Catalogue > List by artist

- Carnet : nom masculin, endroit dans lequel on note ses impressions, ses souvenirs, ses listes de course. Par extension carnet intime, se dit de l`espace entre soi et sa conscience. - Sous- sol : Espace sous le sol, les fondations, souvent exigu et sombre, espace où l`on se reclut pour oublier ou devenir. "Si c`était seulement par paresse que je ne faisais rien, que je n`agissais pas..." Douze carnets, adaptation libre des "carnets du sous-sol" de Dostoïevski, carnets de note vidéo en douze voix pour qui voudrait s`y égarer, fruit de plusieurs années à accumuler des matières sonores et visuelles, à les entremêler, à les confronter, à les tordre.

Né en 1980, tour à tour agent d`entretien, transporteur, pique papier, historien, manutentionnaire,étudiant en cinéma, éditeur-programmateur, palefrenier, assistant de production,GCF réalise avec "Douze carnets" son 1er essai documentaire.

In ?Preparación? the body is processed by imaginary instruments. Its outlines are only hinted. ?Preparación? shows the prearrangement of an intervention. By marks, cuts and tears a ?gutting? of the body is being prepared but the body is already in the process of conversion, to a object-like, almost inorganic state. But it is an endless stadium that will be repeated and repeated

Maribel Chávez Born 1977 in Lima, lives and works in Cologne. Chávez studied painting and drawing at the Escuela Nacional Superior Autónoma de Bellas Artes del Perú (ENSABAP) Lima. She has studied at Hochschule für Gestaltung Offenbach am Main and at the Kunsthochschule für Medien Köln (KHM) by Matthias Müller 2008-2012.

Idomeni 2016. A self organised camp was build by concentrated refugees-immigrants after the closure of the Macedonian border towards western Europe. Through a strict observational approach the video attempting to capture the relation between the refugee-immigrant and "the image of the refugee-immigrant " as it’s being constructed by the western world.

Io Chaviara is a visual artist. She has taken place in international exhibitions she has been co- curating workshops and documentary festivals in Athens and Beirut. Her artworks consist of essays, lectures performances, installations, curating projects and documentaries. Michalis Kastanidis is a film-maker and co-founder of Fabula Productions based in Athens, Greece. He has studied visual antropology and etnographic film in Barcelona (UB).

Deciban is chdh's new audiovisual performance where sound and visual shapes emerge from noise. On the screen, a video noise similar to the "snow" of old analog TVs fills the entire space. This hypnotic material, accompanied by its sound alter ego, is animated and set in motion by forces controlled in real time by two performers using laptops. The noise acquires a structure, a topology, patterns. Shapes emerge, visual and sound movements appear. The public loose themselves in the perception of this world full of illusions. In Deciban, phenomena are drowned in a noise universe: noise is information. Inspired by Claude Shannon's information theory, Deciban is a research on the perception of digital generated noise that aims to propose a new type of synaesthetic experience.

The chdh collective studies images / sound relationships by creating audio and visual algorithmic synthesizers. They mainly use these audiovisual instruments during live performances. Using equations describing natural mechanisms, they generate abstract choreographies of particles whose minimalist matter reveals underlying structures of great complexity, shaped by strange organic attractors. In search of a synaesthetic radicality, their hypnotic performances work on the joint movements between image and sound and belong as much to experimental cinema in the form used as to improvised music in the way they are played. Since the early 2000s, they have shown their projects in more than a hundred international venues, especially the Egregore performance (2011), which explores the group movements of a crowd of particles and Morphist (2015), a study of the shape transitions of an abstract substance. This work has also led to two editions: the Vivarium DVD (Art Kill Art / Arcadi - 2008) which contains abstract video works as well as the software developed for these creations, proposing to "replay" or edit them, and the Egregore - source USB key (Art Kill Art - 2014), an adaptation of the software used for Egregore, which has resulted in a remote performance on more than 120 computers in about twenty countries. Defender of free software, they freely distribute their projects and the tools developed for their work, including the pmpd physical modeling library for Pure Data.

As a dancer from an immigrant family, Ça?da? often feels more of a performer around them than on the stage. When he decides to contact his estranged father in Turkey, the boundary between real and performed begin to blur as his story is woven into the production of a new piece by internationally renowned Tanztheater Wuppertal Pina Bausch. How much does the absence of his father and the traumatic silence that has filled the void contribute to why he feels like an outsider in the only place he’s ever called home? IN FOUR MOVEMENTS weaves dance and documentary through an intimate journey of self-discovery as Ça?da? faces his past, his performance, and his desire for belonging.

