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Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.

Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

The copy-paste mentality of the media and its audience is reflected in the film Beyond Sunset & Sunrise; a mosaic-film in which Broersen & Lukács connect scripts and characters from classic Hollywood movies such as ?Sunset Boulevard?, ?Badlands?, ?Wild at Heart?, ?The Last Picture Show? and ?All About Eve?, a range of films in which the protagonists struggle with their aspirations. Aspirations that eventually turn destructive. Shot entirely in Hollywood, this fictional network of a dream chasing community merges with the reality facing the ambitious actors; a no-man?s land between Los Angeles and Hollywood. A place where dreams define reality, and the dream is defined by reality.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental features of today`s society. The work of Broersen & Lukács is characterized by a quest for the sources of contemporary visual culture. With intricate layers of depersonalization, re-mediation and re-interpretation they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary society. Broersen & Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Centre Pompidou Paris (FR), MUHKA Gent (BE), Coca in Torun (PL), Kunsthalle Tallinn (EST) and the Stedelijk Museum Amsterdam. Their films have been shown at film festivals worldwide including LAForum in Los Angeles (USA), Experimenta Media Arts Biennale (AUS), Kassel Dokumentar Film Festival (DE), Paris Rencontres (FR, ESP, DE), International Film Festival Rotterdam and the IDFA in Amsterdam (NL). Broersen & Lukács have been invited to participate in the 19th Sydney Biennale, 2014.

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.

Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

The copy-paste mentality of the media and its audience is reflected in the film Beyond Sunset & Sunrise; a mosaic-film in which Broersen & Lukács connect scripts and characters from classic Hollywood movies such as ?Sunset Boulevard?, ?Badlands?, ?Wild at Heart?, ?The Last Picture Show? and ?All About Eve?, a range of films in which the protagonists struggle with their aspirations. Aspirations that eventually turn destructive. Shot entirely in Hollywood, this fictional network of a dream chasing community merges with the reality facing the ambitious actors; a no-man?s land between Los Angeles and Hollywood. A place where dreams define reality, and the dream is defined by reality.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental features of today`s society. The work of Broersen & Lukács is characterized by a quest for the sources of contemporary visual culture. With intricate layers of depersonalization, re-mediation and re-interpretation they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary society. Broersen & Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Centre Pompidou Paris (FR), MUHKA Gent (BE), Coca in Torun (PL), Kunsthalle Tallinn (EST) and the Stedelijk Museum Amsterdam. Their films have been shown at film festivals worldwide including LAForum in Los Angeles (USA), Experimenta Media Arts Biennale (AUS), Kassel Dokumentar Film Festival (DE), Paris Rencontres (FR, ESP, DE), International Film Festival Rotterdam and the IDFA in Amsterdam (NL). Broersen & Lukács have been invited to participate in the 19th Sydney Biennale, 2014.

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

David Brognon & Stéphanie Rollin ont représenté l’abandon de l'activité et l’interruption brutale du temps qui en découle, par des images de l’usine désertée, d’horloges figées, et des enfants des travailleurs cherchant un nouveau lieu de transmission.

Lancé dans une course poursuite avec le soleil initiée en 2012 dans « The Most Beautiful Attempt » Anton, 25 ans maintenant, pousse toujours inlassablement des cristaux de sel pour les tenir dans la lumière.

David Brognon, né en 1978 à Messancy (B), et Stéphanie Rollin, née en 1980 à Luxembourg (L), vivent et travaillent à Paris et Luxembourg. Les deux artistes démarrent leur collaboration en 2006, après leur rencontre au MUDAM de Luxembourg. Ensemble, ils développent un travail singulier (installations, sculptures-objets, vidéos, performances, photos), dont l’humain est le matériau principal et la rencontre le moteur. A partir de situations réelles et le plus souvent complexes, ils donnent corps à l’expérience du temps, de la durée ou de l’attente, en prise directe avec la matérialité d’un territoire et de ses limites – en particulier dans le contexte de situations d’enfermement. Attentifs à la marge plutôt qu’au centre, les artistes s’intéressent aux interstices flous où la société cantonne celles et ceux qu’elle marginalise ou invisibilise. « Notre univers, c’est la périphérie, c’est cet espace-temps qu’on ne veut pas voir ».

