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An animated exploration of the popular fast food culture of North America, mixing the absurd with the obsessional and addressing other themes, such as the sensorial overload and the omnipresence of the interactivity in the media.

Trained in cinema and fine arts at Concordia University (Montreal, Canada), Philippe Blanchard worked for a few years in Latin America and the Middle East. He eventually followed a training program in special effects at Seneca College (Toronto). He currently works for the animation studio 'Head Gear Animation' in Toronto.

The project ?The proll thing? comprises an animated video on two screens, and a video recorded with a handy phone. The idea is to distribute the narrative into different media, and see how this information acquires diferent levels in the exhibition space. My starting point was the Kino International restaurant in East Berlin. This building?s current ?image policy? prohibits taking photographs inside of it (although it is open to the public during film screenings). I thought about animation as the medium to depict the inside of the building, since it would be possible to recreate the interior in such a way as to mix reality and fiction. To make this setting, I integrated different elements, some of them real, others imaginary, creating new situations. The drawings for the video?s sets were based on a series of postcards which are sold as souvenirs at the entrance to the cinema. I was interested in the relationship between my own experience (looking in from an outside entrance to the building, from which I could see the tables closest to its picture windows) and the visual information contained in the postcards. Now, what is happening in a city like Berlin is that the recent past maintains a presence through many symbols (the monuments to Russians fallen in World War II, the telecommunications tower, the wide boulevards) I am interest in the moment, right now, when these symbols? usages are changing very quickly. The old Café Moskau, where the communist elite used to pamper itself, is now a gay disco; the old Palace of the Republic, used for skateboard competitions. Although at first, these where spaces created to establish doctrines, today, with the rapid adjustment of these uses and symbols, they are producing new meanings, maintaining their nature as social places, for meeting or exchange.

Vicente Blanco was born in Cee (A Coruña),Spain, and graduated in Fine Arts at the Faculty of Pontevedra (University of Vigo). He has been awarded the following grants, among others, a scholarship to further his training at the CGU in Los Angeles (U.S.A.), a Generation 2000 project grant awarded by Caja Madrid and the Unión Fenosa Grant and Beca Endesa, which allowed him to live in Berlin. He has taken part in numerous group exhibitions, most notably in Transfer 2000-2001, which, following a spell at the CGAC, toured various Spanish and German cities, Monocanal at the MNCARS, in the year 2003, Enlaces at the Museo Patio Herreriano in Valladolid, in 2004, as well as in a variety of shows in 2006, such as, Urbanitas in MARCO (Vigo), ¿Viva pintura! In Salzburg (Austria) and 16 x 16, 16 proyectos de arte español, curated by María de Corral for ARCO?06. His main solo exhibitions were held at the CGAC in 2003 (Lo que se espera de nosotros) at the Espacio Uno of the Reina Sofía Museum ?MNCARS? in 2004 (Alguna vez pasa cuando estáis dormidos) and at the Elba benitez Gallery (Otra vez algo nuevo), 2006.

End of Level is a short animated piece, fusing 2D pixels with 3d animation. The grande battle between an street artist and art director progresses to the soundtrack of beats created with a Nintendo Gameboy. The pixelated men battle for supremacy through reproduction, subversion, adbusting and recuperation. Reconfiguring the city`s system of signs is an epic battle which will never end.

Victor Blanke was born in Stockholm, Sweden in 1980. A graduate of Central Saint Martins College of Art and Design and the Stockholm Filmschool, his work has been shown at the Stockholm Film Festival, the Subörb Festival and publications such as The Face and Adbusters Magazine. His commercial work includes numerous music videos and adverts for artists such as Paul McCartney, Shelly Poole, Håkan Lidbo and mutagene.

SPELL is a short video documenting the thoughts of a man who seems to be in a state between sleep and wakefulness. The sounds he hears within the space where he lives seem to invade his thoughts and get amplified. They mix with associative sounds from his past. Meanwhile the reality around him appears to deform at times. In this in-between world he tries to het a grip on his state, contemplating early beginnings but at the same time mocking his own state, the futility of actions and the daily rituals of existence. The images for this film were shot in the Doesburg Foundation in Meudon, during a residency in 2010 - 2011. The house, with it`s historic past bore many traces from history and the people that had stayed there. This absent presence was a motivating factor in making this film. The words of Franz Kafka speak for themselves and it was the strange mix of humour and despair that attracted me.

