Catalogue > List by artist

A surreal look at the remnants of Socialist East Germany. Told by a double of ex-president Erich Honecker, two ex-border guards (one from the east, one from the west) who photographed each other over the fence for 18 years, and a man with a dream to rebuild his own version of the GDR in a bleak East German town with a 70% unemployment rate. This film offers a complex insight into the confused aftermath of a vanished country.

Lenka trained as an artist at Central St. Martins. Upon graduating she left England for Berlin where she worked as a projectionist and ran a gallery of contemporary art. Her first film; "Qaeda, quality, question, quickly, quickly, quiet", an alphabetical re-arrangement of President Bush`s "Axis of Evil" speech, has been shown internationally and the soundtrack has been released as a limited edition 12" by Accidental Records. She has exhibited in and been curator of exhibitions around the world, and has recently collaborated with musician Matthew Herbert and choreographer Rafael Bonachela on two video performances. Her graduation film "Zweifel" (doubt), a surreal look at the remnants of East Germany, has been shown in the Czech Republic, Germany, the Ukraine, and Lebanon. She is currently working on a photo document of North Korea and teaching Moving Image at St. Martins School of Art in London.

?The recent work by Claude Closky is interested in hyper consumption of signs and particularly in advertising signs maong which we shall include easily the graphic vocabulary of economy, as much as we accept its signification, tis ability of representation of an efficient reality, erasing behind a entertaining abstraction, which produces a tapestry effect. Closky values those signs caring only about enunciation of significants, and their functions spilling acroos to reality, making disappear every message for a decorative pattern, which infinity of variations produce nothing but a unwary reproduction of the same.Flux uses in a simple way, reduced to water down logotype of herniated form an modernist geometric abstraction (circle and lines), one of these characteristic patterns of the contemporary economy, consisting to represent their shifting, materials and non material, between masses. Extracting this flood of all intentions and all contexts, CLosky make their movements intransitives until the absurd, but also as they rise in value, without it to be questioned, neither suspected, the notions of mobility, adaptability, flexibility? Over the plain surface of spheres and vectors, the fluidity of their quiet animation, violence shows through a reality wisely erased of these representations invariably positive: violence of fading of causes and possible consequences of these exchanges.? François Piron, March 2004 Courtesy www.art-netart.com

Claude CLosky lives in Paris. He works with different media such as video, photography, internet or drawings? He exhibited at the Arnolfini Gallery, Bristol (2002), to the Bass Museum, Miami 2005, at the Bunkamura Gallery of Tokyo, Japan (1999), at the Busan MoMA, Busan (2005), at the Castello di Rivoli (1996), at the CCA, Glasgow (1996), at CCAC, San Francisco (2001), at the CGC, Genève (1994), at the Centre Pompidou, Paris (1993, 2000, 2001, 2002), at the fondations Cartier, Paris (2001), la Caixa, Lleida (2004), Tarragona, Girona (2005), Mirò, Barcelone (2004), Olivetti, Rome (2002), at the Fotomuseum, Winterthur (2001), at the GEM, La Haye, at the Location One, New York (2003), at the Ludwig Museum, Cologne (2002, 2005), at the Migros Museum, Zürich (2002), at the Moderna Galerija, Ljubljana (2000), at the Musée d`art moderne de la Ville de Paris (ARC) (1992, 2000), at the Musée d`art moderne Grand-Duc Jean, Luxembourg (2002), at the Museum of Contemporary Art, Herzliya (1997), à l`Oca, Sao Paulo (2001), à la Schirn Kunsthalle, Francfort (2002), à la Tate Liverpool (2001, 2003), etc. He took part in the Biennales of Lyon (1995), Rotterdam (photo, 2003), Sharjah (2005), Sydney (1996), Taïwan (2000), Valence (2001),Venise (2001), etc? He?s presented by the galleries Mehdi Chouakri, Berlin - Laurent Godin, Paris - Edward Mitterrand, Genève - Nicola-Fornello, Prato, Turin.