Standing in front of a window, a young boy methodically repeats the same action: watching his shadow drawn by the sun, placing a glass marble on the dividing line between light and shade, on the outline of the shape of his body. A number of marbles in a line suggest the repetition of this solitary ritual, month after month, year after year. This simple action represents the literal and painstaking measurement of the passing of time, the embodiment of an ancient gnomon. Cosmic time versus living time. Between a child?s game and first seriousness born of an awareness of the passing of time, this repeated action retains its poetry and its mystery. Is the child trying to check the relentless passage of time by placing this trivial object on the outline of his silhouette? Does he, like Tom Thumb, wish to mark each stage of his journey through life, so that he can remember it better or create his own future narrative? The film depicts a journey of discovery, a sort of simple yet sublime parable of our own temporality and the vanity of our actions. Hélène Guenin, Director, Mamac, Nice

Lancé dans une course poursuite avec le soleil initiée en 2012 dans « The Most Beautiful Attempt » Anton, 25 ans maintenant, pousse toujours inlassablement des cristaux de sel pour les tenir dans la lumière.

David Brognon, né en 1978 à Messancy (B), et Stéphanie Rollin, née en 1980 à Luxembourg (L), vivent et travaillent à Paris et Luxembourg. Les deux artistes démarrent leur collaboration en 2006, après leur rencontre au MUDAM de Luxembourg. Ensemble, ils développent un travail singulier (installations, sculptures-objets, vidéos, performances, photos), dont l’humain est le matériau principal et la rencontre le moteur. A partir de situations réelles et le plus souvent complexes, ils donnent corps à l’expérience du temps, de la durée ou de l’attente, en prise directe avec la matérialité d’un territoire et de ses limites – en particulier dans le contexte de situations d’enfermement. Attentifs à la marge plutôt qu’au centre, les artistes s’intéressent aux interstices flous où la société cantonne celles et ceux qu’elle marginalise ou invisibilise. « Notre univers, c’est la périphérie, c’est cet espace-temps qu’on ne veut pas voir ».

Standing in front of a window, a young boy methodically repeats the same action: watching his shadow drawn by the sun, placing a glass marble on the dividing line between light and shade, on the outline of the shape of his body. A number of marbles in a line suggest the repetition of this solitary ritual, month after month, year after year. This simple action represents the literal and painstaking measurement of the passing of time, the embodiment of an ancient gnomon. Cosmic time versus living time. Between a child?s game and first seriousness born of an awareness of the passing of time, this repeated action retains its poetry and its mystery. Is the child trying to check the relentless passage of time by placing this trivial object on the outline of his silhouette? Does he, like Tom Thumb, wish to mark each stage of his journey through life, so that he can remember it better or create his own future narrative? The film depicts a journey of discovery, a sort of simple yet sublime parable of our own temporality and the vanity of our actions. Hélène Guenin, Director, Mamac, Nice

b0mb is an online generative video, renewed at each viewing and accessible via a dedicated website. With an intense rhythm, it presents a montage of hundreds of images of all kinds from the internet, displayed on a musical soundtrack where one can hear the voice of Gregory Corso reading his poem Bomb (1958). Declaration of love to the most terrible technology and metaphor of human self-destructive nature, the poem has a wide variety of lexical fields giving it an almost universal dimension. Figure of the Beat Generation, Corso seeks to produce here a poetry where the sentences would be without perspective, building his text via a juxtaposition of keywords “against” each other. The artists then performed a work of “writing reduction”, filtering and rewriting the poem in order to translate its content into queries for search engine such as Google Image. Each image visible in b0mb thus comes automatically from the result of one of these queries, selected according to popularity algorithms and displayed synchronously with the stated text, on a predefined editing. If the duration and the sound remain fixed, the images are renewed on each viewing, evolving little by little in the time, over the news. Because of the great diversity of subjects covered in the poem and the heterogeneous nature of the images (amateur photographs, commercials, cliparts, press, definition variations, etc.), the work reveals a kind of snapshot of web culture. By a frantic sequence of indifferently innocuous, beautiful or terrible images, they also account for the violence that can emerge from it.

