Catalogue > Liste par artiste
Parcourez la liste complète des artistes présentés dans le cadre des Rencontres Internationales depuis 2004. Utilisez le filtre alphabétique pour affiner vos recherches.  mise à jours en cours 
Lynne marsh
Catalogue : 2017Tragedy | Vidéo | mov | couleur | 116:53 | Canada | Royaume-Uni | 2015
Lynne marsh
Vidéo | mov | couleur | 116:53 | Canada | Royaume-Uni | 2015

“ Tragedy ” brings forth an altered experience of the infamous opera La traviata. Producing a new mise-en-scene composed of the routine labour around the stage, the film is an enquiry into the nature of performance, re-framing the culture of the work place and the “ grand narratives ” of the opera. Mimicking the framing device of a play within a play, the film exposes a production of production while tracking the processes at work behind the scenes during live performances at The Grand Theatre and Opera House, in Leeds, UK. The film captures the movement, work and conversations of stage managers, backstage crew and offstage performers, bringing an operatic tradition into context with present-day realities and pronouncing the mechanics that create an experience. These individuals develop as characters in a new alternative performative event over the three acts of the live performance. Direct parallels are drawn between the urgency and tension of the live performance onstage and the choreography played out offstage, where discrete conversations between characters behind the scenes marry up with the dialogue taking place in the libretto. Keeping true to the “ real-time ” of the live performance and in reference to the live screen-based broadcasts of theatrical productions in cinemas, “ Tragedy ” provides a counterpoint, directing our attention to the theatre that exists aside the stage.

Lynne Marsh is a Canadian artist, currently living and working in Los Angeles. Her practice is concerned with questioning the status of the image through mediation, technology and production. Ideas central to Lynne Marsh’s practice include offstage space; production-in-production; affective and cultural labour; music as a framing device; and the Brechtian revealing of the mechanics of cultural and theatrical production. Her works capture the behind-the-scenes workings and turn the camera onto subjects whose labour and gestures support and mediate events. In doing so, her works address the political dimension of its scenography. Marsh’s formal and conceptual strategies emphasize the camera’s performance as a means to reconfigure social space, presenting the mechanics that create an experience as a type of theatre or performance in its own right. Solo exhibitions of her work have been presented at Berlinische Galerie (2017); Opera North, Leeds (2016); fig2@Institute for Contemporary Art, London (2015); Scrap Metal, Toronto International Film Festival (2014); and Musée d’art contemporain de Montréal (2008). Her work has been featured in biennials and at institutions including La Biennale de Montréal (2014); The National Gallery of Canada, Ottawa (2012); 53 Art Museum, Guangzhou (2011); The Québec City Biennial (2010) and the 10th International Istanbul Biennial (2007).

Lynne marsh
Catalogue : 2010Plänterwald | Art vidéo | dv | couleur | 18:15 | Canada | Allemagne | 2010
Lynne marsh
Art vidéo | dv | couleur | 18:15 | Canada | Allemagne | 2010

Plänterwald is filmed on the site of a former GDR amusement park built in 1969 and abandoned after unification. Its rollercoaster and ferris wheel sit motionless at the edge of the city of Berlin. After being closed to the public for almost a decade the rides and fairground structures ? once providing a distraction from everyday realities ? are left to a gradual process of decay and overgrowth. Paradoxically this derelict site is patrolled and protected by security guards who on the one hand attempt to maintain its separation from the public sphere and contemporary life yet at the same time position it in the present social and economic conditions. The video stages a journey in, over and through this bordered off park evoking the exceptional conditions of its persistent existence. Positioning the security guards as the guardians of a ?dead? space, the work plays on the absurdity of the use of force and notion of property in relation to the decay and obsolescence of the site. Plänterwald pursues an exploration of a world held together by an internal logic, and quietly, yet relentlessly - like the defunct rollercoaster - echoes the rumbles of deep social and political fault lines and their explosive potential.

Lynne Marsh is a Canadian artist who divides her time between Montréal, Berlin and London where she teaches at the University of Hertfordshire. Working predominately with video, installation and sound her practice explores the cultural and social concerns that operate at the convergence of performance, choreography, speculative fiction and staged events. Her most recent works, shot respectively in a sports stadium, a TV studio and an abandoned amusement park investigate the inscription of individual bodies in architectural environments built for mass consumption. Her works present conceptual and visual experimentations that create a space for us to speculate on the present concept of the individual and its contemporary exertion of pressure as a political subject. Marsh?s video installations have been exhibited in solo exhibitions including Kunstlerhaus Bethanien, Berlin, Steve Turner Contemporary, Los Angeles, the Musée d`art contemporain de Montréal and Danielle Arnaud contemporary art, London and group exhibitions including Catastrophe, the Québec City Biennial and There is no audience, at Montehermoso, Vitoria-Gasteiz, Spain. A monograph on her works entitled Lynne Marsh, was produced by the Musée d`art contemporain de Montreal and the Musée régional de Rimouski.

