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Nouveau montage, inédit de «O Nosso Homen». Un matin de l’été 2007. L’intérieur d’une baraque en bois et plaques d’étain dans la périphérie de Lisbonne. José Alberto, vingt-sept ans, et sa mère, cinquante-cinq ans, tous les deux Cap-Verdiens. Ils sont assis à une table. José Alberto se coupe les ongles avec un petit couteau de poche. Ils parlent en créole.

Pedro Costa est réalisateur, scénariste et directeur de la photographie portugais. En 1994, «Casa de Lava» est sélectionné au Festival de Cannes. «Ossos» remporte en 1997 le prix de la photographie de la Mostra de Venise. «La chambre de Vanda» est primé au Festival de Cannes en 2002. «En avant jeunesse !», qui revient sur la vie d’immigrés cap-verdiens déplacés dans un quartier HLM neuf de Lisbonne, est sélectionné en compétition internationales au Festival de Cannes en 2006, et est primé par le Los Angeles Film Critics Association en 2008. «Ne Change rien» est présenté à la Quinzaine des réalisateurs du Festival de Cannes en 2009. Son dernier film «Cavalo Dinheiro» a reçu le Léopard du meilleur film au Festival international du film de Locarno en 2014. «Il faut se risquer dans chaque plan, c’est ce que disait Antonio Reis. Risquer sa vie même dans chaque plan, chaque moment, chaque intonation d’un acteur. Sinon le cinéma ne sert à rien. Pour moi, il est fondamental qu’un film soit utile.» Pedro Costa

Diplômé de l`Escola Superior de Cinema (l`Ecole de Cinéma du Conservatoire National de Lisbonne), Pedro Costa suit les cours de l`acteur portugais Antonio Reis. Il réalise en 1987 son premier court métrage,"Cartas a Julia", suivi bientôt d`une série pour enfants pour la télévision portugaise. Très influencé par Friedrich-Wilhelm Murnau, il signe en 1989 "Le Sang", un drame encensé par la critique qui ne le satisfait pourtant pas tout à fait. "La Maison de lave" en 1994 confirme le talent de ce réalisateur portugais aux yeux des professionnels du cinéma, qui dévoile dès lors les caractéristiques de son travail : un esthétisme qui frôle le maniérisme, des noirs et blancs variés et très travaillés, des thèmes récurrents tels que le sordide et le crasseux, mais une certaine tendance à les sublimer. Son goût pour le sang et la violence froide se retrouve dans "Ossos" (1997). Les critiques voient en son style un retour au cinéma des origines, héritage du cinéma muet. Le film sera primé notamment à Venise et à Belfort. En 2000, il signe "Dans la chambre de Vanda" narrant la déchéance d`une toxicomane. L`esthétisme de Costa transforme cette histoire sombre en poème filmique. "Où gît votre sourire enfoui ?"(2001) est un hommage au couple de cinéastes Danièle Huillet/Jean-Marie Straub. "Il faut se risquer dans chaque plan, c?est ce que disait Antonio Reis. Risquer sa vie même dans chaque plan, chaque moment, chaque intonation d?un acteur. Sinon le cinéma ne sert à rien. Pour moi, il est fondamental qu?un film soit utile." Pedro Costa

Consisting of double projections of footage from Costa?s film "No quarto da Vanda", the installation "Minimo macho, minimo fêméa" provides a view alternating between exterior scenes and the respective interiors of houses in Lisbon?s Fontainhas neighborhood. It thus documents and illustratively intensifies the existence of immigrants from the former colonies in a calm and clear way.

Pedro Costa films Jean-Marie Straub and Danièle Huillet during different steps of the editing of the film "Sicilia!" Jean-Marie Straub defines editing as a "struggle with the matter". Indeed, here there is an exhausting test of patience, because this document plunges us not in the general composition of central choices, but simply in an irksome work of connections. Each of them implies very small choices, which are decisive in each case for the overall meaning of the coming film. Pedro Costa dwells upon these constantly explored, slowed, flashbacked, immobilized images until he manages to produce an hypnotic effect. He also explores a dark laboratory's atmosphere, and then he includes, without explanation, two surprising sequences where the Sraub present their films to few spectators.