Closky does not decode just for fun. He doesn?t reformulate the signs of consumption because he enjoys criticizing. In his nihilist and desperate way, he puts in doubt the very possibility of communicating anything to anyone. In his works, the relationships that characterize the elements used count more than the content. He therefore does not take an interest in introspection, nor in singular stories, but rather in the often poor, stereotypical, and repetitive relationships with our mental and physical environment that we create. Far from expressing something personal, the function + 1 is one of the commonplaces of arithmetical thought. We learn to add once we know by heart the sequence of numbers. The addition of one unit constitutes an elementary operation whose result is known in advance. No intervention of chance or emotion could shake the rules of this quite ancient game. To make this point and expose the automatism of thought and behavior, Claude Closky turns to familiar technological tools: a computer, a screen, a mouse. In a rather elementary way, the screen gives a uniformly light blue background. In the center, + 1 is inscribed in a rectangle. The disjunction between the sophisticated mechanisms that are set in motion and the effect, which is both simple and tautological, that the user attains by clicking + 1, sends the user into a state of unease. Why, and for what desired effect, did (s)he just click once, or several times in a row? Entirely in line with the inscribed formula, the result holds no surprise. The number goes up by one unit with each new click. It all began with the number one, one day in January 2000. Since then, the multi-digit number that appears on the screen is nothing more than the sum of all the previous clicks. In a seemingly naive way, Claude Closky takes over the commonplaces of artistic thought. The dream of interactivity, which publicists and cultural mediators hold so dear, is put to the test in a singular way. With + 1, Closky brings about a conceptual, minimalist work, accessible to anyone who chooses to engage with it, from any computer that is connected to the internet.

what will be will be

On that day in Paris the artist was cold, following a passer-by. The mailbox is visible from the street: it belongs to a very discreet and resilient Irish author who has been dead for a long time, but the mailbox is still there as if waiting for more mail, that's what it looks like. It is said that he gave out his sweaters when one was cold.

Pierre Yves Clouin's video works have been broadcast on: Arte, VPRO Amsterdam, ADD-TV Manhattan and Canal+. They have been shown at: the Bauhaus Dessau Foundation, Oxford Museum of Modern Art, BFI London, San Francisco Cinematheque, Philadelphia Museum of Art, Dublin Art House, Paula Cooper, Mexico City's Museo Tamayo Arte Contemporáneo, Sao Paulo Museum of Image and Sound, Anthology Film Archives, Chicago Filmmakers, Pleasure Dome Toronto, Forum des Image Paris, Smart Project Space Amsterdam, Podewill Berlin, Hong Kong Space Museum, Guggenheim Bilbao, Art Basel, Museum of Africa Johannesburg, Buenos Aires University, Laval Québec, Concordia Montréal, Cornell, Harward, Yale, San Francisco Art Institute, Museum of Contemporary Art of Rosario Argentina, Museum of Modern Art Lille-Metropole, Pro Arte Institute in St. Petersburg, and the Museum van Hedendaagse Kunst in Antwerp. Selected festivals around the globe include: Videonale, Videoformes, Videobrasil, Hamburg Kurzfilmtage, MIX NYC, Nashville, Kassel, Cork Film Festival, Cinematexas, the International Film Festivals of San Francisco, Chicago, Thessaloniki, Moscow and Los Angeles, the Biennial of Moving Images Geneva, Ars Electronica and Sundance.

Even the all-powerful creator of the universe has bad dreams from time to time. In God's Nightmares, A panoply of film clips illustrate God's interior monologue, in which he muses about his recurring nightmare of being an everyman.

Daniel Cockburn is a Canadian filmmaker based in the UK. His shorts have been the subject of an internationally touring retrospective, his feature film script The Engineers received the TIFF Telefilm Canada Pitch This! prize, and his feature You Are Here (2010) played Locarno, Toronto, and Rotterdam, and 40+ other festivals. Called "a major discovery" by the director of the Locarno Film Festival, You Are Here won the Jay Scott Award from the Toronto Film Critics Association and the top prize at the European Media Art Festival, for "trend-setting media art". It has been compared to the work of Charlie Kaufman, Jorge Luis Borges, and Philip K. Dick. He is currently adapting Mark Vonnegut’s memoir The Eden Express into a feature screenplay, and creating a new one-man multi-screen live show which will premiere at the Flatpack Festival in Birmingham in 2020.

A roving search across endless colour-fields gradually reveals a solitary singer, struggling to be heard over distortion and doppelgangers. A journey from cacophony to harmony.

Daniel Cockburn is a Toronto-based moviemaker and writer. He is an independent curator, a member of the Pleasure Dome programming collective, and has written on media arts for a number of publications. His work has been exhibited internationally. Emily Vey Duke received her BFA from the Nova Scotia College of Art and Design, her Masters at the University of Illinois at Chicago, and is best known for her collaborations with Cooper Battersby including the award winning "Being Fucked Up".

Traversant tour à tour forêts, ruines baroques, tours de contrôle et catacombes romaines, “Sans titre” traite d’une communauté scientifique sur les traces d’un animal magique. Entre récit fantastique et rituel initiatique, cette vidéo mêle fresques paléochrétiennes et tablettes numériques, écrans de contrôle et chant des Sibilles. Dans une confrontation entre monde souterrain et aérien, archaïsme et nouvelles technologies, “Sans titre” interroge l’immuabilité du sens du récit et de l’image face à l’évolution des croyances.