Daniel Chein is an independent filmmaker whose work explores transculturalism and expressions of identity in the performative. His last short About a Home premiered at the 2021 Slamdance Film Festival and is distributed by Argo. He has received support from Ford Foundation, Sundance Institute, Field of Vision, ITVS, Princess Grace Foundation, among others, and his films have screened at dozens of festivals. He is a Sundance Fellow and was named one of Filmmaker Magazine’s 25 New Faces of Independent Film in 2023. Daniel is based between Berlin, California, and Taipei.

On one roll of Super 8 film, 15m (50ft) = 2.5 minutes, at 24 frames per second. I walked 15 meters over 2.5 minutes of an entire roll of Super 8 film outside the Bureau International des Poids et Mesures (BIPM), where the international system of units, including standardized time and length, was developed and defined. The forced synchronicity premised on the structural materiality of film interrogates the notion of measurement, standardization, adaptation, and embodied experience.

Hsin-Yu Chen is a filmmaker and artist currently based in Taipei, Taiwan. He works with experimental film, documentary, and moving image to explore the liminal space between seeing and being seen where subjectivity is implicated and constructed. Drawing on border landscapes, embodied knowledge, and the notion of measurement and categorization, he examines the intersection of the viewing body and the political subject. His work has been shown at MoCA Taipei; Taiwan International Video Art Exhibition, Hong-gah Museum; Rencontres Internationales Paris/Berlin; Festival des Cinémas Différents et Expérimentaux de Paris; Proyector – Festival de Videoarte; Image Forum; Kassel Dokfest; 25 FPS; Arkipel - Jakarta International Documentary and Experimental Film Festival; and in the Herzog de Silva Collection. He has participated in FIDCampus, Oberhausen Seminar, and residencies including RAIR Philadelphia and Cité Internationale des Arts.

A voyage to the northern border of Taiwan — the eponymous Beigu Islet, a sea rock roughly 300sqft submerged under water half of the time — delves into regional histories, the gaze on borderline landscapes, and the ambivalent state of Taiwanese territory and subjectivity.

Hsin-Yu Chen is a filmmaker and artist currently based in Taipei, Taiwan. He works with experimental film, documentary, and moving image to explore the liminal space between seeing and being seen where subjectivity is implicated and constructed. Drawing on border landscapes, vision techniques, and embodied knowledge, he examines the intersection of the viewing body and the political subject. His work has been shown at 25 FPS, HR; Arkipel, ID; Festival ECRÃ, BR; and Alchemy Film and Moving Image Festival, UK. He has participated in the Oberhausen Seminar and residencies including RAIR Philadelphia and Cité Internationale des Arts, Paris.

This is a story of PEW （penis-eating worm), this is a herstory of all humans.

Chen Xi was born in Wuhan, China (1985), graduated from Jiangnan University(BA) in 2008, then graduated from ECNU(MA) in 2012. He currently works and lives in Beijing. Since 2013, Chen Xi’s artworks have included various medium, such as painting, video, animation, photography and onsite project.

In Spear, Che-Wei Chen collaborates with a friend who was diagnosed with dissociative disorder. The film starts with the individual experience. It attempts to transform the fragment of traumatic memory into an artistic way. During the shooting, it includes the scene of hypnosis that the subject suddenly switches between personality states. The film blurs the lines between documentary and fiction; likewise, it unfolds a compound experience intertwined with reality and fantasy. The film examines the human being under the state of discipline and the mute condition of language. We also gain an insight into the archetypes of trauma: violence, power, oppression and control technologies, etc.

Che-Wei Chen is a visual artist and filmmaker based in Taipei. His recent practice has focused on the subjectivity of people with mental disorders and reflected upon the complexity of contemporary conditions. He explores the boundaries between reality and fiction through multiple perspectives within complex structures and narratives. His work not only reveals the repressed collective unconscious but also re-examines the power and political structures underlying the social system. Besides, he also addresses issues such as postcolonialism, modernity, classification, biopolitics, etc.

Liang-Hsuan Chen filme la journée d’une femme oscillant entre ses croyances et ses désirs. Avec le passage du temps, les différentes générations se confondent, ouvre la possibilité d’une nouvelle approche de l’espace et de la temporalité de la ville.