Nicolás martella
Catalogue : 2015The hangover | Film expérimental | hdv | noir et blanc | 3:7 | Argentine | 2014
Nicolás martella
The hangover
Film expérimental | hdv | noir et blanc | 3:7 | Argentine | 2014

Opening title sequence from "The hangover" and "The Hangover part II" movies with titles censored and no sound.

Nicolás Martella (1978, La Plata, Argentina). Lives and works in Buenos Aires. He study photography with Ataulfo Perez Aznar. He participated in workshops of photography and video with Juan Travnik, Gabriel Valansi, Martín Rejtman, Andrés Di Tella and Mariano Llinás. Solo exhibitions (selection): Slideshow (2013); Contemporáneas (Contemporary) (2007). Group exhibitions (selection): 2014: XIX Bienal de Santa Cruz de la Sierra, Bolivia (XIX Santa Cruz de la Sierra`s Biennial, Bolivia); 2013: Premio Fundación Andreani (Fundación Andreani Prize), 102º Salón Nacional de Artes Visuales (102º National Visual Arts Prize); 2010: II Premio AMEC de Fotografía Argentina, Museo Emilio Caraffa (2º Argentinian Contemporary Photography Award). Awards: 2014 XIX Bienal de Santa Cruz de la Sierra, Bolivia (XIX Santa Cruz de la Sierra`s Biennial, Bolivia); 2013 102º Salón Nacional de Artes Visuales (102º National Visual Arts Prize); 2006 Argentinean Visual Arts Award – O.S.D.E. Foundation. Residencies: 2014 Arteles Creative Center, Haukijärvi, Finland.

Richard martin
Catalogue : 2005Mixed Signals | Vidéo expérimentale | dv | couleur | 7:45 | Canada | 2004
Richard martin
Mixed Signals
Vidéo expérimentale | dv | couleur | 7:45 | Canada | 2004

Une mer pixelisée d'images télévisées mélange la rhétorique évangélique chrétienne avec le gospel de George W. Bush.

Richard Martin est un réalisateur de films et télévision professionnel qui vit à Vancouver, Canada. "Mixed Signals" marque son retour au cinéma expériemental... et il revient de plus belle.

Catalogue : 2015Abcam | Vidéo | hdv | couleur | 7:54 | Canada | 2015
Richard martin
Vidéo | hdv | couleur | 7:54 | Canada | 2015

A B C A M (or A & B Cam) explores a scene from a TV movie where the angles have been superimposed to reveal filmic conventions. It reveals the narrative, angles as well as the adjustments in performance to observe the process in its rawness and mesmerizing predictability. In conventional cinema we are only allowed to see what is presented and manipulated through the process of editing. This is a process as old as the medium itself. It is the essence of cinema. In the case of A B C A M, that process has been subverted and exposed to allow the audience to experience the conventions simultaneously and in real time. The manufactured certainty of the experience is undermined as we are encouraged to review both sides of the narrative, follow the narrative or perhaps, find a new narrative.

Richard Martin (MFA 2013 University of British Columbia) is a media artist living in Vancouver Canada. His short film work has appeared as official selections in prestigious venues such as Berlin International Film Festival, Oberhausen, Rencontres (Paris), Toronto International, EXiS (Korea), Ann Arbor, Athens (Ohio), and many more. He has also worked as a mainstream film and TV director and in that his work straddles conventional and experimental cinema, blending and upending convention with abstract intention, playfulness and occasionally, personal trauma.

Darrin martin, torsten zenas burns
Catalogue : 2006The abominable freedom | Vidéo expérimentale | dv | couleur | 41:0 | USA | 2006
Darrin martin , torsten zenas burns
The abominable freedom
Vidéo expérimentale | dv | couleur | 41:0 | USA | 2006

Maintenus à l?écart d?une éducation de sorcellerie qui légitime la liberté sexuelle, les yétis solitaires déplorent leur abominable liberté. En leur absence, une ère rococo, plus abominable et funeste encore, menace jusqu?aux fondations du système païen. Cette liberté facile ira-t-elle détruire les beautés de la chair, et les occasions du développement spirituel qu?apporte sa célébration ? Ou bien est-ce un ?uf né du chaînon manquant qui fera le lien vers une ère nouvelle où les espèces coopéreront ensemble ?