Après des études à l’Ecole supérieure des arts décoratifs de Strasbourg, et au Fresnoy-Studio national des arts contemporains Clément Cogitore développe une pratique à mi-chemin entre cinéma et art contemporain. Mêlant films, vidéos, installations et photographies son travail questionne les modalités de cohabitations des hommes avec leurs images. Il y est le plus souvent question de rituels, de mémoire collective, de figuration du sacré ainsi que d’une certaine idée de la perméabilité des mondes. Ses films ont été sélectionnés dans de nombreux festivals internationaux (Cannes, Locarno, Lisbonne, Montréal…) et ont été récompensés à plusieurs reprises. Son travail a également été projeté et exposé dans de nombreux musées et centre d’arts (Palais de Tokyo, Centre Georges Pompidou – Paris, Eyebeam center New-York, Museum of fine arts – Boston…). Clément Cogitore a été récompensé en 2011 par le Grand prix du Salon de Montrouge, puis nommé pour l’année 2012 pensionnaire de l’Académie de France à Rome-Villa Médicis. En 2015 son premier long-métrage « Ni le ciel, Ni la terre » a été récompensé par le Prix de la Fondation Gan au Festival de Cannes – Semaine de la critique, et salué par la critique internationale. Né en 1983 à Colmar, Clément Cogitore vit et travaille entre Paris et Strasbourg.

October 22, 2010, the HMS Astute, a British forces nuclear submarine, mysteriously runs aground on the Isle of Skye in Scotland.

After studying at the Fresnoy-National Studio of Contemporary Arts Clément Cogitore develope an artistic practice halfway between cinema and contemporary art. Combining film, video, installations and photographs his work questions the modalities of cohabitation of men with their images. His films has been screened in many international film festivals (Cannes, Locarno, Montréal, Lisbon) and in many biennal and international exhibitions (Palais de Tokyo, Centre Georges Pompidou Paris, Museum of Modern art, Liège, RIPBM Haus der Kultur der Welt, Berlin). Born in 1983. Lives and works between Paris and Rome where he`s for the year 2012, resident at the Villa Medici, French academy in Rome. www.clementcogitore.com

« Fin 2008 a débuté en Autriche une vente singulière : l?armée à mis aux enchères 146 miradors installés à la frontière de la Hongrie et de la Slovaquie. En 1989, après la chute du rideau de fer l?Autriche avait installé ces miradors pour lutter contre l?immigration clandestine au cours d?une opération militaire baptisée « opération limes », en souvenir du limes romain (nom donné aux fortifications qui protégeaient l?empire des barbares), Avec l?entrée de la Hongrie et de la Slovaquie fin 2007 dans l?espace Schengen ces miradors étaient devenus obsolètes. Je suis parti sur l?ancienne frontière de l?Europe filmer ces vestiges, leurs nouveaux propriétaires et leur nouvel usage. Aux portes de l?empire il sera question de forteresse, de paysage, de métamorphose et de cette capacité qu?a le pouvoir politique, social, militaire à transformer l?être humain en gibier dès lors qu?il sent ou suppose ses frontières menacées. » Clément Cogitore, février 2010

Après des études à l?Ecole Supérieure des Arts Décoratifs de Strasbourg, et au Fresnoy-Studio National des Arts Contemporains Clément Cogitore développe une pratique artistique à mi-chemin entre cinéma et art contemporain. Mêlant films, vidéos, installations et photographies son travail questionne les modalités de cohabitations des hommes avec leurs images. Il y est le plus souvent question de rituels, de mémoire collective, de figuration du sacré ainsi que d?une certaine idée de la perméabilité des mondes. Clément Cogitore est né en 1983 à Colmar, il vit et travaille entre Paris et Strasbourg.

A slow tracking among pieces of religious figures stored in cages as if they were sacred monsters.

After studying at the School of Decorative Arts of Strasbourg, Clément developped an artistic work halfway between film-making and contemporary art. Mixing films, pictures, videos and installations, his work puts into question the notions of image and territories/screen. Using the traditional screening device in a different way and exploring experimental narrative forms, his work suggests a few reflexions about history, collective memory and about the representation of what is sacred. Prize-winner of the Beaumarchais Foundation and currently resident at the National Fresnoy-Studio for Contemporary Arts, Clément Cogitore lives and works between Lille, Paris and Strasbourg.

