Catalogue > List by artist

In PALMERSTON BLVD., filmmaker Dan Browne invites the audience into the intimate space of his living room, in this portrait of a bay window recorded over the course of a year. Gradual shifts in the interior and exterior environments mark the passing of the seasons, a slow dance of objects and light juxtaposed by the rapid speeds of bodies and the urban landscape, revealing the processes inherent in all things. Meticulously constructed from over 250,000 images, PALMERSTON BLVD. offers an extended glimpse into the rituals of domestic life, demonstrating the uniqueness of everyday mundane activities. As time flows, we see the growth and development of the family’s first child, until eventually the home becomes an empty roomready to begin anew.

Dan BROWNE (b. 1982) is a filmmaker, photographer and multimedia artist based in Toronto, Canada. His works explore patterns, nature and sensory perception through dense and kinetic audio-visual forms. Traversing the intersections between cinema, installation, music, photography, painting and poetry, Dan’s works have been presented at over 100 festivals and venues worldwide, including Rotterdam International Film Festival, Art Cinema OFFoff, Diagonal Film Archive, Centre Pompidou, Festival du Nouveau Cinema, TIFF and Early Monthly Segments. Dan’s media practices also encompass live performances in collaboration with musicians, and video installations that have received public commissions in Toronto and Vancouver. Dan has also collaborated with other Canadian filmmakers, including Carl Brown, Peter Mettler, R. Bruce Elder, Michael Snow, and members of the Loop Collective. Dan is currently a PhD candidate in the York/Ryerson Joint Graduate Program in Communication and Culture, where he is completing a dissertation on decay aesthetics in contemporary avant-garde and experimental cinema. His works are available for rental through the Canadian Filmmakers Distribution Centre and Light Cone Paris.

A cinematic glimpse through the keyhole of the Bavaria State Collection of Zoology Munich. A humorous and ellipticall Vision - Sound Collage, dealing without the use of dialogue, trying to comprehend the daily life of a special place, where life and death are playing an extraordinary part.

Vera Brueckner born in 1988 and raised nearby Munich , started 2012 film studies at the University for Television and Film Munich after she had made a Bachelor degree in Phtography and Design at Unviversity of Applied Sciences Munich. In 2010 Vera interned at the Photography Museum Reykjavík Iceland and at the Gallery of Photography in Dublin.

‘Goodnight’ shows nightly Rotterdam. A modern metropolis where light never dims and where loneliness unseen in the emptiness dwells. Someone stays awake to anonymously listen and talk, to encourage lost souls to a goodnight sleep. That does not always work. The night is patient, do not know what is happening, waiting for a new day.

Jasper Bruijns (b. 1989) grew up in Breda, The Netherlands, as one of an identical twin. At a young age he was interested in video and at the age of 16 he started a technical video study. During this study he moved to Stockholm for a period where he worked as an interim with video-artists as Johan Junker and Deniel Eslkils.
In 2010 Jasper applied to the art-academy St. Joost in Breda. There he studied under the supervision of filmmakers like Noud Heerkens, Marijke de Bie, Anne van der Putte, Iris Sikking and Rieks Soepenberg. He had the opportunity to experiment with film and to start developing his own filmmaking style. During his time in college he also worked at the production company Volya Films in Rotterdam with filmmakers as Stelle van Voorst van Beest, Ingeborg Jansen, Marleine van der Werf and Marco de Stefanis. The film Welterusten (Goodnight) shows nightly Rotterdam. A modern metroplis where light never dims and where unseen loneliness dwells in emptiness. Someone stays awake and anonymously listens, talks and encourages lost souls for a goodnight sleep. That doesn’t always work out well. The night is patient and does not know what is happening, waiting for a new day. With his short film Welterusten Jasper Bruijns did not only finish his studies succesfully but he also won the ‘TENT Academy Award 2014’ for best video art work for graduation students as well as the ‘Open Public Award’ . His work was nominated for the Tuschinski Award, the Dioraphte Award and the FPN Producenten Award. Welterusten has been screened at TENT, IMpakt, Open Plein Bioscoop and Nederlands Film Festival. 
At the moment Jasper lives in Breda where he works on his own films and as a documentary cameraman.

What is the filmmaker’s role in society? How can a cinema be made that counters power? Conceived as a journey through time and films, Salut et Fraternité traces back the itinerary of filmmaker René Vautier, putting his experience in perspective with those of other filmmakers.