La collaboration entre Burns et Martin commence dès les cours de vidéo et sculpture à la section Art et Design de l?Alfred University (New York). Burns est né en 1968, il obtient son B.F.A. à l?Alfred University en 1990 et un M.F.A. de vidéo et représentation au San Francisco Art Institute en 1993. Martin est né en 1969, il obtient son B.F.A. à l?Alfred University en 1992 et son M.F.A. à l?Université de Californie de San Diego en 2000. Ensemble, Burns et Martin ont réuni leurs travaux respectifs (vidéos et installations en cours) autour d?une recherche commune, qui passe par diverses fictions conceptuelles et réinventions de pratiques pédagogiques. Ils ont travaillé conjointement pour l?Atelier Eyebeam (New York). En 2003, Electronic Arts Intermix les a mandatés d?un projet artistique sur internet. Leurs vidéos sont distribuées par VTAPE/Canada . Ces vidéos ont été exposées plusieurs fois, notamment au Musée d?Art et Design de New York, au New York Video Festival, au Pacific Film Archive (Californie), au Musée d?Art Contemporain de Madrid (Espagne), au Palm Beach Institute of Contemporary Art (Floride), à Cinematexas, à Worm (Pays-Bas), au Festival du court-métrage et de la vidéo d?Oberhausen (Allemagne) ; et leur vidéo « Volcanica » sera projetée cette année au Platforma6 d?Athènes (Grèce).

Darrin martin
Catalogue : 2005Monograph in Stereo | Vidéo expérimentale | dv | couleur | 17:20 | USA | 2005
Darrin martin
Monograph in Stereo
Vidéo expérimentale | dv | couleur | 17:20 | USA | 2005

Monograph in Stereo utilise des techniques documentaires et expérimentales pour exprimer le combat contre la perte auditive congénitale et opérationnelle et les acouphènes, un son persistant dans l?oreille ; une perception auditoire fantôme.

Les vidéos et performances de Darrin Martin ont été exposées internationalement lors de festivals et dans des musées dont le Museum of Modern Art et le DIA Center pour les arts de New York, le Los Angeles Museum of Contemporary Arts, et l?European Media Art Festival en Allemagne. Ses installations ont été montrées lors expositions comme la Kitchen à New York, WRO Media Arts Biennale en Pologne, et la Pacific Switchboard de Portland, dans l?Oregon. Il collabore souvent avec Torsten Senas Burns. Leurs ?uvres communes furent montrées lors d?expositions dont celle du New York Video Festival, The Oberhausen Short Film Festival, Cinematexas, The Madrid Museum of Contemporary Art, The Paris/Berlin International et Eyebeam de New York. Ils ont aussi lancé une projet net art DSL dont le titre est : Lesson Stalls : learning nets à commissionné par Electronics Arts Intermix.

Cécile martin
Catalogue : 2005Débat | | | | 0:0 | France | Canada | 2005
Cécile martin
| | | 0:0 | France | Canada | 2005

L?organisme Champ Libre (fondé en 1992) qui ?uvre maintenant dans les domaines de l?image en mouvement, des arts électroniques, de l?architecture et de l?urbanisme a emprunté son nom à l?histoire récente du Québec. En effet au moment de la fondation de l?organisme en 1992, François Cormier l?un des co-fondateurs, cherchait un nom à donner à ce nouvel espace de réflexion et de diffusion artistique qui émergeait à partir de l?effervescence de rencontres avec d?autres co-fondateurs issus du milieu de l?architecture, des arts visuels, de la philosophie, de la littérature et de l?urbanisme. À cette époque ce collectif définissait son action entre autres par le besoin de regrouper les forces de ses co-fondateurs et proposer de nouvelles façons de voir, d?entendre et de comprendre. C?est au hasard d?une visite dans une librairie de livres usagés du plateau Mont-Royal à Montréal en 1991 que fut découverte une édition ancienne et originale de la revue de cinéma québécoise CHAMP LIBRE ayant existé dans les années soixante-dix le temps de quelques numéros. L?édition no 1 de cette revue clamait en 1971 que : ?il consiste à donner aux colonisés que sont les Québécois les images d?eux-mêmes qui leur manquent, à reconquérir un reflet volé et à proposer des schémas d?analyse et de lutte. Inutile de dire que CHAMP LIBRE participe à ce combat. C?est la force éditoriale de ces propos et le désir, la volonté de faire revivre le nom inspirant de cette revue de cinéma d?auteur qui a fait naître dans sa continuité le nom de l?organisme CHAMP LIBRE que l?on connaît aujourd?hui.