Ely and Nina Bielutin are the owners of one of the biggest private collections of Renaissance Art (Caravaggio, Titian, Van Eyck, Leonardo da Vinci, ...) in the world. Under the eyes of the masterpieces of this mysterious collection, jealously kept in their Moscow apartment, these artist and art historian try to write their own legend...

- VISITÉS / 2006 / 20` (Locarno, Montreal, Novigrad?) - CHRONIQUES / 2006 / 30` (great Prize Belfort, fondation beaumarchais, ecrans documentaries, premiers plans Angers, Paris tout court, Wroclaw?) - PASSAGES / 2005 / 4` - TRAVELL(ING) / 2004 / 3` ? Several awards for video art installations Clément Cogitore, who was born in Colmar in 1983, has developed an artistic approach half way between contemporary cinema and art. Through films, videos, photographs and set pieces his work questions the collective memory, representations of the past and, more generally, the ways in which people cohabit with their images. His films have been selected for numerous national and international festivals (Locarno, Vendôme, Belgrade?) and won several awards (European Grand Prize for first films, the Beaumarchais Foundation?s SACD Prize, Special Prize awarded by the jury of the Festival Entrevues?). His work has also been presented at biennial and international exhibitions (Geneva, Shanghai, Wroclaw?) and in various art centres and museums (Galeries nationales du Grand Palais-Paris, Centre d?art le Casino-Luxembourg, Kunsthalle-Basel). Clément Cogitore, who also works as director and editor for Arte G.E.I.E and RTL, spends his private and working life between Strasbourg, Paris and Luxembourg.

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Chance observations of New York`s Chinatown, commissioned by the Museum of Chinese in the Americas. "A sleepwalker`s circumnavigation of one of the less homogenized parts of the city." --Jem Cohen

Jem Cohen is a New York-based filmmaker/media artist whose works are built from his own ongoing archive of street footage, portraits, and sound. His films and installations often navigate the grey area between documentary, narrative, and experimental genres. His feature film Chain premiered at the Berlin Film Festival, was broadcast on Arte and the Sundance Channel and won an Independent Spirit Award. Benjamin Smoke, co-directed with Peter Sillen, was selected for festivals including Berlin, Edinburgh, Melbourne, London, and Vancouver. It was released theatrically by Cowboy Pictures, and won First Prize at the Full Frame Documentary Festival. Instrument, the feature-length documentary made with the band, Fugazi, premiered at the Rotterdam Film Festival and was chosen for the 2000 Whitney Biennial. Cohen`s Lost Book Found premiered at the Pandæmonium Festival (London), and won First Prizes at Locarno, the Bonn Videonale, Film + Arc (Graz, Austria), and the Festival Dei Popoli (Florence).

Long for the City is a short portrait of Patti Smith in the city where she lives. Patti recites the very first poem-song she ever wrote, and then a later one, "Prayer", from the early 1970s. We take a walk in her changing neighborhood, and I ask her what she saw. Footage was shot in the moment, as well as drawn from the archive I`ve gathered over many years. Long for the City can be considered a non-musical companion piece to the music short, Spirit, which we collablorated on in 2007. It had its premier as an installation in Patti Smith`s show, Land 250, and Fondation Cartier in Paris.

Jem Cohen is a New York-based filmmaker/media artist whose works are built from his own ongoing archive of street footage, portraits, and sound. His films and installations often navigate the grey area between documentary, narrative, and experimental genres. His feature film, Chain, premiered at the Berlin Film Festival, was broadcast on Arte and the Sundance Channel and won an Independent Spirit Award. Benjamin Smoke, co-directed with Peter Sillen, was selected for festivals including Berlin, Edinburgh, Melbourne, London, and Vancouver. It was released theatrically by Cowboy Pictures, and won First prize at the Full Frame Documentary Festival. Instrument, the feature-length documentary made with the band, Fugazi, premiered at the Rotterdam Film Festival and was chosen for the 2000 Whitney Biennial. Cohen`s Lost Book Found won 1st prizes at Locarno, the Bonn Videonale, Film + Arc (Graz, Austria), and the Festival Dei Popoli (Florence). Earlier works include This is a History of New York, Just Hold Still, and Buried in Light, which was originally commissioned by the High Museum in Atlanta as a 3-channel video installation. Amber City, an Italian city portrait, won a 1st prize at Locarno ?99. Other films include Blood Orange Sky, another commissioned portrait of a city in Sicily, and the shorts, NYC Weights and Measures and Little Flags. Chain X Three, a three screen, 40-minute projection, showed as an installation at Eyebeam (New York) and the Walker Art Center (Minneapolis) as well as in a Museum of Modern Art series of Cohen?s works. Cohen has had retrospectives at venues including the NFT in London, Buenos Aires Independent Film Festival (BAFICI), the Gijon Film Fest (Spain) and the Oberhausen Film Fest (Germany). Cohen curated the Fusebox festival at Vooruit in Belgium in 2005 and directed an evening of film with live music, EVENING`S CIVIL TWILIGHT IN EMPIRES OF TIN, at the 2007 Viennale Film Festival. He did a series of collaborative films and installations with Patti Smith for her recent show at the Fondation Cartier in Paris. Cohen has worked extensively with musicians including Godspeed You Black Emperor!, Fugazi, Vic Chesnutt, the Ex, Terry Riley, Elliott Smith, R.E.M., Sparklehorse, and the Orpheus Orchestra. Cohen?s films have been broadcast in Europe by the BBC and ZDF/ARTE, and in the U.S. by the Sundance Channel and PBS. They are in the collections of the Museum of Modern Art, The Whitney, and Melbourne?s Screen Gallery. He has received grants from organizations including the Guggenheim, Creative Capital, Rockefeller, and Alpert Foundations and the National Endowment for the Arts.