Les images utilisées dans cette vidéo proviennent du milieu des années 50 : une guerre relatée par des images. On y voit des images des personnes qui vivaient la guerre, de personnes qui faisaient des images pendant cette guerre, de personnes qui voient des images d’elles-mêmes pendant la guerre, qui écoutent , qui raisonnent et qui interagissent. Ce triangle évoque le mécanisme de l’image médiatique : d’où elle provient, par qui elle est faite, à qui elle est destinée. Une attention particulière est réservée à ceux qui produisaient ces contenus : les photographes, cadreurs et preneurs de son de chaque camp qui ont nourri la même histoire en utilisant les mêmes outils.

Les travaux que je réalise sont basés sur la conception de projets structurels et formels autour des images et des sons, souvent à propos d’images et de sons. Diplômée en Graphisme à Alger puis en Vidéo à Milan, mes derniers projets réalisés ont été présentés lors d'événements dédiés à la vidéo et au nouveau cinéma, notamment à l’Espace Khiasma (Paris), au DOCVA (centre de documentation pour les arts visuels, Milan), le Beirut Art Center (Liban), Les Rencontres Internationales de Paris/Madrid/Berlin. Les projets collectifs de documentaires auxquels j'ai participé ont fait partie de la programmation du Torino Film Festival et du Milano Filmmaker Doc Festival (Italie), Picturie Générale I - II (Alger).

Ecstasy is out of itself, a phenomenon where the senses are particularly awake, carrying in other dimensions, beyond the cognitive conditions. This video is inspired by the ecstatic state and develops, in a sequence shot, the idea of losing the ability to perceive volumes / objects in space: An enclosed room whose dimension is gradually transformed by using framing and sound spatialization.

Artists currently in residence at the Center for Recollets of Paris in collaboration with Dena Foudation for Contemporary Art, Assila Cherfi, born in Algiers in 1981, studied Graphic Design at the Ecole Superieure des Beaux Arts in Algiers, 2000 to 2006 with an interest in photography, sound and video. She continued her studies in Film and Video at the Accademia di Belle Arti di Brera in Milan, where she developed devices that use photography, video, sound and interaction. She has participated in several workshops and artist residencies which have allowed her to deepen the use of new media in art in order to create a relationship between images, sounds and imagination.

This project is the result of an investigation of the borders of psychological perception of the urban environment while at the same time exploring and testing the frontiers of the language of video as the medium for its artistic representation. The project operates in the zone between the perception of real documentary images of the urban environment, the common knowledge about it and individual everchanging memories. It is an attempt to translate the perceived energy from the city into an energized perception of the city. The accelerated navigation of urban dwellers through the cityscape, like surfing on an ocean wave, leaves them, focused as they are on their daily duties, only time for the associative scanning of striking details and the landmarks linked with it. Video fragments of the urban landscape of Berlin, Kiev, Moscow and Paris are united into one stream. Seen as it were while moving they seem chaotic and accidental. The images overlap, rescale and establish new formations. Recognizable and logical architectural elements become transformed into abstract structures. As a result the generally accepted concept of a city as a clearly structured architectural ensemble gives way to a dynamic, fragmentary and individual perception of the urban environment.

Marina Chernikova (multimedia artist) Moscow ? Amsterdam/ holds a Master of Media Arts from the University of Portsmouth (EMMA HKU) and an MFA in painting from Moscow State Fine Art Academy (Surikov?s). Her photographical and video works are based on the exploration of the kinetic visual structures of megalopolises of various cultural traditions. She took part in numerous festivals and exhibitions including VIPER Basel, Rencontres Internationales Paris/Berlin, Kandinsky Prize Moscow, 2nd and 3rd Moscow Biennale, FiLE Sao Paulo, and WRO Wroclaw

A nocturnal tour around Mori Tower in Tokyo. The impressive constructions of the day dissolve in the lights of the night. A garden of glass and steel turns into a garden of lights and reflections. A trip to the "other side" of the lights. The visual structure allows the viewer to see images as if he were looking through a moving kaleidoscopical crystal glass.

Born in Moscow, Marina Chernikova now lives in Amsterdam. She obtained a Master of Fine Art (Moscow State Academy), and a European Master of Media Art (HKU Netherlands). She experiments with the possibilities offered by digital image manipulation in order to find the most condensed form of visual information. Presently she is developing a new series of photographical and video works based on the exploration of the dynamical structures of the Megapoles of various cultural traditions. In these works, heterogeneous architectural and cultural elements are integrated into conglomerates of images thus obtaining a new role that differs from their original meaning in their original context.

