Born in 1982 in Vienna Johann Lurf has studied at the Academy of Fine Arts in Vienna and the Slade School of Art in London. He graduated from Harun Farocki’s film class in 2009. He received the State Grant of Austria for Video- and Media Art and participated in the Artist-in-Residence Programs at the MAK Center for Arts and Architecture in Los Angeles 2011 and at the SAIC in Chicago 2015. His works have been internationally shown and awarded in numerous exhibitions and festivals.

Dimitri lurie
Catalogue : 2012Refraction | | | couleur | 3:40 | Norvège | 2011
Dimitri lurie
Refraction
| | couleur | 3:40 | Norvège | 2011

"The work is a study on Refraction of light and sensations in a prism of the artist memories imprinted on Super8-mm film. Here black and white urban dreamlike scenes refract into restraint colors of the pristine northern landscape and pulsate in the rhythms and prophetic mutterings of a reggae guru."

Film and video artist, director and photographer. Head of the DodoFilm production company. Curator of the international art project ?Cultural Transit?. Member of the Norwegian film workers association - Norsk Filmforbund. Dimitri Lurie is a representative of the European art film community and has a particular poetic voice. His credo is to experiment with the visual nature of film and its atmosphere rather then direct storytelling. Dimitri has made more than twenty documentaries, short and experimental films along with various video art projects. Lurie?s photographs, video and film works are shown internationally at various film festivals and art exhibitions and have been marked with various prizes and awards.

Jaime lutzo
Catalogue : 2007THE LAST GIFT | Art vidéo | dv | couleur | 14:0 | USA | 2007
Jaime lutzo
THE LAST GIFT
Art vidéo | dv | couleur | 14:0 | USA | 2007

"The Last Gift" est un ensemble très construit de divers récits biographiques. Huit textes écrits par l'artiste décrivent les souvenirs intimes d'amis et d'étrangers. A travers des moyens à la fois voyeuristes et expérimentaux, les vidéos ouvrent les textes à de nouvelles interprétations. On demande à des volontaires de jouer les habitudes des personnages de chaque histoire, tandis que les narrateurs se font les voix d'expériences sans cesse racontées. Couvrant différents lieux, de Motor City à la capital européenne imaginée par Hitler, les actions se répètent.


Jaime Lutzo est né en 1981 à Los Angeles. Depuis dix ans, il réalise des courts- métrages et des installations vidéos dans lesquelles la représentation est subvertie pour révéler des niveaux plus denses de sens métaphorique et philosophique. Dans ses vidéos, des paysages mélancoliques et des performances gestuelles se mêlent à une partition électronique conceptuelle pour former un cinéma visuellement riche et novateur. Cet artiste multimédia basé à Brooklyn, qui fut un résident au Palais de Tokyo, à Paris, de 2006 à 2007, a montré son oeuvre aux Etats-Unis, en France et en Inde.

Bernd lÜtzeler
Catalogue : 2018_galore | Film expérimental | 4k | couleur | 8:30 | Allemagne | 2018
Bernd lÜtzeler
_galore
Film expérimental | 4k | couleur | 8:30 | Allemagne | 2018

The streetscapes of contemporary Indian metros are largely dominated by products. The bazaar expands into all other parts of the city and claims a large percentage of the available public space. The vast majority of the local shops is lacking the facility of a shop window. Instead, their architecture can be described as a garage style, windowless, rectangular box, open to the front, with roller shutters to lock them at night. Stepping into such a shop can be like entering a complete new world: Many of them are literally filled with products galore up to the ceiling. The product itself serves as the interior design. Every day hundreds of busses with thousands of shop owners and their family members come from the surrounding villages and small towns into the city. Especially during the rush hours the market gets overrun by an avalanche of customers who seem to enjoy their high-density shopping experience. Shopping galore. Products galore. Profits galore.

Artist and filmmaker Bernd Lützeler lives and works between Berlin and Mumbai. In his works he explores techniques of moving image production and presentation in relation with their form and perception. Loops, found footage and jugaad (diy) technologies are an integral part of his films and expanded cinema works. His travels to Mumbai have a strong impact on his work that often looks into the aesthetics of popular Indian cinema and television within the urban context. His films have been shown at venues and festivals worldwide, including Centre Pompidou, Berlinale International Film Festival, Rotterdam, Ann Arbor Film Festival, Views from the Avant-Garde and many more. Bernd is an active member of the artist-run analogue filmlab LaborBerlin.