A documentary filmmaker, she has worked as an editor, production assistant and director of corporate videos for a decade. She also leads filmmaking workshops for young audiences. In 2007 she and Leïla Morouche co-directed Algérie/Tours/Détours, recreating the organization of travelling projections, the Ciné-pops, in the company of its initiator René Vautier.

In the mountains and valleys of Sokndal, Norway, the BlackRock(US)- owned mining company Titania AS extracts the mineral ilmenite to create titanium white pigment. Sokndal is the most mined area in Norway, starting from the 1800's. Most of the region's inhabitants work in the mining industry. Titania A/S's quarry, based on open pit mining, is the world's largest ilmenite deposit, accounting for ten percent of the world's production. The black rock ilmenite-noritt is turned into titanium white pigment through different processes and branded as a product with "maximum whiteness". It is in everything from paint, paper, toothpaste, food, medicine and more. Hansen and Lie interacted with the landscape over several months and talked with many locals closely linked to the industry and the geography. Included in the film are a local activist who has taken action against Titania's waste dumping in the ocean, Titania's retired former geo-engineer, and a local mountain guide who knows the landscape and history like the back of his hand. 'Moving Mountains' follows traces of past and present mining in the landscape. While following the interventions in the landscape, the film asks how humans could act as supporting characters where the landscape is the protagonist.

The practice of artist and filmmaker Nanna Elvin Hansen (b. 1989, DK) moves in the murk between art and activism. Building audio and film projects via local, collaborative processes, her works unveil structural violence that impacts on human rights and displacement. Hansen graduated the School of Media Arts at the Royal Danish Academy of Fine Arts (2021). In 2015, she co-founded the collective project The Bridge Radio. Through their artistic work, Ase Brunborg Lie (b. 1983, NO) challenge societal and built structures, point out blind spots in the present and past and investigate how to create in the social, political and ecological present for a possible future. Site specificity, cross-pollination and critical reading of established histories are premised on queer/feminist and post/decolonial thinking, and often include collaboration with researchers, local initiatives, other artists/musicians/architects and others.

Questioning on the space that surrounds us, how to look at, how do we look at what surrounds us? The swimming pool contains water; this water is a mirror of the space that contains it. The reality or the reality itself?

First name: Brunet Last name: Julien Date and place of birth: August 18th 1979, Uccle. Nationality: Belgium/French. Julian Brunet did from 1995 to 1999, undergraduate studies at the St Luc Tournai in the Decoration section, within the Modern Art department under the direction of Aldo Turin, Christophe Leuzer and Christine Dupuis. Then, he joined the Ecole Superieure des Arts Plastiques et Visuels of Mons and took part in the Image dans le Milieu Workshop (Image in situ) directed by Jean-François Octave and Luc Gossens. He studied for five years drawing, animation, video and photography that were his main exploration fields. He did then an exchange program with Portugal and stayed four month in Porto, at the Universidade do Porto les Belas Artes where he went deeper into photography technique. This was the occasion to take part in the photo exhibition ?La Vierga Negra?.From 2002 to 2004, went a major moment for the previously mentioned workshop members, the creation of ABSL ??A Paxilus dans la Litière?? that permitted him to discover contemporary art. This experience was great of teachings in terms of intern management of a group and event or exhibition management.

Les Lois de Non-Conservation est un projet artistique et curatorial sur les questions de temporalité, d`émergence et d`obsolescence, dans le cadre des circuits de production-distribution-consommation du capitalisme de réseau. Il s`intéresse notamment aux processus de consommation de l`art sur différentes échelles de temps, des plus courtes aux plus longues, aux durées de vie des ?uvres, à leurs pannes, leur disparition, leur réincarnation... à l`intrication entre observabilité et usage, entre sacré et profane. Il scrute des phénomènes mal identifiés, qui sont dans un no man`s land entre la pérennité de l`objet et le caractère éphémère de la performance, entre la déchéance de l`aura et sa résurrection. http://www.cosmolalia.com/non-conservation-laws Le dispositif se développe parallèlement avec le projet ArtWar(e), collaboration entre Christophe Bruno et le philosophe Samuel Tronçon. Artwar(e) est une plate-forme de « gestion des risques artistiques » dont l`ambition est de reformuler l`histoire de l`art, les attitudes performatives et relationnelles, ainsi que les pratiques curatoriales, en utilisant des concepts récents issus du marketing, comme les « courbes de Hype ». Artwar(e) a été produit avec l`aide de LES CAPUCINS ? centre d?art contemporain (ville d?Embrun) www.lescapucins.org (direction artistique Caroline Engel) dans le cadre du projet européen SMIR (eSpaces Multimédia pour l?Innovation et la Recherche en production culturelle) / programme Alcotra. http://www.artwar-e.biz