Born in 1984 and 1982 in France, Émilie Brout & Maxime Marion live and work in Paris. After studying at ENSA Nancy and ESA in Aix-en-Provence, they joined for two years the EnsadLab research laboratory of the Ecole Nationale Supérieure des Arts Décoratifs in Paris, where their collaboration began. Their work was awarded by the François Schneider Foundation Prize (2011), the Arte Laguna Digital Art Prize (2014) and the Sciences Po Public Prize for Contemporary Art (2019), and is part of the FRAC Ile-de-France, Aquitaine and Poitou-Charentes collections. It has been exhibited in France and abroad: MAC VAL, Vitry-sur-Seine; Cité de la Céramique, Sèvres; IAC Villeurbanne; FRAC Haute-Normandie, Rouen; Base sous-marine de Bordeaux; 5th Moscow Biennale for Young Art; Museum of Modern and Contemporary Art, Rijeka; Carroll / Fletcher, London; The Loft / Servais Family Collection, Brussels; Frederic de Goldschmidt Collection, Brussels; OCAT Shenzhen; Daegu Art Museum; Kunstraum LLC, New York; Redline Contemporary Art Center, Denver. They recently benefited from solo exhibitions at La Chaufferie, Strasbourg (2019, 22.48 m² gallery, Paris (2019), Villa du Parc, Annemasse (2018), Pori Art Museum, Pori, Finland (2018) and Steve Turner Gallery, Los Angeles, United States (2017). They will participate in the Kunsthal Gent Development Programme in 2020.

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.

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.

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.

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.

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.

?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.

A Visitor, 2017, takes as a starting point the modernisation of a somewhat neglected memorial site at a former mass killing site in Germany. The video documents the replacement of older information panels and the changes to the landscape over an extended period of time. The video also draws on both a chance encounter with a beekeeper sent to contain and collect a “ stray ” swarm of honey bees at the site, and an archive interview conducted by historians at the nearby home of Maria Seidenberger. Seidenberger was a teenager at the time of the mass killings. She secretly helped concentration camp prisoners to smuggle and hide items that included clandestine photographs, letters, a heart and a death mask. The emerging portrait of the site exposes a multiplicity of narratives and reflects on themes such as subversion, guilt and remembrance. The persistence of material objects is questioned while resisting a linear view of history and memory.

Jamie Buckley is an artist who is originally from Kerry, Ireland but is now based in Munich, Germany. He completed an MFA at the University of Ulster, Belfast in 2012. Screenings and exhibitions include: LUX, London (2018); AMINI, Belfast (2017, 2015); Rencontres Internationales, Paris/Berlin (2014, 2012); Golden Thread Gallery, Belfast (2013); Bloomberg New Contemporaries, Institute of Contemporary Art, London and Liverpool Biennial, Liverpool (2012).

DORF is the second film in a continuing series that concentrates on the grounds of the 1972 Munich Olympic Games. It is informed by a practice that is rooted in contemporary visual art but which draws on documentary filmmaking strategies. The film points to the site a few months after the events of ’72. This was the transitional “ghost town” that existed before the more permanent residents moved in. The site is also shown at an unspecified but possibly contemporary time, when it is a place seemingly full of life. The film clips act as spacial and temporal coordinates that are assembled as a sequence of ordered pairs. Themes that interest me are evident, such as migration, residential space, and the absence of spectacle. A narrative is not explicitly dictated, instead it is allowed to be unpacked by the viewer. The persistence of material objects is brought into question.