With a real political engagement, Steven Cohen questions about the body and its exploitation (referring to the prostitution, the exhausting manual work, relations between the different communities?) and pays tribute to his South African 84 years old wet?nurse, who has been the home servant in his family since his childhood. (Extracted from the program of ?Les Subsistances?, Lyon, January 2005).

?Steven Cohen is a pioneering Johannesburg artist whose work provocatively confronts issues of identity. Best known for his performances, Cohen appears not only on stage and in galleries but also, uninvited, in public spaces. As a homosexual Jewish man, he deals with otherness and outsider identity, using his own and others? bodies to create ?living art? thet references sculpture, contemporary dance, drag and performance art. These glamorous yet monstruous figures rise ?from Lake Subconscious? to confront society with those elements of itself that it has historically marginalized and censored. His strenuous and often controversial performances explore inability and shame, yet celebrate the complex hybridity of identity.?

That’s Why We End depicts a dialogue in three parts between a therapist figure and a client. While the character of the therapist appears on screen, Cohene again invites the viewer to assume the position of the client by providing us only with his voice. In this work, the composite of the therapist is assembled almost entirely from films referenced in Gilles Deleuze’s classic texts Cinema 1 and Cinema 2, whereas the client’s narrative is built from recordings of associative exercises the artist undertook with theorist and artist Eric Cazdyn.

Vancouver-born artist Aleesa Cohene (º1976) has been producing videos since 2001. Her work has shown in festivals and galleries across Canada as well as in Brazil, Cambodia, Germany, Netherlands, Russia, Scandinavia, Turkey, and the United States. Recent solo exhibitions include Yes, Angel (Galerie Suvi Lehtinen, Berlin) and The Rest Is Real (Vtape, Toronto); and group exhibitions Coming After (The Power Plant, Toronto) and Seemed Like A Good Idea At The Time (Or Gallery, Vancouver). In 2010 she completed a fellowship at the Kunsthochschule für Medien in Cologne, Germany under artist/filmmaker Matthias Müller. She holds a Masters of Visual Studies program from the University of Toronto. www.aleesacohene.com

"Evil.6" animates an edited transcript of excerpts from George W. Bush's 2003 State of the Union Address. This text is noteworthy because in it Bush outlines his case for war against Saddam Hussein?s Iraq regime. Subsequently, Bush?s claims regarding such matters as Iraq's "weapons of mass destruction", and connections between the Iraqi regime and Al-Qaeda, were found highly dubious. The text is juxtaposed with video images and sounds excerpted from "Intelligence Failures", a work produced by the artist's friend Benj Gerdes, which isolates only the pauses between sentences from the same televised speech.

Tony Cokes is a post-conceptualist whose practice foregrounds social critique. His video, installation, and sound works re-contextualize appropriated materials to critically reflect upon our production as subjects under capitalism. Cokes' video and multimedia installation works (which sometimes embrace collaborative working methods) have appeared in exhibitions at The Museum of Modern Art; MACBA, Barcelona, Spain; the Whitney Museum of American Art; Documenta X, Kassel, Germany, Centre Georges Pompidou, Paris, France; Gesellschaft für Aktuelle Kunst, Bremen, Germany; and the Solomon R. Guggenheim Museum. His numerous media festival screenings include The San Francisco International Film Festival, American Film Institute, Oberhausen Short Film Festival, International Film Festival Rotterdam, Seoul Film & Net Festival, and Rencontres Internationales Paris-Berlin. Cokes teaches in the Department of Modern Culture and Media at Brown University, Providence, RI, USA.