Christophe Bruno vit et travaille à Paris. Son travail propose une réflexion critique sur les phénomènes de réseau et de globalisation dans les champs du langage et de l?image. Primé au Festival Ars Electronica en 2003 pour le Google Adwords Happening, une performance globale sur le « capitalisme sémantique », et au Share Festival à Turin pour Human Browser, il a aussi remporté le Prix ARCO nouveaux media 2007 de la Foire d?art contemporain de Madrid, avec son installation Internet Fascinum. Il est lauréat de deux aides du DICREAM (Ministère de la Culture et de la Communication - Centre National de la Cinématographie) en 2004 et 2006, pour ses projets Dreamlogs et Logo.Hallucination. A partir de mars 2011 il sera commissaire d`exposition pour l`espace virtuel du Jeu de Paume. Il partage son temps entre ses activités artistique et curatoriale, enseignement, conférences et publications. Ses ?uvres ont été présentées internationalement dans de nombreux festivals, musées, galeries et foires d?art contemporain : Jeu de Paume à Paris, ARCO Madrid, FIAC Paris, Biennale de Sydney, Palais de Tokyo à Paris, MOCA Taipei, Musée d?Art Moderne de la ville de Paris, New Museum of Contemporary Art à New-York, Rencontres Internationales Paris-Berlin-Madrid, Biennale d?Art Contemporain de Tirana, HMKV Dortmund, Diva Art Fair à New-York, ArtCologne, Share Festival à Turin, Transmediale à Berlin, Laboral Cyberspaces à Gijon, galerie Sollertis à Toulouse, Gallery West à La Haye, Vooruit Arts Center à Gent, ICC Tokyo, Nuit Blanche de Paris, File Festival à Sao Paulo, f.2004@shangai, ReJoyce Festival à Dublin, P0es1s.net à Berlin, Microwave Media Art Festival à Honk-Kong, Read_Me Festival à Dortmund et Aarhus, Vidarte Mexico City? http://www.christophebruno.com

The film focuses on the formation and representation of ideology, the position of the intellectual, and forms of re-presentation, actualisation of historical complexities. Galindez departs from the theatre play El Señor Galindez, written by Argentine psychoanalyst, dramaturge and actor Eduardo Pavlovsky in 1972.

Born in 1978 in Argentina, Diego Bruno lives and works in Helsinki. He studied History of Art at the University of Buenos Aires, holds a BA in Fine Arts from the Escola Massana, Barcelona and an MFA in Fine Arts from the Finnish Academy of Fine Arts. Bruno’s work has been shown at Wiels Center for Contemporary Art, Brussels; Museum of Latin American Art, Buenos Aires; Centre d ́Art Santa Monica, Barcelona; Manifesta 08 Murcia; Hudson Valley Center for Contemporary Art, New York; Center for Contemporary Art Celje; Extra City, Antwerp; The Solo Project, Basel; Museum of Contemporary Art, Barcelona and Malmö Kunsthalle, among others.

Based on Xavier de Maistre’s “Voyage autour de ma chambre”, it has been entirely shot withing a single room working at its relation to the camera, seen as another enclosed space. Between the camera and the walls, between the lenses and the window, between the furniture and the room, between a rock and a hard place. Some of the texts printed on the film: "I hope that I have made a film, a method [procédé]. Blue is also a method. [...] Cinema? Yes, it's a method. Red is also a method." (Marcel Broodthaers, Cinéma, p. 66) « …a thousand agreeable visions float before my eyes. Yes, there is that mansion, that door, that staircase! I thrill with expectation. / In like manner the act of slicing a lemon gives you a foretaste that makes your mouth water. / Poor animal! Take care! » (Xavier de Maistre, A Journey Round my Room, chapter XLII, p. 152 )

Bruno Delgado Ramo (Sevilla, 1991) is an experimental filmmaker, researcher and architect. Both his artistic and academic work focuses mainly on the moving image. He describes his often interdisciplinary work as research that is grounded in artistic practice. Dealing with materialistic site-specific cinema and the spatial questions involved in it, he works from a wide understanding of cinematic language.