Biography Ansuya Blom Ansuya Blom works as an artist using the media of drawing and film. Her work focuses on the individual and the relation to the internal as well as the external world. ?The first person singular? is used by way of thinking about the position of the individual. Ansuya Blom is interested in the strategies this individual adopts in dealing with anxieties that are induced by alienation. In her films the world is seen through the protagonists` eyes and heard through their voices. Ansuya Blom`s work has been exhibited extensively in both galleries and museums in the Netherlands as well as abroad. Solo-exhibitions of her work have been held at Camden Art centre, London, Douglas Hyde Gallery in Dublin, and the Stedelijk Museum in Amsterdam. The Museum of Modern Art in New York has been among the venues where her films have been screened. She is an advisor at the Rijksakademie van beeldende kunsten in Amsterdam.

SYNOPSIS Hither come down on me Ansuya Blom 2007 Hither come down on me is the third and last film in the series ?Cowboys and Indians?. Just as in the two previous parts, Chapter Three and Nervous, anxiety is the main focus. It is through a ?touch by language? that experience is guided in an auditory way. In Chapter Three the view of the ?first person singular? is distorted through the experience of the space, while in Nervous the soothing environment of nature can be seen as a doubble negative, whereby it isboth familiar and the unfamiliar. In Hither come down on me anxiety is evoked through the confrontation with the external world of the city, quite literally what is outside the domestic. The protagonist experiences what he sees and hears as a direct form of communication, speaking directly to him and ordering him. As opposed to previous parts the main character can be seen, if only in a fragmentary way through the reflection of a mirror. He observes himself just as he experiences the outside world. The title of the film comes from an anonymous Native American poem, in which there is a plea for protection and change. In Hither come down on me the main character prepares himself mentally and physically for leaving his room, his controlled zone. His preparations consist of dressing meticulously. Everything is executed in a precise manner: buttoning a shirt, doing his cuffs, his trousers: a kind of mental ?warming up?. When the moment arrives to leave, a ritual is set in place in order to tame the situation. Once outside it is evening and he enters a world which is visually shadowy and auditorally dissociated. Language becomes more abstract, at times incomprehensible. The city becomes the voice speaking to him in a language into which he merges.

Ansuya Blom has been working as an artist since ?77, with drawing and film. In her work her focus is on the individual and his relation to his internal as well as the external world. ?The first person singular? is used by way of thinking about the individual and his relation to the world. In her films the world is seen through the protagonist?s eyes and heard through his voice. In her work Ansuya Blom?s interest lies within the strategies the individual adopts in order to deal with anxiety. Her work has been exhibited extensively in both galleries and museums in the Netherlands as well as abroad. Solo-exhibitions of her work including both drawing and film have held at Camden Art centre, London, Douglas Hyde Gallery in Dublin, and the Stedelijk Museum in Amsterdam. The Museum of Modern Art in New York has been among the venues where her films have been screened.

A short film based on the story by Robert Walser. He describes his state of mind, which floats somewhere between optimism and hopelessness. Thoughts are read out loud during a walk in the country. Slowly nature turns into inner nature.

Ansuya BLOM (Groningen 1956) studied from 1973-74 at the Royal Academy in The Hague and from 1974-76 at the Ateliers `63 in Haarlem. Her paintings have been put on show at the Stedelijk Museum in Amsterdam, among other museums. She has also taken part in various international group exhibitions.

A Video improvisation with two Kodak Ektagraphic III E Plus slide Projectors with pax and transpax; connection for external control, FM oscillators with light sensors, square wave generators, FM receivers, a video projector, a digital recorder and a video lens operated by Maria Blondeel; green incandescent lamps, different light bulbs, a fluorescent tube, microphones, pick ups and various electric devices performed by Michael Vorfeld. Recorded at Hyde Park Art Center, Outer Ear Festival of Sound, ESS, Chicago, Illinois USA 2002 Produced by Blondeel/Vorfeld 2005