CHAMP LIBRE (fondé en 1992) est un diffuseur et un laboratoire artistique nomade qui présente des événements in situ, s`insérant dans la communauté et mettant en relation les pratiques contemporaines de l`art, de l?architecture, de l?urbanisme et des nouvelles technologies.

Raya martin
Catalogue : 2007Maicling pelicula nañg ysañg indio nacional | Fiction | 35mm | couleur et n&b | 95:0 | Philippines | 2006
Raya martin
Maicling pelicula nañg ysañg indio nacional
Fiction | 35mm | couleur et n&b | 95:0 | Philippines | 2006

"Maicling pelicula nañg ysañg indio nacional" se passe dans les années 1890, alors qu'aux Philippines se prépare une révolution contre l'Espagne. C'est une collection de films d'actualité muets tournant autour d'un indio, l'homme ordinaire de l'époque coloniale.

Raya Martin est né en 1984 à Manille, aux Philippines. Diplômé de l'université de cinéma des Philippines en 2005, il a travaillé comme scénariste et chercheur pour la télévision locale, la presse, la radio et des magazines sur internet. Son court-métrage "The visit" a remporté le Ishmael Bernal Award pour le jeune Cinema au Cinemanila International Film Festival en 2004 , et son documentaire ?The Island at the End of the World" a été élu meilleur documentaire au International Digital Film Festival en 2005. Son premier film, ?Short Film about the Indio Nacional (Or The Prolonged Sorrow of the Filipinos)? a gagné le Lino Miccichè Award au Pesaro International Film Festival,en Italie, en 2006. C'est le premier réalisateur philippin à avoir été admis à la Cinéfondation Résidence du festival de Cannes. En 2007, le Buenos Aires Festival Internacional de Cine Independiente a présenté une rétrospective de son oeuvre. Actuellement, il est en pré-production pour son film "Independenciaé, qui a reçu le Prince Claus Film Grant au Cinemart 2007 du festival international du film de Rotterdam.

Angela martinez
Lucia martinez
Catalogue : 2017Mirador | Fiction | hdv | couleur | 14:0 | Suisse | 2016
Lucia martinez
Fiction | hdv | couleur | 14:0 | Suisse | 2016

Depuis un mirador, Lucas observe, effleure un monde qui se bâtit autour de lui. Libéré du foyer dans lequel il réside, le temps d’une journée, Lucas va se confronter à son réel, aux autres, qui vont lui renvoyer de lui même une image aussi mystérieuse qu’elle s’avère fragile.

Née en 1994, Lucia Martinez est une jeune réalisatrice suisse dont les films explorent le passage de l’enfance au monde adulte. N’utilisant pas d’interprètes professionnels, les fictions engendrées le sont à partir de son réel immédiat. Un frère, une voisine, des amis, peuvent devenir des interprètes le temps d’une fiction. Pour Lucia la fiction se glisse souvent dans les replis du réel, faisant émerger des fictions aussi minimales qu’elles sont essentielles.

Ruben martinez
Catalogue : 2006Hamaca | 0 | 0 | | 0:0 | Espagne | 2007
Ruben martinez
0 | 0 | | 0:0 | Espagne | 2007

HAMACA is a distributor of video art and electronic art. It was established by the initiative of AAVC and is directed by YP. The name HAMACA refers to the operative system under which we aim to work: as a horizontal net joined together at various points. Our main objective is to make works in video format available to the greatest number of individuals and institutions, and in this way promote their circulation and screenings. The distributor is a non-for-profit organisation at the service of both authors and users, whose aim is to promote the circulation of the works and to generate an economic flow for the artists' productions. We hereby continue in the line of the kind of activities led by AAVC throughout the past few years. HAMACA works as an intermediary that promotes and guarantees the presence of contemporary and historical video productions in audiovisual screenings and programs at a national and an international level. In addition, it opens up the market for new communication and information media. The works contained in the catalogue have been previously selected by a selection committee comprising professionals and experts in the field, such as Susana Blas, Eugeni Bonet, Juan Guardiola, Esther Regueira, Fito Rodríguez, Jorge Luis Marzo, Lola Dopico, and Virginia Vilaplana. The catalogue contains a varied selection of works and encompasses all genres, from historical productions and pieces in documentary format, to works of fiction, animation pieces, etc... always including the most current and risk taking pieces being created in video. Their starting point is a selection of artists that have produced most of their work within the Spanish state. It is the group's aim to expand the catalogue on a regular basis in response to different demands and criteria. Once the HAMACA catalogue has been designed and compiled, it is digitalized in order to make it accessible on line, and thus encourage research of its contents, as well as its promotion and circulation. All the works in distribution can be checked at Hamaca's web platform. The distributor is physically located in Barcelona; those interested can visit the premises by appointment and consult the catalogue in person.