Pedro Costa graduated from the Escola Superior de Cinema (the Film School of the National Conservatory of Lisbon). He took lessons with the Portuguese actor, Antonio Reis. In 1987 he produced his first short film, "Cartas a Julia", then soon after a series for children for Portuguese TV. Very influenced by Friedrich-Wilhelm Murnau, in 1989 he made "Le Sang", a drama acclaimed by the critic, but that did not satisfy him absolutely. "La Maison de lave" in 1994 confirmed the endowment of this Portuguese film maker from the point of view of film professionals, who reveal the features of his work: an aestheticism that comes closer with mannerism, various and very detailed blacks and whites, and recurrent themes like the woeful and the dingy, but a certain tendency to sublimate them. His taste for blood and cold violence are also in "Ossos" (1997). The critics analyze his style like a comeback to the origins of cinema, a heritage from the silent film. This work has been awarded at Venice and Belfort. In 2000, he made "Dans la chambre de Vanda", which relates the lowering of a drug addict. Costa's aestheticism changes this dark story into a filmic poem. "Où gît votre sourire?" (2001) is a homage to the filmmaker twosome Danièle Huillet and Jean-Marie Straub. "One has to take risks in each image; this is what Antonio Reis said. Even risking one's life in each image, in each moment, each intonation of an actor. Without this risk, cinema is useless. It is fundamental that a film is useful." - Pedro Costa

Pedro Costa has taken six scenes from "Où gît votre sourire enfoui?" and has located them in a different context. These bits are not only "bagatelles", but above all they are a personal look at Danièle Huillet and Jean-Marie Straub.

Pedro Costa graduated from the Escola Superior de Cinema (the Film School of the National Conservatory of Lisbon). He took lessons with the Portuguese actor, Antonio Reis. In 1987 he produced his first short film, "Cartas a Julia", then soon after a series for children for Portuguese TV. Very influenced by Friedrich-Wilhelm Murnau, in 1989 he made "Le Sang", a drama acclaimed by the critic, but that did not satisfy him absolutely. "La Maison de lave" in 1994 confirmed the endowment of this Portuguese film maker from the point of view of film professionals, who reveal the features of his work: an aestheticism that comes closer with mannerism, various and very detailed blacks and whites, and recurrent themes like the woeful and the dingy, but a certain tendency to sublimate them. His taste for blood and cold violence are also in "Ossos" (1997). The critics analyze his style like a comeback to the origins of cinema, a heritage from the silent film. This work has been awarded at Venice and Belfort. In 2000, he made "Dans la chambre de Vanda", which relates the lowering of a drug addict. Costa's aestheticism changes this dark story into a filmic poem. "Où gît votre sourire?" (2001) is a homage to the filmmaker twosome Danièle Huillet and Jean-Marie Straub. "One has to take risks in each image; this is what Antonio Reis said. Even risking one's life in each image, in each moment, each intonation of an actor. Without this risk, cinema is useless. It is fundamental that a film is useful." - Pedro Costa

Consisting of double projections of footage from Costa?s film "No quarto da Vanda", the installation "Minimo macho, minimo fêméa" provides a view alternating between exterior scenes and the respective interiors of houses in Lisbon?s Fontainhas neighborhood. It thus documents and illustratively intensifies the existence of immigrants from the former colonies in a calm and clear way.

For his second feature film, from 1994, the Portuguese director Pedro Costa constructs a politically savvy homage to Jacques Tourneur?s 1943 horror film, I Walked with a Zombie, in which postcolonial decay is invested with both metaphysical and erotic allure. Leão (Isaach De Bankolé), an immigrant laborer in Lisbon, is knocked unconscious in an industrial accident; Mariana (Inês de Medeiros), a nurse, volunteers for the medical transport that repatriates the comatose man to one of the Cape Verde islands. She busies herself at the rustic hospital that has taken him in, but she quickly comes under the spell of the volcanic island?s loamy mysteries?many of which seem to revolve around the still inanimate man. Psychology takes a back seat to the overtones of history as Mariana finds herself growing increasingly involved with the family that lays claim to Leão as well as with a Portuguese émigrée, Edite (the French cult actress Edith Scob, from Eyes Without a Face), whose madness derives from social traumas of the local past. With a strikingly modern yet humanistic style, Costa elicits quietly declamatory performances from his remarkable cast (which joins nonactors and seasoned professionals) and creates moody, luminous tableaux to conjure an incantatory, Faulknerian earthiness.