Evil.66.2 The second video in a new trilogy within my larger "Evil”Series featuring selected quotes from the books of a well-known U.S. presidential candidate on a variety of subjects: from his rhetorical tactics, to his political opponents, to his views on borders, immigration, and other issues. Is all this a common tale of seduction and manipulation (or is it the self-deception of his supporters)?

Tony Cokes makes video and installation projects that reframe appropriated texts. The media works reflect upon capitalism, subjectivity, knowledge and pleasure. Sound always functions in his practice as a crucial, intertextual element, complicating minimal visuals. His works have been exhibited internationally at venues including Centre Georges Pompidou, Whitney Museum, Museum of Modern Art (NYC), SF MOMA, ZKM, Karlsruhe, Germany, and La Cinémathéque Française. Cokes has received fellowships from The Guggenheim Foundation, Rockefeller Foundation, and Getty Research Institute. He resides in Providence, RI where he is a Professor in the Department of Modern Culture and Media at Brown University.

RRK (Reading Rosalind Krauss) is an animated transcript of the lyrics from The Size Queens` song of the same title. This witty chunk of rock-art was part of the official soundtrack for the first "Our Literal Speed: The Performative Discourse" event held at ZKM in Karlsruhe, Germany in March 2008. The second iteration of the event held in Chicago in May 2009 featured a new soundtrack by The Size Queens. The third and final chapter of OLS has been delayed. Meanwhile, feel free to sing along with this exciting track until the next episode unfolds in Los Angeles, or wherever.

Tony Cokes makes video and installation works that reframe appropriated texts to reflect upon capitalism, subjectivity, knowledge, and pleasure. Sound always functions as a crucial, intertextual element, complicating minimal visuals. Cokes` works have been exhibited internationally at venues including Centre Georges Pompidou, Whitney Museum, Museum of Modern Art, SF MOMA, ZKM, Karlsruhe, Germany, and La Cinémathèque Française. He has received fellowships from The Guggenheim Foundation, Rockefeller Foundation, Creative Capital, and Getty Research Institute. Cokes is a Professor in Modern Culture and Media at Brown University.

"leeds.talk.04" is an animated video text, a series of pointed anecdotes about the vexed relationship between art criticism and art making in britain and the u.s. during the 1960s and 70s. the video is based on an article "leeds talk" written by los angeles art historian andrew perchuk. its characters include noted figures like clement greenberg, michael fried, charles harrison, rosalind krauss, artforum, october, and important cameos by morris louis, lynda benglis, and the late sculptor david smith (among others). perchuk`s text is edited and sequenced as single white words on a black background (in a twisted echo of michael snow, perhaps). the techno house soundtrack functions as a strong rhythmic counterpoint to the simple graphic animation.

Tony Cokes is a post-conceptualist whose practice foregrounds social critique. His video, installation, and sound works recontextualize appropriated materials to critically reflect upon our production as subjects. Cokes` video and multimedia installation works have appeared in exhibitions at The Museum of Modern Art, New York, MACBA, Barcelona, Spain, the Whitney Museum of American Art (Biennial 1991 & 2002), Centre Georges Pompidou, Paris, France, Gesellschaft für Aktuelle Kunst, Bremen, Germany, and the Solomon R. Guggenheim Museum. His numerous media festival screenings include Oberhausen Short Film Festival (1993, 2005), International Film Festival Rotterdam (2001 ? 2006), Seoul Film & Net Festival (2005), and Rencontres Internationales Paris-Berlin-Madrid (2003 ? 2008). Cokes? projects have been supported by grants and fellowships from The Rockefeller Foundation, John Simon Guggenheim Foundation, Creative Capital Foundation, National Endowment for the Arts, New York Foundation for the Arts, and New York State Council on the Arts. Cokes is a Professor in Media Production, Department of Modern Culture and Media at Brown University, Providence, RI. He is currently a Resident Scholar at The Getty Research Institute in Los Angeles, CA.

Evil.15: On Teflon Pt.1? 6:00 (2007) The first in a linked series of studies on the ?politics of affect.? In this opening section a well-known article from The New York Times Magazine is redeployed to frame the ?faith-based? hubris and rhetoric of the current administration prior to the 2004 election. The soundtrack begins with the Magnetic Fields track "I Don`t Believe You" to provide an upbeat, yet barbed lyrical subtext to the work, and closes with a darkening of tone and a short electronic instrumental by the Bavarian band Lali Puna.