Mónica martins nunes
Catalogue : 2017Na cinza fica calor (The Ashes Remain Warm) | Doc. expérimental | hdv | couleur | 20:52 | Portugal | Cap Vert (Îles du) | 2016
Mónica martins nunes
Na cinza fica calor (The Ashes Remain Warm)
Doc. expérimental | hdv | couleur | 20:52 | Portugal | Cap Vert (Îles du) | 2016

“ Every morning when I go out of the door, he is the first one I see. He is the first to tell me good morning. ” “ He is a father. Although he is destroying us, he does not kill us. ” The villages of “ Chã das Caldeiras ” lie inside the caldera of the “ Pico do Fogo ” volcano in Cabo Verde. After losing everything they own on the last eruption, its inhabitants are forced to reconstruct their lives. A subjective visual tale on real loss, a symbiotic relationship and the possibility of the eternal return.

Monica Martins Nunes (1990, Lisbon) is a portuguese visual artist living and working in Berlin. After studying Sculpture in Faculdade de Belas-Artes - Lisbon University, she graduated in Fine Arts from the Universitat der Künste Berlin. In 2016 she became a Meisterschüler in the same institution and was subsequently awarded the Elsa-Neumann-Stipendium from the city of Berlin. "The Ashes Remain Warm" is her first moving image work and won the Golden Dove - International Competition Short Documentary at DOK Leipzig 2017.

Nora martirosyan
Catalogue : 2006Road movie | Film expérimental | super8 | couleur | 17:0 | France | 2005
Nora martirosyan
Road movie
Film expérimental | super8 | couleur | 17:0 | France | 2005

« Road movie » est une vidéo qui nous emmène dans un voyage en bus à Erevan. Le principe du road movie n?est pas anodin dans la proposition de Nora Martirosyan. L?idée de déplacement rend compte d?une traversée du temps qui se déroule en boucle. Est-ce un exode, un pèlerinage ou simplement un voyage touristique ? Nous ne savons pas exactement où nous sommes. La musique, l?ambiance, les visages nous donnent quelques indications qui cependant restent très vagues. Nous sommes sollicités par l?expérience du voyage.

Nora Martirosyan a commencé sa carrière artistique comme peintre en Arménie, son pays d?origine. Elle a fait ses études à l?Académie des Beaux-Arts d?Erevan. Après avoir participé à plusieurs expositions de groupe, et une exposition personnelle à ?la Maison Gouvernementale du Parti ? (Erevan, 1993), elle a quitté l?Arménie afin de poursuivre ses études artistiques à la ? Gerriet Rietveld Academie ?, Ecole des Beaux-arts d?Amsterdam de 1997 à 2001. Au cours de ces années passées aux Pays-Bas, elle s?est détournée de la peinture pour se concentrer sur le film et la vidéo. Elle a réalisé de nombreux films et vidéos qui ont été montré à de nombreuses occasions. Ses films sont régulièrement diffusés sur la chaîne de télévision hollandaise Salto-2 dans les programmes ? Park TV ? et ? One minute ?. En 2002, elle a mené simultanément deux programmes de résidences post-diplômantes, Le Fresnoy dans le Nord de la France, et la Rijksakademie van Beeldende Kunsten à Amsterdam. Les deux années passées entre Roubaix et Amsterdam ont été très productives. Elles a finalisé de nombreux projets qui ont été présentés à Squeaky Wheel/Buffalo Media Resources à New York, au Festival International de Film et Vidéo à Lyon ? Les Inattendus ?, au Festival du Film Méditerranéen de Montpellier, à ? Cinema ? au Texas, entre autres. . . En 2003, son court métrage ? Courant d?air ? a gagné le prix du Jury ?Entre vues ? au Festival International de Belfort. Elle a reçu le prix ? Uriot ? de la Rijksakademie d?Amsterdam successivement en 2002 et 2003 et en 2004 elle a reçu Barbara Aronofsky Latham Memorial Award donné à un artiste vidéo émergent exceptionnel au Cinematexas, Etats-Unis. Nora Martirosyan vit et travaille actuellement à Montpellier, France.