As a performing duo, Blondeel/Vorfeld has been operative since 1996: one an electronic sound artist and the other a percussionist, one projecting light and the other using light sources almost as objects. What one hears and sees is a contrapuntal dialogue between light controlled square waves and analogue, electric sounds accompanying or accompanied by a visual happening of light projected onto and into light, bright white and incandescently coloured yellow, blue or red. Maria Blondeel is an intermedia artist based in Ghent, Belgium. She has made sonic light installations, and site-specific works for vehicles, telephone and radio, participated in concerts and performances in collaboration with musicians, and produced works for CD and video. Her work has been shown in galleries, museums and festivals in Europe, the U.S.A. and Asia. Michael Vorfeld, based in Berlin, is a musician and visual artist. He plays percussion and self designed stringed instruments and works in the field of experimental music, improvised music and sound art. Realisation of electro acoustic sound pieces. His visual work concentrates on the use of light. He realizes light installations and performances with light, often site specific and in combination with instrumental or electric sounds. His list of activities includes numerous concerts, performances and exhibitions in Europe, the USA, Asia and Australia.

`CONTINUE PLAY?` is part of an ongoing series of gaming inspired projects and presents to you the popular 80`s arcade classics `BREAK-OUT` `ELEKTRAGLIDE` and `PONG` with enhanced AV accompaniment. JAYGO BLOOM`S particular `gameplay` technique provides the structure and tempo for an alternative Audio Visual response, one that is constructed from equally misguided and randomly downloaded `home music tutorials`.

Glacis The film explores the remnants of the French bourgeoisie, a world slowly but inexorably undermined by the forces of acceleration and globalised finance capitalism. dividing the sequences are still frames taken from the history of French aviation, the developments of which were a particularly bourgeois pastime of the 18th and 19th centuries enabled by family industrial infrastructure. The notions of speed and acceleration associated both with flight and post industrial capital are contrasted to slowness and investment associated with bourgeois values and the old industrial elites. Self professed Bourgeois are filmed in their family (secondary) homes performing role playing games that they themselves have chosen. These sequences are followed by "cinematic" sequences designed by the performers and produced by the film maker. The French aviation threads that bookend the chapters are accompanied by a narrated voice and composed of a single frame image. That image degrades over time. The degradation of the image is a result of algorithmic scripting that obliterates the traditional notion of decay by performing in fast forward, 1,000 years of the opening and closing of a jpeg image until the image itself is degraded to the point of being unrecognisable. This process formally performs the undermining - by technologies - of the temporal weapon of tradition and manners mobilised in the project of bourgeois hegemony. Glacis is an ancient military term that denotes a field of view unimpeded by obstacles where the enemy other is clearly visible, figured against the nothingness.

Ramon Bloomberg: Biography: Born 1971 Sheffield, United Kingdom. French / British nationality. Worked extensively as a film editor and film director on projects from fiction to documentary to music video and commercial. Currently PHD candidate Art Research, Goldsmiths College, London.

An off-camera narrator is announcing the following: ?In Serbia, the Best man can ask for everything. He can even ask to cross the street on chairs.? A character brings along a pair of wooden chairs and begins exemplifying the unusual off-camera announcement by crossing the empty road on the two chairs. Having that done, the character exits the scene carrying the two chairs.

Florin Bobu is a visual artist and an independent curator. He graduated from the Faculty of Visual Arts and Design (A.K.I.) in Enschede (The Netherlands) in 2005 and has participated in a number of artistic events in The Netherlands, Germany, Belgium, France and Romania. Florin Bobu was born and lives in Tecuci, Romania. His interests in performance and video art remain linked with his beginnings in visual arts: photography. As a consequence, his artistic practice is systematically fragmentized into short actions that could easily remind of the actions of a photographer, especially a street photographer, but also relate to the ways in which one reacts in front of a complex situation. To deal with such situations mostly involves breaking them in less complicated parts which are dealt individually and successively.

Enregistrement de la mise en vente des droits de propriété et d`exploitation du verbe "avoir" à Drouot-Richelieu par Cornette-de-Saint-Cyr.

C?est au travers d?une attitude que l?oeuvre plurielle de Raphaël Boccanfuso trouve sa problématique d?ensemble, une attitude amusée et provocante qui met au défi toutes sortes de schémas référentiels. Son travail n?est pas d?ordre biologique, sa méthode relève pourtant d?un mode de processus viral. S?insinuant dans les failles de codes exigus, elle se plait à forcer les limites toujours trop marquées de systèmes de pensées étriqués. Si sa production peut être dérangeante, il faudrait l?assimiler à une rageante démangeaison plutôt qu?à une fatale pathologie. Car l?artiste n?a d?autre prétention ou revendication que celle d?affirmer sa liberté de création. Un slogan anarchiste clame qu?il faut mordre la main qui vous nourrit, pour sa part Raphaël Boccanfuso sait aussi remercier à outrance, il dit ainsi son indépendance avec une joyeuse dérision.