Mikhail lylov, marhoefer elke
Catalogue : 2011Pass The Time | Fiction | hdv | couleur | 13:51 | Russie | Lituanie | 2011
Mikhail lylov , marhoefer elke
Pass The Time
Fiction | hdv | couleur | 13:51 | Russie | Lituanie | 2011

Since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past. ... Time consists of this split. G. Deleuze when we first met I was 20 years old... 00:07:29,752 --> 00:07:32,027 Vittoria from "L`eclisse" by M. Antonioni Nida is a small place situated at the Baltic`s coast of Lithuania, a former resort for soviet nomenklatura with peaceful sceneries and beautiful sand beaches. Despite the fact that nomenklatura has disappeared with the break of Soviet Union, idyll images of leisure still could be captured there. Post-soviet conditions, with it`s visually obvious overlapping of past and present, create a temporal paradox of constant deja vu. Probably this makes the local `actual` to become a glimmering instantiation of the most fundamental operation of time: a persistence of past which makes each present pass on. Images of past (modernist architecture of the rest house) and images of present (shots from the city center area) are juxtaposed to each other like virtuality and actuality, documenting and staging, acting for a camera and mundane activity. The 70`s architecture of anticipation of the future meets present in a figure of a video camera.

Mikhail Lylov Born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow and was developing personal artistic practice as well as participating in collaborative projects. In 2010 moved to Goteborg, Sweden to finish MA in arts. Live and work in Goteborg. Paul Hage Boutros Born in 1982 in Lebanon, Beirut. Studied Mechanical Engineer in American University of Beirut. Worked and developed own practice with video and mixed media; since 2006 I?ve been  producing several art works in collaboration with other artists. In 2010 moved to Goteborg, Sweden to finish MFA. Participated in sdifferent group exhibition between Sweden and Lebanon. Lives and works in Goteborg.

Catalogue : 2014Shape Shifting | Doc. expérimental | 16mm | couleur | 18:26 | Russie | Japon | 2014
Mikhail lylov , marhoefer elke
Shape Shifting
Doc. expérimental | 16mm | couleur | 18:26 | Russie | Japon | 2014

Granting culture to the nonhuman world, the film “Shape Shifting” outlines a cartography of a particular landscape. A landscape, which can be found in many parts of Asia and in Japan is called “satoyama”, literally meaning “space between village and mountain”. This landscape is a membrane constructed by exchanges and encounters between non-human and human life. The agricultural and forestry productivity of this landscape is based on the increase of biodiversity of the ecosystem. The more collaborations between the species and the cycles of materials are created—the more stable ecosystem can be formed.

Mikhail Lylov was born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow, where developed interdisciplinary approach to his films, installations and performances which deconstruct traditional figures of knowledge and subject. In 2010 moved to Goteborg, Sweden to finish MA in arts. In 2013-14 participated in the Le Pavillon programme at Palais De Tokyo. Lives and works in Berlin. Elke Marhöfer was born in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from courtisane film festival, Ghent (Belgium) and Images Film Festival, Toronto (Canada), IASPIS Residency (Sweden), Akademie Schloss Solitude (Germany), Whitney Independent Study Program (US), Cité des Art International Paris (France). Art exhibitions include the FCAC Shanghai (China), Houston Museum of Fine Arts (US), Röda Sten Gothenburg (Sweden), Guangzhou Triennial (China) and in Germany the Museum für Gegenwartskunst Siegen, Sprengel Museum Hannover, Halle 14 Leipzig, Museum Morsbroich Leverkusen.

Catalogue : 2015Primate Colors | Doc. expérimental | 16mm | couleur | 30:57 | Russie | Hong Kong | 2015
Mikhail lylov , marhoefer elke
Primate Colors
Doc. expérimental | 16mm | couleur | 30:57 | Russie | Hong Kong | 2015

Primate Colors traces humans and nonhumans joined in the flows of capital. It inquires into the life of Chungking Mansions, shuttle traders and commerce objects, which connect Hong Kong and the Pearl River Delta with Nairobi, Djibouti, Rotterdam and Elba. The film pursues and accelerates certain methods of ethnographic and anthropological filmmaking, although not explaining people’s actions, beliefs or norms. Instead it chooses to focus on affective components of events and actions. No claims are made about the life of others. To film and to follow affects does not mean to represent an idea or a subject in a narrative of contradictions, it rather asks to be mesmerized by materiality, by the forces of the running camera and the movement of things. When recording the capitalist reality of hyper-exploitation of human and nonhuman resources, one finds one’s own conditions not in the relations of production, but in disgraced facts, neglected aspects and ridiculed signs. Therefrom reality is understood as fundamentally strange, and filming becomes a form of assembling the bewildering and the obscure. Such a mode of filmmaking follows different grades of speed, light, temperature, rotation, friction, fall-off. The approach brings forth perceptions that emerge in relation to an environment, a territory or a color. In turn, images cannot be understood as exclusively belonging to human life, or culture, but are seen as produced and perceived constantly and everywhere by nonhumans and humans alike. Akin to crystals or snowflakes, which produce geometric configurations in response and in connection to their surroundings, images have their own experiences.