Miriam martÍn
Catalogue : 2019La espada me la ha regalado | Doc. expérimental | hdv | couleur | 18:6 | Espagne | 2019
Miriam martÍn
La espada me la ha regalado
Doc. expérimental | hdv | couleur | 18:6 | Espagne | 2019

La Casa de Campo est l'un des plus grands parcs publics du monde, une forêt en réalité. Pendant des siècles, ce ne fut que pour les rois et les reines. Dans les images, c'est 2019 : le vert de la terre qui brille à nouveau pour nous ou les restes des tranchées comme endormies ou l'usage imprévu des ponts et des bassins par les enfants. Dans les sons, 1936, la forêt coupée en deux, la défense de Madrid : « bourdonnements et explosions, rafales de mitrailleuses, claquement sec des fusils » ou le feu d'artillerie qui massacra la ville depuis les collines ou les mots de ceux qui inventèrent une révolution et un goût pour la vie bonne au milieu de tout ce vacarme.

Miriam Martín a consacré toute sa vie adulte et une partie de la précédente au cinéma. D'abord comme spectatrice, puis comme programmatrice dans diverses institutions. Et en organisant, de novembre 2012 à juillet 2018, le ciné-club Chantal, une expérience esthétique et politique à périodicité hebdomadaire.

Alberto martÍn menacho, laura morales
Catalogue : 2016Ziggurat | Film expérimental | mov | couleur | 3:26 | Espagne | Suisse | 2015
Alberto martÍn menacho , laura morales
Film expérimental | mov | couleur | 3:26 | Espagne | Suisse | 2015

Différents temps sont réunis sous les yeux d’un enfant. Aucune innocence n’habite son regard. Le Ziggurat est un édifice religieux mésopotamien.

Alberto Martín Menacho est un réalisateur et monteur espagnol. En 2014, il commence des études en cinéma à la HEAD – Genève. Laura Morales est photographe diplômée de l’école de photographie de Vevey. En 2014, elle commence des études en cinéma à la HEAD – Genève.

Lukas marxt
Catalogue : 2017Imperial Valley | Doc. expérimental | hdv | couleur | 13:58 | Autriche | USA | 2018
Lukas marxt
Imperial Valley
Doc. expérimental | hdv | couleur | 13:58 | Autriche | USA | 2018

La Vallée Impériale est l’une des plus importantes régions d’agriculture industrielle de Californie. Les grandes compagnies d’exploitation agricole sont parvenues à tirer profit et à cultiver cette portion géologique du désert de Sonora grâce à un gigantesque système d’irrigation, alimenté par le fleuve Colorado. Dans “ Imperial Valley (cultivated run-off) ”, Lukas MARXT aborde ce problème d’une façon très ingénieuse. Il commence avec une vue aérienne d’un canal d’irrigation traversant un paysage désertique.

1983 in Styria, Austria. Marxt studied Environmental Sciences for Geography in Graz, in 2004 he switched to audio visual studies at the Art University in Linz. From 2007 to 2008 he attended the Faculdade de Belas Artes de Lisboa at the Institut Arte Multimédia. In 2009 Marxt carried on with post graduate studies at the Art University in Cologne and attended post graduate studies at the HGB Leipzig. He lives and works in Cologne and Graz.

Lukas marxt, marcel odenbach
Catalogue : 2017Fishing Is Not Done on Tuesdays | Vidéo | hdv | couleur | 15:0 | Autriche | Ghana | 2017
Lukas marxt , marcel odenbach
Fishing Is Not Done on Tuesdays
Vidéo | hdv | couleur | 15:0 | Autriche | Ghana | 2017

Landscape is a question of distance. Patterns and formations become recognizable from a distance revealing the landscape as a fabrication, a result of natural and historical movements. Fishing is not done on Tuesdays takes variously distanced, moving and focused looks at a location on the coast of Ghana. The first building block of a grid that threads its way through the entire film is indicated by a rotating bird´s eye view of a densely woven canopy of trees intersected by an uneven wall. The vertigo of this circular motion shifts into a gradual glide along untreated cement pylons. Their verticality intersects with the horizon line visible in the distance, to be ruptured only by the turbulence of approaching waves. Constructed lines produce visual axes and visual slits, dividing and lending rhythm to an apparently wild growth of abundant vegetation. These lines and grids do not divide the interior and exterior but rather create openings and passageways. Over and over again views are seen that refute these clear geometries, vibrating and unstable, brought near by binoculars but at the same time strangely far removed. Fisherman on their boats, at prayer before the workday begins; two boys with toy guns in search of an invisible adversary. Smoke condenses; silhouettes become blurred. Are these everyday scenes or the distant echoes of disturbing memories? There is no fishing on Tuesdays. Loudspeaker systems are the domain of Christian agitators on Sundays. The everyday rhythms of this place are overlaid with the drumming of rotors, the swelling and waning of music and the ocean. Their intersection is marked by this house on stilts, this perch from which an interior grid merges with the exterior as landscape. (Katrin Mundt)