Tony Cokes is a post-conceptualist whose practice foregrounds social critique. His video, installation, and sound works recontextualize appropriated materials to critically reflect upon our production as subjects under capitalism. Cokes` video and multimedia installation works (which sometimes embrace collaborative working methods) have appeared in exhibitions at The Museum of Modern Art, MACBA, Barcelona, Spain, the Whitney Museum of American Art, Centre Georges Pompidou, Paris, France, Gesellschaft für Aktuelle Kunst, Bremen, Germany, and the Solomon R. Guggenheim Museum. His numerous media festival screenings include The San Francisco International Film Festival, Oberhausen Short Film Festival, International Film Festival Rotterdam, Seoul Film & Net Festival, and Rencontres Internationales Paris-Berlin-Madrid. Cokes teaches in the Department of Modern Culture and Media at Brown University, Providence, RI.

Triumph of the Wild spans decades of battles in American history and places man in a landscape infested with indigenous predatory animals. Historical battles are conjured in luridly colorful ?sentimental landscapes?. Triumph of the Wild is divided chromatically with the progressing historical eras. The different wars are divided chromatically, based on colors found to predominately represent them in paintings , films and books. The use of the puzzles in the film took root in reading about Post Traumatic Stress Syndrome and meeting people who grapple with it, from Afghanistan and Iraq. Reality changes before their very eyes?like the curtain rising, their reality shifts between present and past, it goes up and behind it; nightmares. Characters and scenes evolve from animal to human, from hunted to hunter, from war zone to wilderness, and from the horrific to the idealistic. Thollem Mc Donas is an highly recognized pianist and composer based in California. The soundtrack of this two-part film is two piano compositions which are partially improvised. In the film I am breaking down the piano performance into seconds/beats/textures etc.. to study them and think of the piano as the heartbeat of the film. I think of the notes as a molecules sometimes; or the soundtrack to represent the build up or breaking down of forms, or people or narratives. The film is made on 16mm film and was realized using a three-layer glass animation technique.

Born in Pennsylvania (1971), Martha Colburn is an artist filmmaker based in New York. She travels extensively exhibiting and lecturing on her work. She has a B.A. from Maryland Institute College of Art and MA equivalent from Rijksakademie Van Beeldende Kunst (Royal Academy of Art) in Holland. A self-taught filmmaker, she began in 1994 with found footage and Super 8 cameras and has since completed over 40 films. She also selects elements from her films and using slide projections and murals to create installations. Ms. Colburn has taught workshops on her animation technique in China, Europe, Canada, and all parts of America. She has made music videos/ music-art films for bands such as Deerhoof, Serj Tankian, Felix Kubin and the documentary ?The Devil and Daniel Johnson?. Martha had her own band ?The Dramatics in the 90?s and they released 6 records for which she made 7,000 hand made record covers. In the 2007 Sundance Film Festival she was invited to initiate the ?New Frontiers? film and video installation program, with ?MEET ME IN WICHITA?. Her work will also be exhibited in Centre Pompidou in Paris, Pallant House (UK) and at Galerie Anne De Villepoix in Paris in 2007. Her films are distributed by New York Filmmakers Co-Op in America and The Dutch Film Bank in Europe. Her original films and art are archived at The Anthology Film Archive in New York City. Highlights in 2004 include teaching animation in China, creating an animation for the documentary ?The Devil and Daniel Johnson? (screened in Sundance), the premier of her new film ?XXX Amsterdam? at The Rotterdam International Film Festival and the exhibition of her films and art in New Zealand?s Art Space and Film Archive. Ms.Colburn received a Dutch Film Funds Grant to begin work on her new 35mm film ?Cosmetic Emergency? and completed the filming in Toronto with support from The Liaison of Independent Filmmakers of Toronto. The film is an official selection of the Cannes Film Festival in the Fortnight of New Directors for May 2005.

A paint-on-glass and collage animation, `Destiny Manifesto` fuses paintings of the American western frontier and contemporary images of the conflict in the Middle East into a work that explores the visual and psychological parallels between the representation of these two periods. An indictment of America`s dangerous foreign-policy naivety, this film is a play between fact, fiction, politics, fantasy, terror and morality. Using colorful cutout animation this film features Osama Bin Laden (as several characters from the Wizard of Oz) and Dorothy in a battle of dark forces and faces of Evil.

Born in Pennsylvania (1971), Martha Colburn is an artist filmmaker based in New York. A self-taught filmmaker, she began in 1994 with found footage and Super 8 cameras and has since completed over 40 films. She shows her work in the art world and the film festival world. She has made music videos/ music-art films for bands such as Deerhoof, Friendly Rich (Canada), Felix Kubin and the documentary ?The Devil and Daniel Johnson?.