An intriguing, well-chosen collage of compelling moments from noir cinema, skillfully attuned to the social fantastic and the oneiric quality of the films. James Naremore, author of More Than Night: Film Noir in Its Contexts. An atlas of film gestures and Pathosformel: the montage - better the disassembly - isolates moments from the narrative and separates bodies from events, opening up to the unthinkable and the invisible of film noir. Ragtag, thus, becomes an immense archive of the imaginary that, far from being sequential and historical, becomes intensive and organic: a film-experience beyond film as such. Federico Rossin, film historian.

Giuseppe Boccassini is an Italian filmmaker mainly working in Germany and Italy. He graduated in film theory at the University of Bologna and film direction at The New University of Cinema and Television, Cinecittà, Rome. His work has been shown in several international film festivals and exhibitions, including the 79th Mostra Internazionale d'Arte Cinematografica, Venice, Italy FID Marseille, France, Edinburgh International Film Festival, Scotland, Ji.hlava International Documentary Film Festival, Czech Republic, Jerusalem IFF, Torino Film Festival, Italy, IndieLisboa, Portugal, FESTACURTAS BH, Brasil, Crossroads SF, USA, Avvistamenti, Italy, Punto de Vista, Spain, Trentino History Museum, Italy, Microscope Gallery, Brooklyn, NY, Pesaro Film Festival, Italy. Light Cone Paris distributes his entire film production. By transforming and manipulating various sources of archival material, his work reflects upon the notion of proximity in contemporary media. The director considers film as "a phallic conquerer that, folding in on itself, now flaccid deus ex machina, observes itself from the inside like a lysergic membrane that slowly founders between the folds of its material." His most recent collaborations include the film editing for Aldo Tambellini's solo exhibition Black Matters at ZKM Karlsruhe, Germany, and he is the artist for Chicago Film Archives' 2018 Media Mixer. He is in charge of programming at Fracto Experimental Film Encounter held yearly at Kunsthaus Acud, in the heart of Berlin.

"Kraft, Herrlichkeit" (Power, Glory) is the product of research on neo-conservative metaphors and ideology. It comments on a story by the contemporary German author Georg Klein, using and breaking the motifs of the story. The result is a disturbing fiction of glorified efficiency, flat hierarchies and the strong belief in the blessing of competition.

Sebastian Bodirsky, born in 1981, lives in Berlin. He is currently studying in the "Experimental Film" class of Professor Heinz Emigholz at the University of the Arts Berlin. He develops his film works based on reflections on knowledge, observation, and intervention.

"New Heifei" enstand 2007/08 nach einem mehrmonatigen Aufenthalt in Hefei, China. Der 10 minütige in schwarzweiß gedrehte 16mm Film verhandelt die Darstellung von radikaler wirtschaftlicher Prosperität und der von Ihr geformten Räume. Dabei gelangt ein filmästhethischer und erzählerischer Kanon zur neuerlichen Anwendung, wie er im europäischen Kino ¬ über den italienischen Neorealismus hinaus ¬ etwa in Antonionis 1961 gedrehten Film "La Notte" die scheinbaren Ränder der städtischen Landnahme und ihre BewohnerInnen zu ebenbürtigen Protagonisten eines sich abzeichnenden kapitalistischen Dramas machte. "New Heifei" ist ein Experiment, bei dem Ordnung und Funktion von Drehorten und Figuren im Film und die an sie verantworteten Informationen getauscht werden. Der für eine Ausstellung konzipierte Film besteht auf die Konventionen realistischer Bildsprache um die ¬ in diesem Fall zeitlich und räumlich versetzt stattfindenden ¬ gesellschaftlichen Aufbrüche zu beschreiben.

Hannes Böck wurde am 19. 12. 1974 in Wien geboren. Nach einer Ausbildung zum Fotografen studierte er Konzeptuelle Kunst bei Renée Green an der Akademie der Bildenden Künste, Wien, und Experimentelle Filmgestaltung bei Heinz Emigholz an der Udk Berlin. Er ist freischaffender Künstler und lebt in Wien.