Born in the Steiermark region of Austria in 1983, he studied geography and environmental system sciences in Graz until 2004. He then switched to audiovisual design at the University of Art and Design Linz. From 2007 to 2008 he studied art and multimedia at the Faculdade de Belas-Artes in Lisbon, Portugal. In 2009 he took up a postgraduate degree at the Academy of Media Arts Cologne and a masters at the Academy of Fine Arts (HGB) in Leipzig. Following the short film Fishing is not done on Tuesdays, co-directed with Marcel Odenbach, this marks the second outing for their collaborative work in competition in the Berlinale Shorts. He lives and works in Cologne and Vienna.

Lukas marxt
Catalogue : 2012Nella Fantasia | Doc. expérimental | hdv | couleur | 55:0 | Autriche | Norvège | 2012
Lukas marxt
Nella Fantasia
Doc. expérimental | hdv | couleur | 55:0 | Autriche | Norvège | 2012

Nella Fantasia was created in December 2011 on the offshore oil rig Snorre A situated in the middle of the North Sea off the coast of Norway. After successfully passing a number of health tests and safety trainings, Lukas Marxt travelled to the platform and spent around 10 days collecting visual and acoustic impressions amid the loneliness of wind storms and huge waves. The result is a visual description of the oil rig microcosm which does not focus on technical processes and ongoing work on the platform but, instead, attempts to create a location which excludes obvious associations of the surroundings such as corridors, curtains, the horizon, the lapping of waves and a melancholic sigh at the end of a shift. The quiet and long shots of the film form a sort of inner monologue which the viewer can feel and experience - disconnecting people and machine. "Nella Fantasia" lasts roughly 55 minutes and is part documentary and part experimental art film.

Lukas Marxt lebt und arbeitet in Köln, Leipzig und Graz, er wurde 1983 in Österreich geboren, studierte von 2003 bis 2007 an der Kunstuniversität Linz. 2007/2008 studierte er an der Faculdade de Belas Artes in Lissabon. 2009 realisierte er sein Diplom im Studienzweig ?Audiovisuelle Gestaltung? an der Kunstuniversität Linz. Zwischen 2009 und 2012 absolvierte er den postgradualen Studiengang an der Kunsthochschule für Medien Köln. Seit 2012 ist Lukas Marxt als freischaffender Künstler tätig.

Catalogue : 20142.59 | Vidéo | hdv | couleur | 3:0 | Italie | 2013
Vidéo | hdv | couleur | 3:0 | Italie | 2013

A small dramatic gesture cancels any possible remains of hope in 2.59 (2014). A dental drill scrapes the grooves of a vinyl record playing John Lennon’s Imagine– whose playing time is actually two minutes and 59 seconds – as the needle ultimately and stridently squeaks, while snowflakes start to fall. Dreams are no longer possible, as our society has completely denied them.

MASBEDO are Nicolò Massazza (1973) and Iacopo Bedogni (1970). They live and work in Milan. The two artists have worked together since 1999. They express themselves through the language of video, in different forms such as performance, theater, installation, photography and recently cinema. In Italy they are recognized among the most important video artists and innovators in the field of contemporary art: thanks to their unique feature of re-union of different arts: the multiplicity of languages becomes a single chorus. In fall 2014 a major solo exhibition will be showed at the Fondazione Merz, anticipated by the presentation of their first film The Lack at the Venice Film Festival. In 2013 the Leopold Museum Wien presented the video-installation “Ash” and they exhibited in Pinacoteca Nazionale Bologna a solo show with videos and a video performance. In 2012 they held video performances in several museums of contemporary art and in particular locations such as the Italian Embassy in Berlin during 7th Art Biennial. With the very special participation of Fanny Ardant they present at Teatro Strehler in Milan and Teatro Palladium in Rome an audio video performance from Le Remède de Fortune of Guillaume de Machaut. They participate with the doc-film Tralalà at the 69th Venice Film Festival and at the Reykjavik International Film Festival. Other very important shows in their career are Art Basel Unlimited, MAXXI and MACRO Museum in Rome and the 53. Venice Biennial Of Art. Other museums such the Center for Contemporary Art Uajzdowsky Castle in Warsaw, the CCCB Centro de Cultura Contemporanea in Barcelona, the DA2 Museum in Salamanca, Castello di Rivoli Museo d’arte contemporanea in Turin, the OK Offenes Kulturhaus in Linz, the Tel Aviv Art Museum and the Centro Atlantico de Arte Moderno in Las Palmas de Gran Canaria hosted in the past years their artworks. Other Film Festivals in their career: Bellaria, Tremblay en France, Novi Sad, United Nation World Forum in Rio De Janeiro, Locarno, Rome, Istanbul, Lisbon, Athens, Miami and Trieste. They have always participated with video-art projects. They worked with French writer Michelle Houellebecq with which they write The world Is Not A Panorama, a video art movie with the precious collaboration with Oscar Winning actress Juliette Binoche and exhibit the premiere at the Gran Palais, Paris.