Pedro Costa (born 1959) is a Portuguese film director. He is acclaimed for using his ascetic style to depict the marginalised people in desperate living situations. Many of his films are set in a district of Lisbon inhabited by the socially disadvantaged and shot in a natural and low-key way that makes them resemble documentaries. While studying history at University of Lisbon, Costa switched to film courses at School of Theatre and Cinema (Escola Superior de Teatro e Cinema). After working as an assistant director to several directors such as Jorge Silva Melo and João Botelho, he made a first feature film O Sangue (The Blood) in 1989. He collected the France Culture Award (Foreign Cineaste of the Year) at 2002 Cannes International Film Festival for directing the film No Quarto da Vanda (In Vanda?s Room). Juventude em Marcha (Youth on the March, known as ?Colossal Youth? in Anglophone countries, and ?En avant, jeunesse? ? ?Onward, Youth? ? in Francophone countries) was selected for the Cannes Film Festival in 2006 and earned the Independent/Experimental prize (Los Angeles Film Critics Assossiation) in 2008.

Diplômé de l`Escola Superior de Cinema (l`Ecole de Cinéma du Conservatoire National de Lisbonne), Pedro Costa suit les cours de l`acteur portugais Antonio Reis. Il réalise en 1987 son premier court métrage,"Cartas a Julia", suivi bientôt d`une série pour enfants pour la télévision portugaise. Très influencé par Friedrich-Wilhelm Murnau, il signe en 1989 "Le Sang", un drame encensé par la critique qui ne le satisfait pourtant pas tout à fait. "La Maison de lave" en 1994 confirme le talent de ce réalisateur portugais aux yeux des professionnels du cinéma, qui dévoile dès lors les caractéristiques de son travail : un esthétisme qui frôle le maniérisme, des noirs et blancs variés et très travaillés, des thèmes récurrents tels que le sordide et le crasseux, mais une certaine tendance à les sublimer. Son goût pour le sang et la violence froide se retrouve dans "Ossos" (1997). Les critiques voient en son style un retour au cinéma des origines, héritage du cinéma muet. Le film sera primé notamment à Venise et à Belfort. En 2000, il signe "Dans la chambre de Vanda" narrant la déchéance d`une toxicomane. L`esthétisme de Costa transforme cette histoire sombre en poème filmique. "Où gît votre sourire enfoui ?"(2001) est un hommage au couple de cinéastes Danièle Huillet/Jean-Marie Straub. "Il faut se risquer dans chaque plan, c?est ce que disait Antonio Reis. Risquer sa vie même dans chaque plan, chaque moment, chaque intonation d?un acteur. Sinon le cinéma ne sert à rien. Pour moi, il est fondamental qu?un film soit utile." Pedro Costa

Consisting of double projections of footage from Costa?s film "No quarto da Vanda", the installation "Minimo macho, minimo fêméa" provides a view alternating between exterior scenes and the respective interiors of houses in Lisbon?s Fontainhas neighborhood. It thus documents and illustratively intensifies the existence of immigrants from the former colonies in a calm and clear way.

Pedro Costa films Jean-Marie Straub and Danièle Huillet during different steps of the editing of the film "Sicilia!" Jean-Marie Straub defines editing as a "struggle with the matter". Indeed, here there is an exhausting test of patience, because this document plunges us not in the general composition of central choices, but simply in an irksome work of connections. Each of them implies very small choices, which are decisive in each case for the overall meaning of the coming film. Pedro Costa dwells upon these constantly explored, slowed, flashbacked, immobilized images until he manages to produce an hypnotic effect. He also explores a dark laboratory's atmosphere, and then he includes, without explanation, two surprising sequences where the Sraub present their films to few spectators.