High-speed collage animation presents a condensed vision of a day-in-the-life of Amsterdam. Images, objects and personalities converge to form a claustrophobic film.

Martha Colburn (Baltimore, 1971) started out scratching and re-editing found footage 16mm educational films. From 2000, she studied at the Rijksakademie in Amsterdam and has worked since 1995 on Super8.

A group of people from different backgrounds fall into a doze at a fairly masculine old Mexican bar: security guards transporting a naked man, a boy giving secret signals, women carrying long-barreled guns, and rocks. The lines narrated by the performer are taken from the notes of a serial killer, political materials, and the dying words of Takijiro Onishi, originator of the kamikaze tactics.

Director and visual artist Val Lee founded Ghost Mountain Ghost Shovel(GMGS) with Hikky Chen in 2008. GMGS is active in visual and performing arts. GMGS uses ephemeral situations to lead the audience into a form of live art that comprises action scripts, installations, sound, hypnotic rhetoric, composite structures, and mise-en-scène. The collective has collaborated with non-performers to construct political fables with a dream-like method. GMGS’s works have been exhibited at the Vernacular Institute, Haus der Kulturen der Welt, Forum des Images, Grand Palais, the Danish feminist initiative ARIEL, Taiwan Contemporary Cultural Lab, National Taiwan Museum of Fine Arts, and Hong-Gah Museum; and joined the Taipei Arts Festival, the Gwangju Biennale, the Taiwan Biennial, the Urban Nomad Film Fest, and Month of Performance Art in Berlin.GMGS has been sponsored by the Hong Foundation (2021), the Liveworks Festival Lab artist residency program (2020), the Asian Cultural Council New York Fellowship (2019), Taishin Visual Arts Award (2017), and the National Culture and Arts Foundation.

Two strangers, M and A, encounter each other in different sites around Escandón (Mexico City) following action scripts that designate their journey and reflects on the issue of femicide. Between auto-cinema and auto-documentary, Buenos días mujeres is designed beforehand but played out in the absence of the director. Confronted with several scenarios and sets, the main characters in the film interpret the narrative as if on auto-pilot, while the photographers document their actions, freezing the specific time and charting a path for future viewers.

Ghost Mountain Ghost Shovel Art Collective (2009-Now) which led by director Val Lee, creates live works that build constructed ephemeral situations where the audience enters a poetic constellation of action script, installation, sound, hypnotic rhetoric, composite structure, mise-enscène, and space. Their works currently focus on urban violence, political turmoil, body memories of the unusual state, abstruse historical reenactment, and the diversified modes of psychological absorption and participation for public audiences. Through the continuous collaborations of friends from visual arts, performing arts, experimental music, and activism, their interdisciplinary yet site-responsive works form some dialogue and resistance in a dream.

The unknown village exists when the residents blink. The scenery of nothing. The identity of no one. The relationship of the dream two. The breeze travels through the subtropics of the tropics. A museum of no-name rocks. Hypnotic symbolic acts. Some weight in the pocket. Magnetic boy, the fog, the breeze doesn`t walk.

Val Lee has been the director of Ghost Mountain Ghost Shovel Art Collective (2009-Now) and creates live art works that builds constructed ephemeral situations where the audience enters a poetic constellation of action script, installation, sound, hypnotic rhetoric, composite structure, mise-en-scène, and space. Their works currently focus on urban violence, political turmoil, body memories of the unusual state, and the diversified modes of psychological absorption and participation for public audiences. Through the continuous collaborations of friends from visual arts, performing arts, experimental music and activism, their interdisciplinary yet site-responsive works form some dialogue and resistance in a dream. "Hello Brother" is their only video.

White death is the impressionist portrait of a landscape marked by tragedy. A ghostly stroll among the vestiges of a story where forty-four young soldiers and one sergeant were pushed to their deaths in the mountainous region of Antuco.

Roberto Collío – 25 November 1986, Santiago (Chile) Graduated of Integral Realization of Film and Television from Center of Cinematographic Research. While studying in Argentina he wrote and directed his first short film "Hombre muerto", an adaptation exercise based on the homonymous short story by Horacio Quiroga. Roberto Collío returned to Chile on 2009, where he participate as sound mixer in several film, both documentary and fiction. During 2013, Collío directs his second short film, "Muerte Blanca", an experimental documentary that chronicles the tragedy of Antuco. Currently Collío is developing his first feature, a documentary called “Petit Frère". The project, co ¬directed with Rodrigo Robledo and produced by Isabel Orellana, is a playful approach to the idea of identity, built in the fantastic imaginary writing of a haitian immigrant.