Catalogue : 2017Fragile | Vidéo | hdv | couleur | 7:46 | Italie | 2016
Vidéo | hdv | couleur | 7:46 | Italie | 2016

The video, Fragile (2016) produced by the Museo Reale Galleria Sabauda in Turin, staged a young man`s visit to the gallery halls in the presence of a peacock. Walking among the masterpieces of antiquity, symbolic objects of archetypal beauty, the presence of the peacock underlines the essential precariousness of the living animal and its impairment that renders it inapt to represent its nature. The image is highly suggestive because it’s made even more dramatic due to the emptiness of the halls, facing the perpetual immobility of the painted characters. The main theme of these works is the concept of "cure": the old animal, object of the care of its master, is a metaphor of the combination of a faded vanity and the eternal journey into beauty, a trip defined by Rainer Maria Rilke as "the tremendous at its beginning." The fragility of art, to which the title of the work refers to, engages the observer`s gaze and warns of the necessity to provide protection of art and cultural heritage. A metaphor that reminds us of the need to preserve and care for our artistic and cultural heritage as a form of resistance to time and carelessness of man. In 2018, when Europe dedicates itself to Cultural Heritage, encouraging public institutions to celebrate their relevance and value for the cultural development of society, the artistic discourse by Masbedo is consistently aligned with this theme, showing how contemporary artists relate themselves with the art of the past and how history of art can be a source of inspiration for new generations.

MASBEDO (Nicolò Massazza, 1973, Milan - Iacopo Bedogni, 1970, Sarzana) started their journey in 1999, focusing on the potential of video art and video installation. Developed around the theme of incommunicability in contemporary society, their research has produced both, intimate works and more socio-political and anthropological-cultural productions. Their aesthetic approach presents pictorial aspects and the realization of their videos pursues the goal of involving the viewer in the space created by the moving images through immersive installations. Their work, in fact, is a synthesis of theatre, performance, space, architecture and video / cinema. They have been included in solo shows in important museums and foundations both in Italy and abroad, as well as in various film festivals, and their works are included in relevant private and public collections: MART, Rovereto, Italy; Fondazione Merz in Turin, Italy; GAM - Galleria d’Arte Moderna in Turin, Italy; MACRO - Museo di Arte Contemporanea in Rome, Italy; DA2 - Centro de Arte Contemporáneo, Salamanca, Spain; CAAM Centro Atlántico de Arte Moderna, Las Palmas, Spain; CAIRN Centre d’Art, Digne-les-bains, France; Tel Aviv Museum of Art, Israel.

Valérie massadian
Catalogue : 2013America | | | | 6:57 | France | 0
Valérie massadian
| | | 6:57 | France | 0

One Place One Boy One Day One Shot One Wheel of Film

Valérie massadian
Catalogue : 2011Nana | Fiction expérimentale | hdv | couleur | 68:0 | France | 2011
Valérie massadian
Fiction expérimentale | hdv | couleur | 68:0 | France | 2011


It's through photography, and notably her collaboration with Nan Goldin, that Valerie Massadian came to image-making,Creating slide- show screenings (The Link, Mary Go Round, Journal de Bord), exhibited in Tokyo, London and Porto. What she has retained from photography is its freedom and the rigor of frontal contact. She has taken this same approach, committing to a project from concept to completion, in her collaborations with several film directors. From there came the need of her own film, NANA, which won the Price for Best First Feature Film at the Locarno Film Festival 2011, as well as the Price for Best International Feature Film at the Festival Internacional de Ciné de Valdivia.