Pedro Costa graduated from the Escola Superior de Cinema (the Film School of the National Conservatory of Lisbon). He took lessons with the Portuguese actor, Antonio Reis. In 1987 he produced his first short film, "Cartas a Julia", then soon after a series for children for Portuguese TV. Very influenced by Friedrich-Wilhelm Murnau, in 1989 he made "Le Sang", a drama acclaimed by the critic, but that did not satisfy him absolutely. "La Maison de lave" in 1994 confirmed the endowment of this Portuguese film maker from the point of view of film professionals, who reveal the features of his work: an aestheticism that comes closer with mannerism, various and very detailed blacks and whites, and recurrent themes like the woeful and the dingy, but a certain tendency to sublimate them. His taste for blood and cold violence are also in "Ossos" (1997). The critics analyze his style like a comeback to the origins of cinema, a heritage from the silent film. This work has been awarded at Venice and Belfort. In 2000, he made "Dans la chambre de Vanda", which relates the lowering of a drug addict. Costa's aestheticism changes this dark story into a filmic poem. "Où gît votre sourire?" (2001) is a homage to the filmmaker twosome Danièle Huillet and Jean-Marie Straub. "One has to take risks in each image; this is what Antonio Reis said. Even risking one's life in each image, in each moment, each intonation of an actor. Without this risk, cinema is useless. It is fundamental that a film is useful." - Pedro Costa

Pedro Costa has taken six scenes from "Où gît votre sourire enfoui?" and has located them in a different context. These bits are not only "bagatelles", but above all they are a personal look at Danièle Huillet and Jean-Marie Straub.

Pedro Costa graduated from the Escola Superior de Cinema (the Film School of the National Conservatory of Lisbon). He took lessons with the Portuguese actor, Antonio Reis. In 1987 he produced his first short film, "Cartas a Julia", then soon after a series for children for Portuguese TV. Very influenced by Friedrich-Wilhelm Murnau, in 1989 he made "Le Sang", a drama acclaimed by the critic, but that did not satisfy him absolutely. "La Maison de lave" in 1994 confirmed the endowment of this Portuguese film maker from the point of view of film professionals, who reveal the features of his work: an aestheticism that comes closer with mannerism, various and very detailed blacks and whites, and recurrent themes like the woeful and the dingy, but a certain tendency to sublimate them. His taste for blood and cold violence are also in "Ossos" (1997). The critics analyze his style like a comeback to the origins of cinema, a heritage from the silent film. This work has been awarded at Venice and Belfort. In 2000, he made "Dans la chambre de Vanda", which relates the lowering of a drug addict. Costa's aestheticism changes this dark story into a filmic poem. "Où gît votre sourire?" (2001) is a homage to the filmmaker twosome Danièle Huillet and Jean-Marie Straub. "One has to take risks in each image; this is what Antonio Reis said. Even risking one's life in each image, in each moment, each intonation of an actor. Without this risk, cinema is useless. It is fundamental that a film is useful." - Pedro Costa

Consisting of double projections of footage from Costa?s film "No quarto da Vanda", the installation "Minimo macho, minimo fêméa" provides a view alternating between exterior scenes and the respective interiors of houses in Lisbon?s Fontainhas neighborhood. It thus documents and illustratively intensifies the existence of immigrants from the former colonies in a calm and clear way.

Un chien, une fille, des adolescents et d’autres créatures fantastiques font l’insurrection de leur vie quotidienne à travers des marches dans la ville, des détournements d’espaces et autres actions à travers lesquelles ils observent et transforment la réalité et le monde autour d’eux.

Noé Cottencin (France, 1994) a étudié l’image en mouvement à l’Académie Gerrit Rietveld et au Sandberg Institute. Son travail, à travers des récits qui prennent différentes formes (dessins, films, interventions, publications), s’intéresse principalement à la mise en commun des individualités. Il vit et travaille à Amsterdam et Los Angeles.

Synopsis Fictitious portrait of the Flemish artist Jan Fabre, based on his diary and his performances. The film?a modern fairy tale?projects Jan Fabre into his own imaginative universe and composes a character who changes ceaselessly identity, plays numerous roles under the most varied disguises; behind a mask, still another mask? The female character, like a ?demon of passage? using different faces, haunts the male character and inspires his metamorphoses, ad infinitum. The concepts of the work are repetition, simulacrum and metamorphosis, in essential relation as much with Jan Fabre`s oeuvre as with my own. Metamorphosis means the transition from one form to another, from one intensive state to another, from one identity to another, or from one universe to another. The work as `transposition` ?the ?performance` form turns into a cinema form? new creation. ?Existence simulates, it dissimulates, and it dissimulates that, even when dissimulating and playing a role, it continues to be authentic existence, thus binding the simulacrum to genuine authenticity with an almost inextricable malice.? Maurice Blanchot.