Le DADAMETRE est un indice global permettant de mesurer l?écart du discours par rapport à Dada. En 1912, la pièce de théâtre Impressions d?Afrique de Raymond Roussel devient source d?inspiration directe pour Marcel Duchamp qui considère l?écrivain comme « un maître absolu ». La représentation est annonciatrice des futures manifestations Dada. Dans Comment j?ai écrit certains de mes livres Raymond Roussel explique : « Je choisissais deux mots presque semblables (?). Par exemple billard et pillard. Puis j?y ajoutais des mots pareils mais pris dans deux sens différents, et j?obtenais ainsi deux phrases presque identiques. (?) 1° Les lettres du blanc sur les bandes du vieux billard? 2° Les lettres du blanc sur les bandes du vieux pillard. (?) Les deux phrases trouvées, il s?agissait d?écrire un conte pouvant commencer par la première et finir par la seconde. » Cette méthode décrite par Roussel - bien que pré dadaïste - sera considérée ici comme emblématique de Dada dans le champ du langage. Aujourd?hui, alors que le moindre de nos comportements (travail, désir, idéologie, risque etc.) est enregistré et comptabilisé dans le cadre d?indices boursiers sur les marchés d?une finance globalisée, il s?agit de construire de nouveaux indices globaux, cette fois dans le domaine de l?art. L?indice DADAMETRE cherche à mesurer l?évolution au cours du temps de la densité de Dadaïsme dans le discours en mouvement perpétuel, tel qu?il est emmagasiné sur le Web, ceci en s?inspirant de Roussel. Objet artistique avant toute chose, étalon de la déchéance de l?aura du langage, le DADAMETRE, tout en étant basé sur des outils scientifiques rigoureux, constitue sa propre parodie : il vise aussi à interroger le statut d?une Science qui s?est mise peu à peu au service du marketing global et de la surveillance généralisée.

Christophe Bruno vit et travaille à Paris. Depuis 2001, il poursuit sur iterature.com un travail sur les phénomènes de réseau et de globalisation dans le champ du langage, considéré comme un readymade in progress. Iterature.com a été primé au festival Ars Electronica en 2003 pour le Google Adwords Happening et au Share Festival à Turin pour la performance Human Browser, initialement inspirée des Epiphanies de James Joyce. Le projet Dreamlogs, hommage aux travaux OuLiPiens de Georges Perec et Marcel Bénabou, a reçu une aide à la maquette du DICREAM en 2004. Christophe Bruno est aussi lauréat du Prix ARCO nouveaux media 2007 de la Foire d?art contemporain de Madrid, avec son installation Fascinum réalisée en 2001. Son dernier projet, Logo.Hallucination a également reçu une aide du DICREAM en 2006 dans le cadre des dernières Rencontres Paris-Berlin-Madrid. Son travail a été présenté internationalement dans de nombreux festivals, musées, galeries et foires d?art contemporain : FIAC Paris, ARCO Madrid, Diva Art Fair à New-York, Palais de Tokyo à Paris, ArtCologne, MOCA Taipei, Musée d?Art Moderne de la ville de Paris, Rencontres Internationales Paris-Berlin-Madrid, New Museum of Contemporary Art à New-York, Biennale d?Art Contemporain de Tirana, Share Festival à Torino, Transmediale à Berlin, Laboral Cyberspaces à Gijon, galerie Sollertis à Toulouse, ICC Tokyo, Nuit Blanche de Paris, File Festival à Sao Paulo, f.2004@shangai, ReJoyce Festival à Dublin, P0es1s.net à Berlin, Microwave Media Art Festival à Honk-Kong, Vooruit à Gand, Vidarte à Mexico City? Il partage son temps entre son activité artistique, curatoriale, enseignement, conférences et publications. Son travail est consultable sur http://www.christophebruno.com http://www.iterature.com

Is the economic dynamics of collective hallucination driving us towards a privatization of our glance? The Web, in particular in its 2.0 version, represents the conclusion of the strategies controlling written content. The image is more difficult for machines to interpret, therefore staying in a less accessible territory. This fact can be witnessed through the rise of steganography, the art of hiding a message inside another message, used on the Internet to insert words in a digital image in order to avoid automatic censorship means. The identification of shapes in a field now fully developing. It represents a key-technology in all fields of security, management of rights, marketing ... "Logo Hallucination" proposes to use the image identification technologies in order to detect the subliminal shapes of logos or symbols, hidden (most of the time involuntarily) in the visual environment or in the images found on the Internet. The images found will be available from a weblog, proposing a link between the original on the one hand, and it´s brand/logo on the other hand. The whole is going to be included in a physical installation presenting the entire process. "Logo Hallucination" is therefore in keeping with Web 2.0, in the sense that raw data (images) are enriched with complementary visual information (the hallucination of the brand), and that their juxtaposition takes part in new economic stakes, highlighted here in an ironical way.