A long time ago already the artist had already been planning to do something with the legendary dance scene from the movie "Saturday Night Fever". He decided to create a loop in which the dancer comes and goes again and again, a kind of Western derwish. He felt the urge to draw the dancer, as to create a more universal figure, so the choice of the classic animation technique was obvious. 1700 drawings were necessary to represent the shining dancer as sharp as the original. Then, giving the dancer an opaque silver colour, he retained only the essential, the moves. Because in the end, the iconographical élan of the movie is due to the fantastic choreography. The soundtrack is the original one, but played backwards. In this way the artist moves the synchronization without losing the beat and the delirious Bee Gees sound. Spots and stains in the image are part of the game. All this results in the creation of new accents. At times, letters appear, spelling the title "I am a star and I come and I go". This film may lead to a discussion about the meaning of success, or it can just be watched to enjoy the groove...

Bogaert?s films derive mostly from his own filmed material, from which he selects and creates 16 mm loops and videos. In recent years his films have often been based on icons from his childhood which he examines and defines in the present, as in "The Superfast Series", "A Study for Bruce" and "I am a star and I come and I go". The films usually lead to a series of drawings or objects which are exhibited together with the film. As for his technique, he always strives to use new combinations and applications of drawing and painting materials and even filming techniques. In his latest works he often uses the technique of animation.

The installation consists of two black and white video images, one video projector and two thin (2 mm) illuminated fibre lines. A large projection shows images of moving objects or people that are fixed in one place on the wall by means of a sophisticated tracking technique. This technique continuously shifts the frame of the video image in a way that the chosen object stays in one place. Thus, all movements are neutralized. Directly behind the projector a very small 4,7 inch screen shows a close-up of a moving eyeball, of which the pupil is fixed in the middle of the screen. A luminous wire is stretched across the exhibition room, between the fixed point of the projected image and the centre of the small eye pupil. The wire is a physical and stationary element in the exhibition room.

Peter Bogers’ (Netherlands, 1956) work engages the interplay of sound and image to create installation works dealing with questions around the understanding and perception of sound. Working with the themes of music, speech and sound Bogers questions the boundaries of these fields and their limits and access to communication. Through his constant interaction with sound, Bogers also examines the visual, spatial and conceptual understanding of the human body and its place within the moving image and experiential installation. Bogers was one of the first artists in the Netherlands to integrate moving image into his work. He began working with video in the 1980’s as a methodology to accompany and assist his performance work and has since developed a keen approach to the medium that functions as a tool to illuminate the otherwise imperceptible. Peter Bogers studied at the sculpture department at St. Joost Academy, Breda. He has exhibited widely and had solo exhibitions both in The Netherlands (at the Netherlands Media Art Institute and the Central Museum Utrecht, among other places) and internationally (including solo shows in Bremen, Marseille, Osnabrück, Pittsburgh and Stuttgart).

The Napoleon code, that influenced widely the European legislation, punishes the body with no clothes. While all seems to be permitted in the media, in the daily life, in Italia as anywhere else, there is still the « atti osceni in luogo pubblico ». Even after thirty years, the performances by Abramovitz naked can?t be considered as natural. That?s about what a small group of students of the Berera was talking about in March and April 2004 at the café Victoria of Milan, (a bar which was hosen of course because of its name). They were stimulated by Foed Ben Affane, a young artist who starts to get interested into the conceptual world. The occasion of a great exhibition on the nude body in Bologna (Il nudo fra ideale e realtà under Peter Weiermeier direction) made born the demand to face one another and to meet, to look for the contact, at least, with the art world and the audience. And this is how that the 8th of June Foed walks nude among the paintings and the sculptures of Bologna, among its audience shared between in disinterest (simulated?) and the merry participation. And, on June 9th, he does it again with the half authorization of the curator and no without problems at the cloakroom where he wanted to let his clothes. The video presents a montage of these two days and two parts of interviews of Foed at the Victoria Bar

Kika Bohr is born in Geneva in 1956 et grew up in Milan. Daughter of artists, she accomplished at first literature studies and works as translator. Since 1998, she realizes portraits with oil painting, then sculptures in different materials (notably copper). She takes lessons at the Sculpture Academy of Brera.