Jamie Buckley (b.1980) is an Irish artist based in Munich. He completed an MFA in 2012 with First Class Honours at the University of Ulster, Belfast. In 2005 he completed a BA in Fine Art at the Limerick School of Art and Design with First Class Honours. His work was selected for “Bloomberg New Contemporaries 2012” and was then shown as part of the Liverpool Biennial and at the ICA in London. His work was shown at Rencontres Internationales in Paris in December 2012 and in Berlin in June 2013. His work was selected for the Aesthetica Short Film Festival and longlisted for the Aesthetica Art Prize.

"MUC 72" sits somewhere between lens based contemporary art and documentary film-making. Two temporal positions from one location are represented; one from the time of the Munich Olympics in 1972, the other a contemporary view of the ?Olympic Village?. The work explores the slippage between these different positions and points to issues regarding memory while refusing to represent the spectacular, the iconic.

Jamie Buckley (b.1980) is an Irish artist who lives and works in Munich. He completed a Master of Fine Art (MFA) in June 2012 with First Class Honours at the University of Ulster in Belfast. In 2005 he completed a BA in Fine Art at the Limerick School of Art and Design with First Class Honours. Buckley works predominantly in digital video. His works are often installed as single or multi-channel projections. Navigating significant historical locations and the memory attached to them, Buckley questions the position and formulation of their representation in terms of the hidden driving motives informed by political and social realities. He has exhibited both nationally and internationally; most recently his work was shown at Bloomberg New Contemporaries as part of the Liverpool Biennial 2012.

The project that Dorota Buczkowska develops does unveil only with a lot of attention; the multiplicity of the means and the treatments that populates this work could blur the apprehension. Fain physical, carnal, sometime close to morbid, it can also be decline in light figures, minimal, images of mist where balloon vanishing. The formal treatments, essentially videos, carving and drawing, doesn?t always belong to the same universe, they might be almost clumsy carving stroke, somehow thick drawing strokes, or images almost stills where motion is imperceptible. The coherence of such a project will so forth easily flew : this appearing dissolution can b explain maybe by what does the work by Dorota Buczkowska is nourished by the real, develops according to it, a priori without defined intention, with no worries to realize an idea or a starting project. A profusion of figures and sensations dwell and animate this work. These patterns reappear regularly there : the body, the organic, the treaty, the liberty that belongs maybe a bit more to Eastern Europe countries from which the artist comes from. The traffic : these of the corporal liquids, the relations setups with those who habit them or some hydraulic construction, clumsy or imaginary. These schemes falsely techniques, clumsy or imaginary. As an effort to understand, what would happen in it. As ones would play to master the elements, or at least, to continue the illusion. Some red spots that evolve in a kind of French polish, that gather and disappear ? do again. The odd ballet of a man who comes and raptor which wings are open for nothing. There is a lot of fragility in these images, a great vulnerability that emerges recklessly, more or less discretely, with more or less violence or incarnation. If ones should have to nominate a common denominator to all these images, this would be this fluidity that habits them: sings of life, movement?s core, its also the one that can flourish: factor of life as factor of lack, it can drive to things disappearance. These images seems to recall that there is in the beings themselves, a movement that could disappear. Same thing in the natural elements: the wind that carries away, the mist that fades, the ice that melts. Dorota Buckzkowska was then, looking for, by the image, creating this just movement in extra where ones grows the illusion to master it, to posses it, to understand it. The desire to appropriate or to fix. While measuring it, but as if done with closed eyes, vanity. (Corinne Cherpantier)