Elke Marhöfer: Born in the year of the goat in Baracoa/Cuba, Elke Marhöfer lives and works in Berlin. Via the potentialities of moving image and suppositious writing she works with notions of self-admitted foreignness and radical othering, revising notions of animals, vegetables and matter. Linking for example, the nonhuman with the postcolonial she discusses how nature cuts across notions of ‘history’ or ‘context,’ being simultaneously situated and at the same time continuously surpassing and escaping somewhat formatting. Her films tests inhuman perspectives, transducing a technology like the camera, from a human cultural and technical device into an extension of the intensive forces within the environment. Avoiding the enticements of a voice-over commentary or interviews, mastering or fracturing a subject, her films give space to a splintered narrative, and a disunited audiovisuality. They suggest rather a mode of place; an unfolding of what anyhow expresses itself, so that to film is to find form immanent to the situated action. She studied Fine Art at the University of the Arts in Berlin and spent a year at the School of the Art Institute in Chicago and at the Whitney Independent Study Program in New York City. Currently she pursues a PhD at the University of Gothenburg. Her films have been screened at the Berlinale Internationale Filmfestspiele Berlin, International Film Festival Rotterdam, Courtisane Festival Ghent and Images Film Festival Toronto. She received fellowships, grants, and generous support from IASPIS Residency Sweden, Akademie Schloss Solitude Stuttgart, Cité Internationale des Arts, Paris. Her art exhibitions include the Palais de Tokyo Paris, Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, NGBK Berlin, Kunstverein Hannover, Museum für Gegenwartskunst Siegen and The Showroom, London. Mikhail Lylov: Born 1989 in Voronezh/Russia, Mikhail Lylov is an independent artist and curator, he lives in Berlin. He worked in Moscow until 2010, where he developed non-disciplinary methods in his films, installations, performances and writings. His works establish or discuss the situations in which economic and knowledge models are questioned, renegotiated or rendered useless. Lylov’s work investigates a genealogy of the divide between mental and material in different contexts, especially labor and anthropology. On the affirmative side, his work looks for situations in which concepts become sensually available forms, or knowledge becomes a matter of perception. Mikhail Lylov’s projects were supported by Le Pavillon program at Palais De Tokyo in Paris, Cité Internationale des Arts, Paris, Berlinale Internationale Filmfestspiele Berlin and Houston Museum of Fine Arts.

Mikhail lylov, elke marhöfer
Catalogue : 2011Pass The Time | Fiction | hdv | couleur | 13:51 | Russie | Lituanie | 2011
Mikhail lylov , elke marhöfer
Pass The Time
Fiction | hdv | couleur | 13:51 | Russie | Lituanie | 2011

Since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past. ... Time consists of this split. G. Deleuze when we first met I was 20 years old... 00:07:29,752 --> 00:07:32,027 Vittoria from "L`eclisse" by M. Antonioni Nida is a small place situated at the Baltic`s coast of Lithuania, a former resort for soviet nomenklatura with peaceful sceneries and beautiful sand beaches. Despite the fact that nomenklatura has disappeared with the break of Soviet Union, idyll images of leisure still could be captured there. Post-soviet conditions, with it`s visually obvious overlapping of past and present, create a temporal paradox of constant deja vu. Probably this makes the local `actual` to become a glimmering instantiation of the most fundamental operation of time: a persistence of past which makes each present pass on. Images of past (modernist architecture of the rest house) and images of present (shots from the city center area) are juxtaposed to each other like virtuality and actuality, documenting and staging, acting for a camera and mundane activity. The 70`s architecture of anticipation of the future meets present in a figure of a video camera.