This is an attempt to translate perceived energy into energized perception (of the city) by means of a stream of images in which the spectator has no alternative but to immerse himself completely as into a wave. Dissimilar video fragments of cities ( Moscow, Tokyo and Paris ) are united into one flow of images. The initially continuous, almost meditative movement is covered by an enormous wave of images that invades the entire surface of the screen.In the course of this process the images disintegrate, by the force of gravitation as it were, into separate parts to form layers, regroup and establish new formations. Logical architectural elements are transformed into abstract structures. As a result the generally accepted representation of a city as a homogeneous, clearly structured unified whole gives way to a dynamic, fragmentary and individual perception of the urban environment. Accelerated navigation through public space as well as the associative scanning of striking details and landmarks linked with it, result in a non-linear perception of our environment. In contemporary life it appears that filtered and condensed information is often more important than real facts or experience.

Born in Moscow, lives and works in Amsterdam and Moscow. Graduated from Moscow State Academy with MFA in painting and completed the European Media Master of Arts program at the HKU ( Netherlands) specializing in Image Synthesis and Computer Animation. Presently she is developing a new series of photographical and video works based on the exploration of the dynamical visual structures of Megalopolises.

"I wanted to record from my own private space how the July War was altering things around me. From my window, I was watching warships evacuating the foreigners and the [dual] nationality Lebanese who wanted to flee the country. In the meantime, the State of Israel was intercepting the broadcast of a radio station, Voice of the People, to broadcast an audio message threatening the Lebanese. With a digital camera and a mobile phone, I wanted to capture this moment of slippage."

A memorable phone call between the Syrian cosmonaut Muhammed Faris (part of a Russian space mission) and the late president Hafez al-Assad. In a face-to-face between a PVM monitor and a pocket projector, the installation combines archival images, images from the current Syrian uprising and constructed images. Two moments in the history of contemporary Syria that echo the situation across all Arab countries: a memorable phone call between the Syrian cosmonaut Muhammed Faris who was part of the Russian mission to the Mir Space Station and the late president Hafez al-Assad, and the removal of the statue of Assad by the Syrian government to prevent its destruction by the demonstrators.

Born in Beirut in 1976, Ali Cherri is a visual artist and designer working with video, installation, performance, multimedia and print. His recent exhibition includes Bad Bad Images, solo show at Galerie Imane Farès (2012), Dégagements, Institut du Monde Arabe (2012), Exposure, Beirut Art Center (2011), Southern Panorama, VideoBrasil (2011), Beirut, Kunsthalle Vienna (2011) and A Fleur de Peau, solo show at Gallery Regard Sud (2011). Ali is a graduate in Graphic Design from the American University in Beirut (2000). In parallel to his design work, he finished his Master Degree in Performing Arts at DasArts (Amsterdam - 2005).

The legacies of two historical figures converge around lost settlements within a rural Florida village. One historical figure was an assassin, working under a series of aliases on behalf of pro-slavery secessionists during the American civil war in 1865. The other figure shed his western name to become an anti-colonial freedom fighter in the 1830's, battling the American government's acts of stealing land and murdering the native people of Florida. These two men cross paths posthumously in a trio of disappeared towns, marked by nothing more than brown historical markers. To tell these stories of deception and displacement, the film is structured as a travelogue, combining landscapes, archival texts, and highly abstracted voice-overs. In Nomotopowell, names and places are largely obscured, and knowledge itself is nearly lost in the shadows of the village cemetery, side roads, and moonlit swamps.

Brent Chesanek has screened his films at CPH:DOX, FIDMarseille, RIDM (Montréal), Seattle IFF, DOXA (Vancouver), FIDBA (Buenos Aires), Singapore IFF, NovosCinemas Pontevedra, IndieMemphis, Visions.MTL, Denver IFF, Art Basel Miami Beach, and more. He has presented to the industry programs at Ji.Hlava New Visions Forum and Champs-Élysées US-In-Progress. He has a BA from the University of Florida.