Christophe Bruno lives and works in Paris. His performance on "the price of words" named "Google Adwords Happening" was awarded at the Ars Electronica Festival in 2003. He received the ARCO Prize in Madrid in 2007. His work was shown internationally: at the Tokyo Palace in Paris, Transmediale in Berlin, Sollertis Gallery in Toulouse, MoMA in Paris, Contemporary Art Biennial in Tirana, File festival in Sao Paulo, f2004@shanghai, ReJoyce Festival in Berlin, P0es1s.net in Berlin, Microwave Media Art Festival in Hong-Kong, Read_Me in Dortmund, Vidarte in Mexico City ... he shares his time between his artistic activity, teaching, conferences and publications.

A restless daughter meets a spirit who gives her pure water. Her family devours the delicious water until they begin to suspect more than the origin of its taste. A traditional folktale retold entirely featuring a cast of nonactors from one family made of three generations

Shirley Bruno's films draw from her Haitian heritage preserving and radicalizing her ancestral traditions and mythology. She creates modern myths that expose the slippery spaces between the material and metaphysical world, between collective memory and history. In her work she explores the everyday, the Sacred, and the intimate violence in the things left unsaid that mark us generation after generation. Shirley holds a Masters with Distinction from London Film School and a Masters II with Mention from Le Fresnoy - Studio National des Arts Contemporains where she was an artist fellow. She works alternately between New York, France, and Haiti.

On the outskirts of the small town of Gommern, a heath garden has been inviting visitors for a walk since 1996. This was once the site of Ernst Reindel's rendering plant, who executed numerous people as an executioner during the Nazi era. The insistent camera view shows images in the here and now, while a stoic narrative voice recites original documents from Ernst Reindel's biography. What do we remember? How do we commemorate? What remains? The term "Begehung" is ambiguous in German. The title can be understood as "Begehung eines Ortes" (site visit) as well as a term from jurisprudence: "Begehung eines Verbrechens" (committing a crime). Since a corresponding translation in English seemed insufficient, we decided to keep the German title as the international title.

Thomas Brück was born in Zapopan (Mexico) in 1988. He studied time-based arts at the Burg Giebichenstein University of Art and Design in Halle and media art and cinematography at the Havana University of the Arts in Cuba in 2017. After graduating, he completed the Professional Media Master Class for artistic documentary shortfilm at the Werkleitz Gesellschaft in 2022 and was recipient of the Graduate Scholarship of the State of Saxony-Anhalt. In his artistic and cinematic work, he deals with concepts and constructions of reality and identity as well as the relationship between objectivity and aesthetic illusion. He is currently developing his first feature-length documentary film about historical and contemporary narratives of the appocalypse as a speculative vision of the upcoming end of the world. Thomas Brück lives and works in Halle and Leipzig.

Images from the private sphere of the world wide web. "The video has been removed due to its inappropriate nature". (Sat, 03. Mar 2007 14:06:25 -0800, YouTube | Broadcast Yourself?)

Born in Münster, Germany, 1959. Studied in Freiburg, Rome and Berlin. Master degree Fine Arts at the Braunschweig School of Art in 1991. Experimental poems, texts, paintings, fotography, fotocopies, performances, installations and exhibitions since 1977. Over 60 experimental short films and videos since 1981, four feature films. Digital art in interactive media since 1995 (CD-ROM, DVD and internet). Film exhibitions at the Museum of Modern Art New York (1987, 1992 and 1999). Numerous international exhibitions and film / media art awards. Organisation of avantgarde and gay film events for museums, institutions and international film festivals. Publications on Super8 and Off-Off-Cinemas. Several guest lectures. Since 1990, workshops, project advising and apprenticeship counselling in the area of media production and film (e.g. at Beijing Normal University Zhuhai/China). Since 2006 Professor for Film/Video at Braunschweig University of Art. - The artist lives and works.