Mikhail Lylov Born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow and was developing personal artistic practice as well as participating in collaborative projects. In 2010 moved to Goteborg, Sweden to finish MA in arts. Live and work in Goteborg. Paul Hage Boutros Born in 1982 in Lebanon, Beirut. Studied Mechanical Engineer in American University of Beirut. Worked and developed own practice with video and mixed media; since 2006 I?ve been  producing several art works in collaboration with other artists. In 2010 moved to Goteborg, Sweden to finish MFA. Participated in sdifferent group exhibition between Sweden and Lebanon. Lives and works in Goteborg.

Catalogue : 2014Shape Shifting | Doc. expérimental | 16mm | couleur | 18:26 | Russie | Japon | 2014
Mikhail lylov , elke marhöfer
Shape Shifting
Doc. expérimental | 16mm | couleur | 18:26 | Russie | Japon | 2014

Granting culture to the nonhuman world, the film “Shape Shifting” outlines a cartography of a particular landscape. A landscape, which can be found in many parts of Asia and in Japan is called “satoyama”, literally meaning “space between village and mountain”. This landscape is a membrane constructed by exchanges and encounters between non-human and human life. The agricultural and forestry productivity of this landscape is based on the increase of biodiversity of the ecosystem. The more collaborations between the species and the cycles of materials are created—the more stable ecosystem can be formed.

Mikhail Lylov was born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow, where developed interdisciplinary approach to his films, installations and performances which deconstruct traditional figures of knowledge and subject. In 2010 moved to Goteborg, Sweden to finish MA in arts. In 2013-14 participated in the Le Pavillon programme at Palais De Tokyo. Lives and works in Berlin. Elke Marhöfer was born in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from courtisane film festival, Ghent (Belgium) and Images Film Festival, Toronto (Canada), IASPIS Residency (Sweden), Akademie Schloss Solitude (Germany), Whitney Independent Study Program (US), Cité des Art International Paris (France). Art exhibitions include the FCAC Shanghai (China), Houston Museum of Fine Arts (US), Röda Sten Gothenburg (Sweden), Guangzhou Triennial (China) and in Germany the Museum für Gegenwartskunst Siegen, Sprengel Museum Hannover, Halle 14 Leipzig, Museum Morsbroich Leverkusen.

Catalogue : 2015Primate Colors | Doc. expérimental | 16mm | couleur | 30:57 | Russie | Hong Kong | 2015
Mikhail lylov , elke marhöfer
Primate Colors
Doc. expérimental | 16mm | couleur | 30:57 | Russie | Hong Kong | 2015

Primate Colors traces humans and nonhumans joined in the flows of capital. It inquires into the life of Chungking Mansions, shuttle traders and commerce objects, which connect Hong Kong and the Pearl River Delta with Nairobi, Djibouti, Rotterdam and Elba. The film pursues and accelerates certain methods of ethnographic and anthropological filmmaking, although not explaining people’s actions, beliefs or norms. Instead it chooses to focus on affective components of events and actions. No claims are made about the life of others. To film and to follow affects does not mean to represent an idea or a subject in a narrative of contradictions, it rather asks to be mesmerized by materiality, by the forces of the running camera and the movement of things. When recording the capitalist reality of hyper-exploitation of human and nonhuman resources, one finds one’s own conditions not in the relations of production, but in disgraced facts, neglected aspects and ridiculed signs. Therefrom reality is understood as fundamentally strange, and filming becomes a form of assembling the bewildering and the obscure. Such a mode of filmmaking follows different grades of speed, light, temperature, rotation, friction, fall-off. The approach brings forth perceptions that emerge in relation to an environment, a territory or a color. In turn, images cannot be understood as exclusively belonging to human life, or culture, but are seen as produced and perceived constantly and everywhere by nonhumans and humans alike. Akin to crystals or snowflakes, which produce geometric configurations in response and in connection to their surroundings, images have their own experiences.