DOROTA BUCZKOWSKA Education 2003-2004 Scholarship in Centre National des Arts Plastiques Villa Arson, Nice, France 1999-2002 Academy of Fine Arts in Warsaw, studies at the Department of Sculpture in Professor G. Kowalski Studio. 1998-1999 University of Warsaw, Gender Studies 1998 Diploma of Academy of Fine Arts in Warsaw 1991-1998 Academy of Fine Arts in Warsaw, Conservation and Restoration of Art GRANTS & RESIDENCES ( 2001-2004 ) 2005 Artist in Residence, Center for Contemporary Art, Synagogue of Delme, France 2004 Artist in Residence, Bundeskanzleramt- Federal Chancellery, Wien, Austria 2003 French Scholarship in Centre National des Arts Plastiques Villa Arson, Nice 2002 Nominee of the International Photographic Exhibition, Lutsine, Paris 2000 Silver Prize for Sculpture, IX International Lace Biennale Contemporary Art, Bruxelles, Belgium EXHIBITIONS IN PREPARATION ( 2005-2006 ) 2005-10 Collective Show, Vienna International Apartment, Turku, Finlande 2006-02 Projetion video, Lokal_30, Varsovie 2006-05 Area 54 Gallery, Wien, Austria GROUP EXHIBITIONS 2005 `But the Exciting Aspect is to?` Gallery AREA53 Vienna, Autriche 2005 `Forum de l`Image`, Les Abattoirs- Museum of Modern Art, Toulouse, France 2005 `50e Salon Européen des jeunes Créateurs`, Montrouge, France 2005 ART Poznan, National Art Fair, Poznan, Pologne 2005 `CLABCUBE`, video projction, Center for Contemporary Art, CSW, Warsaw 2005 `Corps & Âmes`, Art Vidéo Polonais au Centre d`Art le Parvis, K.01, Pau, France 2004 `Affinités électives`, Centre départemental d`art contemporain Cimaise et portique, Albi, France 2004 Neighbors to neighbors, Birthday installation, Opened studios, Warsaw 2004 Photographies of sculptors, video, Krolikarnia National Museum, Warsaw 2004 Circulation, sculpture and graphics, Maison d`artists, Charenton, France 2004 Birthday installation, Art Center Albi, France 2003 Je t`aime de loin, Aorta, installation, , Polishe Institut ,Paris 2002 Everyday death, video-photo installation, DAP Gallery `Supermarket of Art` Warsaw 2002 Serie of photographies, Lutsine exhibition at the Academy of Fine Arts, Paris 2002 Systems Circulation, installation and photographie, Falaises, Paris 2002 To tame video-photo installation,novatr.pl, festival of young art, Bunkier Sztuki, Cracow 2002 Concentration, sculpture `Mia100 Kobiet Festival` ,Warsaw 2002 video -photo instalation To tame Capitol, Arles, France 2001 Participation in the group instalation` Face to` Rauma, Finland,(sculpture) 2001 Angelus popularis, kinetic sculptural installation, `Mia100 Kobiet Festival` Warsaw 2001 sculptur and photography Rencontres Internationales de la Photographie, Arles, France 2001 The IXth International Biennale de la Dentelle, Heidelberg, Germany, (sculpture) 2000 IX th International Biennale de la Dantelle, Bruxelles, Belgium,(sculpture) 2000 Krolikarnia National Museum, Warsaw, Exhibition of Decorativ Art , `Ulan` (sculptures) 2000 DAP Gallery, `Supermarket of Art` Warsaw, (sculpture) 1999 The VIIIth International Lace Biennal-Contemporary Art, Heidelberg,Germany, (sculpture) 1999 The VIIIth International Biennale de la Dantelle ,Bruxelles, Belgium, (sculpture) Individual exhibitions 2001 Art New Media Gallery, Warsaw, (video) 2001 Gallery Aux Falaises, Paris, (sculpture instalation) PUBLIC & PRIVATE COLLECTIONS (2000-2004) 2004 Graphic, City Contemporary Art Collection, Wien, Austria 2004 Drawing, private collection, Wien, Austria 2002 sculpture, private collection, Paris 2000 sculpture, private collection, Bruxelles