"quinze Queer Crossover: on a demandé à des cinéastes lesbiennes de Berlin de tourner un court film de contribution sur leurs représentations de l'amour et du sexe entre gays - et à l'inverse, des cinéastes gays devaient tourner un film court sur la sexualité ou l'érotisme entre lesbiennes. "Dans sa contribution BLUE BOX BLUES, Michael Brynntrup montre clairement la différence entre le gestus illusionnant d'une photographie et de processus de fabrication de celle-ci." Au moyen de la reconstitution du processus de création d'une photographie qui montre un couple de lesbiennes tendrement enlacées et suggère la confiance et l'intimité, Michael Brynntrup réussit à démasquer les modèles stéréotypés de perceptions sur lesquels revient la mise en scène: le message contenu dans la photo est en éclatant contraste avec la mise en scène de l'image,banale et fastidieuse, réalisée par de nombreuses personnes dans l'atmosphère stérile d'un studio Blue Box . Ainsi, BLUE BOX BLUES devient le moyen de montrer, dans une optique de critique des médias, une structure de marché qui incorpore des ensembles de sentiments dans un processus industriel de dévalorisation.

"Né en 1959 à Münster (Allemagne). Etudes d?histoire de l?art et de philosophie à Fribourg-en-Brisgau et à Rome. Vit à Berlin depuis 1982, études de cinéma à l?Ecole des Beaux Arts de Brunswick entre 1987 et 1991, cours dans une classe de maître en 1991. Divers genres artistiques et CopyArt depuis 1977. Plus d?une cinquantaine de films et vidéos (dont deux longs métrages) depuis 1981. Arts numériques avec supports interactifs depuis 1995 (CD-ROM et Internet). « Film exhibition » au Museum of Modern Art de New York (1987, 1992 et 1999). Diverses rétrospectives, nombreux prix pour ses films, organisation et présentation de collections de films expérimentaux en Allemagne et à l?étranger. En 1993, obtention d?une bourse d?études du Kunstfonds (Fonds culturel) de Bonn. Publications sur le super 8 et les cinémas expérimentaux et marginaux de Berlin. Workshops, encadrement de projets et activité de formateur dans le domaine de la production médiatique depuis 1990. L?artiste poursuit actuellement son ?uvre créatrice." source: arte-tv.com

"The world is everything that is the showcase." Living in a globalized world - a case study. (Loosely based on Ludwig Wittgenstein, Tractatus logico-philosophicus, sentence no.1) "Case studies" involve a particular method of research. Rather than using large samples and following a rigid protocol to examine a limited number of variables, case study methods involve an in-depth, longitudinal examination of a single instance or event: a case.

Michael Brynntruo was born in Münster, Germany, in 1959. He studied in Freiburg, Rome, and Berlin, and holds a Master degree in Fine Arts from the Braunschweig School of Art in 1991. He has completed experimental poems, texts, paintings, photography, photocopies, performances, installations and exhibitions since 1977, and also over 60 experimental short films and videos since, and four feature films since 1981. Since 1995 he has dine digital art in interactive media (CD-ROM, DVD and internet). His films have been exhibited at the Museum of Modern Art New York in 1987, 1992 and 1999. He has also participated in numerous international exhibitions and won film/media art awards, and organized avant garde and gay film events for museums, institutions, and international film festivals. He has publications on Super8 and Off-Off-Cinemas, and has given several guest lectures. Since 1990, he has led workshops, project advising, and apprenticeship counselling in the area of media production and film (e.g. at Beijing Normal University Zhuhai/China). Since 2006 he has been a professor for Film/Video at Braunschweig Art School.

Just be glad it's not you combines texts sourced from various threads on the topic of narcissism from www.quora.com. Quora is an online forum for crowd sourcing answers to questions that vary vastly in subject matter and are often posted anonymously. Various self-proclaimed experts have listed accounts, definitions, and directives on the theme of narcissism. A selection of these texts are displayed in a synchronized installation across three screens, edited to appear in time to a specially commissioned hard techno track from sound designer Antoine Hureau, accompanied by an integrated LED light installation. This video, sound and light installation creates an environment of information overload that is reflective of the environment of information overload that we find ourselves in within digital culture, and within the wealth of language, accounts, opinions and stories that we find online. Walking a thin line between tragedy and comedy, the work contains an ironic sensibility, allowing complex and difficult issues to be addressed with a light touch.