Elke Marhöfer: Born in the year of the goat in Baracoa/Cuba, Elke Marhöfer lives and works in Berlin. Via the potentialities of moving image and suppositious writing she works with notions of self-admitted foreignness and radical othering, revising notions of animals, vegetables and matter. Linking for example, the nonhuman with the postcolonial she discusses how nature cuts across notions of ‘history’ or ‘context,’ being simultaneously situated and at the same time continuously surpassing and escaping somewhat formatting. Her films tests inhuman perspectives, transducing a technology like the camera, from a human cultural and technical device into an extension of the intensive forces within the environment. Avoiding the enticements of a voice-over commentary or interviews, mastering or fracturing a subject, her films give space to a splintered narrative, and a disunited audiovisuality. They suggest rather a mode of place; an unfolding of what anyhow expresses itself, so that to film is to find form immanent to the situated action. She studied Fine Art at the University of the Arts in Berlin and spent a year at the School of the Art Institute in Chicago and at the Whitney Independent Study Program in New York City. Currently she pursues a PhD at the University of Gothenburg. Her films have been screened at the Berlinale Internationale Filmfestspiele Berlin, International Film Festival Rotterdam, Courtisane Festival Ghent and Images Film Festival Toronto. She received fellowships, grants, and generous support from IASPIS Residency Sweden, Akademie Schloss Solitude Stuttgart, Cité Internationale des Arts, Paris. Her art exhibitions include the Palais de Tokyo Paris, Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, NGBK Berlin, Kunstverein Hannover, Museum für Gegenwartskunst Siegen and The Showroom, London. Mikhail Lylov: Born 1989 in Voronezh/Russia, Mikhail Lylov is an independent artist and curator, he lives in Berlin. He worked in Moscow until 2010, where he developed non-disciplinary methods in his films, installations, performances and writings. His works establish or discuss the situations in which economic and knowledge models are questioned, renegotiated or rendered useless. Lylov’s work investigates a genealogy of the divide between mental and material in different contexts, especially labor and anthropology. On the affirmative side, his work looks for situations in which concepts become sensually available forms, or knowledge becomes a matter of perception. Mikhail Lylov’s projects were supported by Le Pavillon program at Palais De Tokyo in Paris, Cité Internationale des Arts, Paris, Berlinale Internationale Filmfestspiele Berlin and Houston Museum of Fine Arts.

Mikhail lylov
Catalogue : 2011Pass The Time | Fiction | hdv | couleur | 13:51 | Russie | Lituanie | 2011
Mikhail lylov
Pass The Time
Fiction | hdv | couleur | 13:51 | Russie | Lituanie | 2011

Since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past. ... Time consists of this split. G. Deleuze when we first met I was 20 years old... 00:07:29,752 --> 00:07:32,027 Vittoria from "L`eclisse" by M. Antonioni Nida is a small place situated at the Baltic`s coast of Lithuania, a former resort for soviet nomenklatura with peaceful sceneries and beautiful sand beaches. Despite the fact that nomenklatura has disappeared with the break of Soviet Union, idyll images of leisure still could be captured there. Post-soviet conditions, with it`s visually obvious overlapping of past and present, create a temporal paradox of constant deja vu. Probably this makes the local `actual` to become a glimmering instantiation of the most fundamental operation of time: a persistence of past which makes each present pass on. Images of past (modernist architecture of the rest house) and images of present (shots from the city center area) are juxtaposed to each other like virtuality and actuality, documenting and staging, acting for a camera and mundane activity. The 70`s architecture of anticipation of the future meets present in a figure of a video camera.

Mikhail Lylov Born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow and was developing personal artistic practice as well as participating in collaborative projects. In 2010 moved to Goteborg, Sweden to finish MA in arts. Live and work in Goteborg. Paul Hage Boutros Born in 1982 in Lebanon, Beirut. Studied Mechanical Engineer in American University of Beirut. Worked and developed own practice with video and mixed media; since 2006 I?ve been  producing several art works in collaboration with other artists. In 2010 moved to Goteborg, Sweden to finish MFA. Participated in sdifferent group exhibition between Sweden and Lebanon. Lives and works in Goteborg.

Catalogue : 2014Shape Shifting | Doc. expérimental | 16mm | couleur | 18:26 | Russie | Japon | 2014
Mikhail lylov
Shape Shifting
Doc. expérimental | 16mm | couleur | 18:26 | Russie | Japon | 2014

Granting culture to the nonhuman world, the film “Shape Shifting” outlines a cartography of a particular landscape. A landscape, which can be found in many parts of Asia and in Japan is called “satoyama”, literally meaning “space between village and mountain”. This landscape is a membrane constructed by exchanges and encounters between non-human and human life. The agricultural and forestry productivity of this landscape is based on the increase of biodiversity of the ecosystem. The more collaborations between the species and the cycles of materials are created—the more stable ecosystem can be formed.