"Surface Trouble" is a screening enwiden on two screens. The artist proceed to a succession before a dusty mirror. The viewer sight is torn appart between the soft and mysterious opaque of the image on the left and irresitible lure for the dformed right hand image, caricatured by special effets. The high electronic music by David Perchey adds in a gloomy way but effective to this disturbing team.

My performances breath through video its plastic and luminous dimension. The most I alone before the camera, the most I?m constrained to evolve in its still frame. In this intimate, I?m doing a strangely disturbing exercise; the physical relation with the object. Letting the object in its first function, I let myself surprised and build a sexual choreography of manipulation. My body is sculpted by the matter of the object which lay on my shoulder, that gets in my neck, throws on my face, distorts my expression, slashes me violently. For the editing, I use special effects as the backside and the slowdown, surrealist cuts, the proper sound of the object or even a strongly present music in order to penetrate directly in the lyric and poetic universe that inhabit me. Overtaken by my senses and double senses, the man crops up. I?m the puppet of my unconscious. In this work, I duplicate myself in a woman-object, an muse carrying messages.

Northern Germany. An ageing hippie couple endures an isolated, ghostly existence in an old country house. A boy wanders aimlessly through a forest, building a lair for himself. And a story about a never-ending escape from catastrophe. The Revenants - a film about desire, loss, and endlessly returning. A ghost story.

Andreas Bolm was born in Cologne in Germany. As a musician and sound technician he was drawn to Manchester, UK, where he started to experiment with photography and video. He began studying film at FAMU, Prague and at HFF in Munich. Following invitations to Cannes and other festivals, he was granted a bursary by the Cinefondation Residence Festival de Cannes in 2009 which allowed him to develop DIE WIEDERGÄNGER.

Zoli earns his livelihood abroad skinning chinchillas in a Danish fur factory. The film begins with the story of Zoli's return to the periphery, to the small Hungarian village of Jaba. Zoli's family, settled Romas, struggle to earn their living hiring themselves out as day-labourers. For Zoli, Jaba has no work and no prospects, so he kills time and waits. Standstill. "Jaba" tells the story of survival in one of Europe's poorest regions. A movie about the outsiders. The protagonists portray their own lives. A film that is as raw and poetic as the people themselves.

Andreas Bolm was born in Cologne, Germany, in 1971. After film and theatre science studies at the FU-Berlin, he moved to Hungary in 1996 where he had lived in his childhood. There he shot his first documentary "Gradually we hit the target". In 1997 he enrolled for a course at the film academy FAMU in Prague. Since 1999 Bolm has been a student at the documentary department of the Hochschule für Fernsehen und Film München, where he has directed the short documentaries "Rózsa" and "The Sleepers", the latter presented at Festival International du film Documentaire de Marseille in 2003 and Internationale Kurzfilmtage Oberhausen, IFF Rotterdam.

An old building in Venice hosts an exhibition, a visitor walks through empty rooms discovering a fictionalized architectural space that functions like an abandoned theatre set. While a city that is slowly drowning floods you with its obsessive presence on and off- screen, imagination can’t exceed reality. Inspired by Alexander Kluge’s oeuvre and his constellation of film and video works, the metanarrative framework of this exploration attempts to de-construct the subjective experience and liberate the cinematic energy from the horror vacui of the display.

Pia Bolognesi (PhD, b. 1981) is an independent curator, art historian and artist based in Berlin. With a background in Performing Arts, Film Theory and Visual and Environmental Studies, she has organized large scale installations, exhibitions and multidisciplinary projects for institutions including the Tate Modern London, MoMA New York, Centre Pompidou Paris, FNC Montreal, 56th Venice Biennale. Her works and installations have been presented at Wiels Bruxelles, Musée des Beaux-Arts de Montréal, Kyoto and Tokyo Universities of Art and Design, Deutsche KunstHalle Berlin and Triennale di Milano, among others. Giulio Bursi (PhD, b. 1978) is an independent film curator, dramaturg and film-maker based in Berlin. Educated in Film Theory, he has been assistant director of Jean-Marie Straub and Danièle Huillet. He realized a documentary feature (J’écoute!, 2007) and different shorts and installations collaborating with international institutions and film festivals like Austrian Film Museum, 56th Venice Biennale, MoMA To Save and Project New York, Turin Film Festival, Il Cinema Ritrovato Bologna, Berlinale, Festival du Nouveau Cinéma Montreal, GAM Turin. Pia Bolognesi and Giulio Bursi work together as Atelier Impopulaire since 2012. Their installations have been exhibited at Centre Pompidou, La Triennale di Milano, Kunsthaus Bregenz, GAM Santiago, The Mix Place, West Bund Art Space and Power Station of Art in Shanghai, Volksbühne Berlin, ZKM Karlsruhe, Tate Modern, Berlin Gallery Weekend, Rotterdam Film Festival. Atelier Impopulaire has developed site-specific projects internationally, collaborating with artists like Aldo Tambellini, Dries Van Noten, Morgan Fisher, Danièle Huillet & Jean-Marie Straub, Peter Tscherkassky, Margaret Honda, Experimental Jetset, Christopher Williams, Alexander Kluge.