Samuel Brzeski (1988, London) is an artist and writer living and working in Bergen, Norway. He studied English Literature at University of Sheffield, UK (BA) and Fine Art at Bergen Art Academy (MA), and participated in the Mountain School of Arts program in Los Angeles, USA. Recent exhibitions of note include Lydgalleriet, Bergen (2023), Bærum Kunsthall, Oslo (2023), bb15 Space for Contemporary Art, Linz (2022), Meta.Morf, Trondheim International biennale for art and technology (2022), Østre, Bergen (2022), Galleri Box, Gothenburg (2022), Chao Art Centre, Beijing (2021), and KRAFT, Bergen (2021). His work was included in the inaugural exhibition of the New Norwegian National Museum, Oslo (2022) and is in the collection of Haugland Museum, Norway. Samuel was a writer in residence with Contemporary Art Stavanger (2022), and with Lydgalleriet (2020-2021) and has published several artist books. He has co-run the Bergen-based art writing collective and publishing platform TEXST since it was established in 2016. Samuel works as a visiting tutor to Bergen Art Academy and Bergen Architecture School.

?The root of the root (every town has its story)? In the context of a symposium on the nascent problem of drug traffic in Colombia in 1978, Ernesto Samper read a speech in which he was prophesying with an extraordinary clarity what would happen to the country if the taboo built around the topic of legalization was not broken. Samper, who had organized the symposium as president of the ANIF ? invited the ambassador of the United States of that time, between other participants-, and stated, with all clarity, the lost cause of trying to face the problem of the drug as if it was a "war". All the arguments of such a lucid speech keep on being irrefutable, and this becomes evident during this rereading, 30 years later by Samper. What has indeed changed, because of the bloody history of Colombia, is the progressive stigmatization of the topic. The paradoxes of life did make Samper drag the effects of what he himself had watched in the horizon. And as in the Greek tragedy, it is also probable that his initial lucidity ? or his consultation of the oracle ? became the real cause of tragedy. Mariangela Méndez

François Bucher is an artist from Cali, Colombia; he lives and works in New York City. His work has been exhibited internationally in group and solo shows including: Location One, New York, 2002; Empire/State, artists engaging globalization, Whitney Museum Independent Study Program exhibition, 2002; Speaking Truths, Intermedia Arts, Minneapolis, 2002. White Balance (to think is to forget differences), 2002; DVD; 30 min. was included in the special program of the Oberhausen Film Festival, 2002; the 4th Indonesian Independent Film-Video Festival, 2002; Impakt Festival, 2002, Utrecht, Media Arts Festival in Friesland; The New York Video Festival at Lincoln Center, and will be shown at The Tate Gallery in London. He is currently working on a new film, commissioned by Gallery Porta 33, in Maderia, a collaboration with Pedro Paixao. From 1999 - 2000 Bucher attended The Whitney Museum Independent Study Program in New York. He was awarded the Alliance Française prize in Bogotá, Colombia ­ a residency at La Cite des Arts, Paris, commencing 2003. He was also a recipient of The New York City Media Arts Grant of The Jerome Foundation, in 2000. Bucher is a founding co-editor of Valdez Magazine.

Forvere Live: The Case of K. Gun is based on the re-enactment of Franz Kafka?s allegory ?Before the Law?, interpreted live over a telephone line by Katharine Gun. Gun was a translator (specializing in Chinese to English translations), working with the British secret service, who chose to leak information compromising the U.S. and U.K. governments in their push for a U.N. resolution for the invasion of Iraq. Gun disclosed their plans to illegally wiretap the delegations of the Security Council holding the balance of power at the U.N. She was not prosecuted when it became clear to the government of the U.K. that her court case would become a trial on the war?s legality. At the time of Bucher?s recording, Kafka?s text was completely new to Gun, as she translated the allegory live from Chinese to English.

François Bucher is an artis from Cali, Colombia currently living and working between Berlin and Bogotá.

This video develops from a real event that took place during a theater seminar in the masters degree program at the University of Antioquia in Medellín, Columbia. The seminar occured uring one of the university`s worst periods of violence. Two students in charge of a presentation on the life and work of French author Jean Genet decided to play a hoax on their fellow students - a hoax that involved an armed kidnapping. Their idea was to perform the ethos of Genet`s work rather than to represent it in a conventional way...

François Bucher is an artist from Cali, Columbia, who lives and works in Berlin. He combines a variety of media and sources to consider power, violence, and geography. His work has been exhibited internationally in group and solo shows as installations and single-channel pieces. He also co-founded and co-edits Valdez magazine.