Mikhail Lylov was born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow, where developed interdisciplinary approach to his films, installations and performances which deconstruct traditional figures of knowledge and subject. In 2010 moved to Goteborg, Sweden to finish MA in arts. In 2013-14 participated in the Le Pavillon programme at Palais De Tokyo. Lives and works in Berlin. Elke Marhöfer was born in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from courtisane film festival, Ghent (Belgium) and Images Film Festival, Toronto (Canada), IASPIS Residency (Sweden), Akademie Schloss Solitude (Germany), Whitney Independent Study Program (US), Cité des Art International Paris (France). Art exhibitions include the FCAC Shanghai (China), Houston Museum of Fine Arts (US), Röda Sten Gothenburg (Sweden), Guangzhou Triennial (China) and in Germany the Museum für Gegenwartskunst Siegen, Sprengel Museum Hannover, Halle 14 Leipzig, Museum Morsbroich Leverkusen.

Catalogue : 2015Primate Colors | Doc. expérimental | 16mm | couleur | 30:57 | Russie | Hong Kong | 2015
Mikhail lylov
Primate Colors
Doc. expérimental | 16mm | couleur | 30:57 | Russie | Hong Kong | 2015

Primate Colors traces humans and nonhumans joined in the flows of capital. It inquires into the life of Chungking Mansions, shuttle traders and commerce objects, which connect Hong Kong and the Pearl River Delta with Nairobi, Djibouti, Rotterdam and Elba. The film pursues and accelerates certain methods of ethnographic and anthropological filmmaking, although not explaining people’s actions, beliefs or norms. Instead it chooses to focus on affective components of events and actions. No claims are made about the life of others. To film and to follow affects does not mean to represent an idea or a subject in a narrative of contradictions, it rather asks to be mesmerized by materiality, by the forces of the running camera and the movement of things. When recording the capitalist reality of hyper-exploitation of human and nonhuman resources, one finds one’s own conditions not in the relations of production, but in disgraced facts, neglected aspects and ridiculed signs. Therefrom reality is understood as fundamentally strange, and filming becomes a form of assembling the bewildering and the obscure. Such a mode of filmmaking follows different grades of speed, light, temperature, rotation, friction, fall-off. The approach brings forth perceptions that emerge in relation to an environment, a territory or a color. In turn, images cannot be understood as exclusively belonging to human life, or culture, but are seen as produced and perceived constantly and everywhere by nonhumans and humans alike. Akin to crystals or snowflakes, which produce geometric configurations in response and in connection to their surroundings, images have their own experiences.

Elke Marhöfer: Born in the year of the goat in Baracoa/Cuba, Elke Marhöfer lives and works in Berlin. Via the potentialities of moving image and suppositious writing she works with notions of self-admitted foreignness and radical othering, revising notions of animals, vegetables and matter. Linking for example, the nonhuman with the postcolonial she discusses how nature cuts across notions of ‘history’ or ‘context,’ being simultaneously situated and at the same time continuously surpassing and escaping somewhat formatting. Her films tests inhuman perspectives, transducing a technology like the camera, from a human cultural and technical device into an extension of the intensive forces within the environment. Avoiding the enticements of a voice-over commentary or interviews, mastering or fracturing a subject, her films give space to a splintered narrative, and a disunited audiovisuality. They suggest rather a mode of place; an unfolding of what anyhow expresses itself, so that to film is to find form immanent to the situated action. She studied Fine Art at the University of the Arts in Berlin and spent a year at the School of the Art Institute in Chicago and at the Whitney Independent Study Program in New York City. Currently she pursues a PhD at the University of Gothenburg. Her films have been screened at the Berlinale Internationale Filmfestspiele Berlin, International Film Festival Rotterdam, Courtisane Festival Ghent and Images Film Festival Toronto. She received fellowships, grants, and generous support from IASPIS Residency Sweden, Akademie Schloss Solitude Stuttgart, Cité Internationale des Arts, Paris. Her art exhibitions include the Palais de Tokyo Paris, Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, NGBK Berlin, Kunstverein Hannover, Museum für Gegenwartskunst Siegen and The Showroom, London. Mikhail Lylov: Born 1989 in Voronezh/Russia, Mikhail Lylov is an independent artist and curator, he lives in Berlin. He worked in Moscow until 2010, where he developed non-disciplinary methods in his films, installations, performances and writings. His works establish or discuss the situations in which economic and knowledge models are questioned, renegotiated or rendered useless. Lylov’s work investigates a genealogy of the divide between mental and material in different contexts, especially labor and anthropology. On the affirmative side, his work looks for situations in which concepts become sensually available forms, or knowledge becomes a matter of perception. Mikhail Lylov’s projects were supported by Le Pavillon program at Palais De Tokyo in Paris, Cité Internationale des Arts, Paris, Berlinale Internationale Filmfestspiele Berlin and Houston Museum of Fine Arts.