Eviction in Shenzhen (2019-Ongoing) is a long-term ethnographic series of experimental documentary films which follows the planned demolition of Cheung’s fathers ancestral village of Hubei in Shenzhen, China, as the government initiates a major redevelopment plan to take its place. The proposed project includes an impressive 830m tall skyscraper which is set to become the tallest building in the world. This will be accompanied with a modern shopping centre, restaurants, plus a small portion of Hubei Old Village preserved as a living museum and film location for hire. The new redevelopment will become one of China’s most prized architectural accomplishments, a visual spectacle, which pays homage to the economic miracle that is Shenzhen as the city which led China to its new position as a global economical and technological power. The film marks the eviction of the current tenants of the village who as low-income workers, are having to leave behind the cafes, food vendors, small businesses, residential homes and communities which they cultivated over a period of 10 – 20 years. Eviction in Shenzhen filmed over the course of this redevelopment period, will document these changes by recording the sociological make-up and ancient architecture of the village as it gradually disappears.  ? ??The film is currently in development and will proceed in chapters as the project develops. ‘Eviction in Shenzhen: Part 1’ (2019 – Version 1) captures the residents of the area during a visit to the area in May 2018. The next chapter filmed during February 2019 features the area taken during Chinese New Year, with a near 90% of residents now fully evicted.

Seecum Cheung is an artist, filmmaker and educator. She works with journalists and experts to conduct interviews with citizens, politicians and specialists in a bid to understand and reflect upon certain political moments in time. Films include interviews with politicians from the far and ultra-right in Germany with writer & journalist Richard Cooke & SBS Public Broadcasters (Interview with Lennart, 2016); coverage of the Dutch elections with writer & broadcaster Morgan Quaintance (The Dutch Window, 2017); a commission by NHS England with equality and human rights charity brap (Inequalities of BAME patients Cancer Care Study, 2018-19), and most recently, a long-term study of the gentrification of her father’s ancestral village (in Shenzhen, China) which began in April 2018 (Eviction in Shenzhen, 2019-ongoing). She currently teaches on the Social Practice Minor at Willem de Kooning Academie, Rotterdam.

A young woman constructs a solitary reality by imagining what life would be like after the passing of her parents. Absorbed in the slow process of working alone in the family’s greenhouse, she relives shadow memories of her Cambodian mother and father. The healing ritual of physical labour gradually reveals itself over time. As the plastic roof bears the weight of natural elements, the increasingly precarious weather threatens this new life alone.

Allison Chhorn (b. 1992) is a Cambodian-Australian film-maker and multidisciplinary artist whose work explores themes of migrant displacement, trauma and the repetition of memory. Chhorn produced, co-wrote and edited the feature films STANLEY'S MOUTH (2015) and YOUTH ON THE MARCH (2017), as well as directing numerous short films, site-specific video installations and documentaries including CLOSE UPS (2015), LAST TIME (2018), THE PLASTIC HOUSE (2019) and the forthcoming BLIND BODY. Her work has screened at Visions du Réel in Switzerland (Official Selection - Burning Lights International Competition 2020), the Sydney Film Festival (Official Selection - Documentary Australia Foundation Awards 2020), the Melbourne International Film Festival, Adelaide Film Festival, OzAsia Festival, Festival ECRÃ, FIDBA - Festival Internacional de Cine Documental (Official Selection - First Features Competition 2020), Valdivia International Film Festival (Official Selection - International Youth Feature Competition), Lima Alterna Festival Internacional de Cine (Official Selection - International Competition), Montreal International Documentary Festival (RIDM) and Black Canvas - Festival de Cine Contemporáneo (Official Selection - Beyond the Canvas Competition).

As abstract shapes come into focus, dim memories surface. With Blind Body, Allison Chhorn offers an impressionistic portrait of her grandmother Kim Nay, a survivor of the Khmer Rouge. Partially blind, Kim spends her days in a mostly sonic and textural world, in which the sound of rain, the voices of Khmer radio, and distant birdsong summon the sensations of a lost homeland.

Allison Chhorn is a Cambodian-Australian filmmaker and interdisciplinary artist living on Kaurna Land (South Australia). Her work explores the effects of migrant displacement and post-memory through impressionistic forms, often with other family members as subjects. Since graduating with Honours in painting at UniSA in 2014, she has made numerous films including “Blind Body”, “Missing” and “The Plastic House”. The latter was filmed on her family’s farm and has screened at MIFF, New York Film Festival and the Asia Pacific Triennial of Contemporary Art. Her films were also screened as part of a retrospective at the 11th Cambodian International Film Festival. Crossing into the gallery, she received the 2022 Porter St Commission from ACE Gallery to make her first solo exhibition and multi-channel installation “Skin Shade Night Day” which was exhibited as part of The National: Australian Art Now at MCA in 2023.