Avant l’envol propose une exploration de la ville d’Abidjan par le biais de son architecture d’état. Le film, précis et minimal, offre un état des lieux quasi chronologique de l’architecture moderniste dans la principale ville ivoirienne tout en soulignant la monumentalité et la qualité architecturale de ces édifices construits pendant les années euphoriques et visionnaires qui suivent l’indépendance. Dans ces architectures venues d’ailleurs le temps semble être suspendu. On y découvre parfois des formes qui traduisent le désir d’intégration de la culture vernaculaire mais qui trahissent, de plus en plus au fil du temps, une inadaptation au climat local. L’attention est portée aux usagers et à la manière dont ils s’approprient ces espaces et leur donnent vie à travers la chorégraphie des gestes, des déplacements, des interactions, des utilisations informelles et autres détournements qui s’y opèrent. Avant l’envol questionne ce patrimoine architectural riche, ambitieux autant que dystopique, interroge le sens et le devenir de cet héritage post-colonial.

Laurence Bonvin est une réalisatrice et photographe suisse ; elle vit entre Berlin et Genève. Son approche de nature documentaire est centrée sur des phénomènes de transformation du paysage urbain et naturel, de l’environnement béti et humain. Son travail photographique a fait l’objet de trois monographies, de nombreuses publications et expositions en Suisse et internationalement. Récemment Bonvin a réalisé trois court-métrages documentaires : After Vegas (2013) avec Stéphane Degoutin ; Sounds of Blikkiesdorp (2014) et Avant ‘envol (2016), projeté en première internationale à la Berlinale et lauréat du prix de la meilleure caméra au Kurzfilmtage de Winterthur.

Sounds of Blikkiesdorp glimpses into everyday life in Blikkiesdorp, a newly built temporary housing area in the far periphery of Cape Town. Erected by the municipality, it is occupied since 2008 by people from very different backgrounds, some who were previously living in a nearby squatter’s camp, some having been forcefully moved from the city to this hostile and isolated place. Despite the harsh living conditions and the uncertainty of their future, the people we come across do all their best to improve their house, to make a living and keep their spirits high. In a place of informality and resourcefulness, music becomes the link between the structures, the alleys and the people: the real soundtrack for Blikkiesdorp.

Laurence Bonvin is a documentary photographer and artist whose work deal with landscape, architecture, public space, informality, urban transformations and peripheries at large. She has extensively exhibited her work in Switzerland and internationally. She is the author of four monographies. Sounds of Blikkiesdorp is her second short film.

Las Vegas fait partie des zones les plus touchées par la crise aux États-Unis. Le film traverse ce paysage de ruines du présent, vide qui émiette les quartiers résidentiels, chantiers arrêtés, paysages en suspens,banlieues ralenties, souterrains habités par des sans-abris... nous y croisons des personnages improbables, suspendus entre deux mondes. Il propose en creux une métaphore des temps d`incertitude que traverse le monde contemporain.

Laurence Bonvin est une artiste et photographe documentaire dont le travail touche au paysage, à l?architecture, l?espace public, l?informalité, les transformations des environnements urbains et des périphéries en général. Elle est l`auteur de quatre monographies et a largement exposé son travail en Suisse et internationalement. After Vegas est son premier film. Stéphane Degoutin est un artiste et théoricien, co-fondateur du projet Nogo voyages et du laboratoire de recherche LOPH. Ses champs de recherche sont l?humanité après l?homme, la ville après l?espace public, l?architecture après le plaisir, le Umwelt de l?information. Il a co-réalisé avec Gwenola Wagon "Dance Party in Iraq" (2012), "Cyborgs in the Mist" (2011) and "Mute" (2011).