Film-maker and visual artist. Lives in Paris. Pierre Coulibeuf develops a cross-disciplinary project: he makes experimental fictions that skilfully invest the sphere of art and in which changes of identity affect the universes and artists inspiring his works. His films are shown in cinemas as well as, recomposed, in the form of installations (video-photo) in museums. Coulibeuf?s works are part of main public collections. The main concepts of his works are doubling, simulacrum, metamorphosis, labyrinth, reality as fiction or mental projection. Coulibeuf has had solo exhibitions all over the world: in Germany, Deichtorhallen, Hamburg (2006); in Portugal, Museu Colecçào Berardo, Lisbonne (2010); in France, Musée d?Art Moderne de Saint-Etienne (2009); Musée d?Art Roger-Quilliot, Clermont-Ferrand (2013); in Brazil: Iberê Camargo Foundation (2009); in Russia, Museum of Contemporary Art, Perm (2011); in China : MOCA, Museum of Contemporary Art, Chengdu (2012) ; Yuan Space, Beijing (2013), and group exhibitions: in Brazil, 5th Mercosur Visual Arts Biennial (2005); in Russia: 1st Ural Contemporary Art Biennial (2010); in Germany, Haus der Kunst (2012)? In 2013, Coulibeuf has been nominated for the AAC China Award (Most influential foreign Artist in China, with Warhol, Marcel Duchamp, Araki, Shirin Neshat).

The subject?s fiction / the fiction?s subject. About the idea of ?portrait?: the constantly evolving subject, fluctuations of identity, metamorphosis, the dissolution of the self; the space between images: a shift from the social image, the status of the artist, to imaginary images. "We are a plurality that has imagined itself a unity" (Nietzsche). The question of representation: images as simulacra: interpretations: pure inventions. Cross-disciplinarity: the ambiguity or uncertainty of identities, but also of artistic codes. Inventing a place ?on the frontier?: between the language of cinema and the language of video.

Pierre Coulibeuf was born in Elbeuf, France. He is a filmmaker and plastician and lives in Paris. Contemporary creation is the basis of Coulibeuf's cinematographic and plastic work. In a transversal approach to various genres of cinema (fiction, experimental), as well as with different modes of presenting motion pictures (projection 35mm, installation, video, photo) his work invents its own place and language at the boundaries of disciplines. They criticize established shapes, question different representations of reality. His work is out of the norms, off limits and one of his kind. He has had a few exhibitions in Germany, notably at the Deichtorhallen-Haus of Photography in Hamburg in 2006, also in 2005 in Brazil, at the international Pavilion of the 5th Mercosul international biennale of contemporary art in Porto Alegre. In 2007 he had an exhibition for the opening if the Berardo Museum in Lisbon, Portugal.

Parodic fiction by Pierre Coulibeuf based on choreographic proposals by Angelin Preljocaj. The seven characters who move in the architecture of Rudy Ricciotti?s Pavillon Noir break shamelessly with the codes of choreography and cinema: contamination, overflow, distance, - fiction tests reality.

Born in Elbeuf (France). Lives in Paris. Film-maker and visual artist. (Doctoral studies in Modern Literature-thesis on Pierre Klossowski and Leopold von Sacher-Masoch). Pierre Coulibeuf uses contemporary creation as material for his cinematic and artistic work. In a cross-disciplinary relation to film genres (fiction, experimental...), as well as to modes of presenting the image in motion (35mm screening, video-installation, photography), his works invent a place and a language on the borderline of the other arts, critiquing established forms and questioning representations of reality. Since 1987, he has made short and feature-length films based on the universes of Pierre Klossowski, Michelangelo Pistoletto, Marina Abramovic, Michel Butor, Jean-Marc Bustamante, Jan Fabre, Meg Stuart, Angelin Preljocaj, Benoît Lachambre... His films have been selected in many international film festivals (fiction, experimental, video art). A retrospective of his films : ?The Demon of passage? conceived by French Ministry of Foreign Affairs, is touring worldwide. Pierre Coulibeuf makes video-installations with his films and photographs in the contemporary art network. In 2005, he has been artist invited in the International Pavillion of the Bienniale of Contemporary Art of Mercosul, Porto Alegre (Brazil). In 2006, he had a few solo exhibitions in Germany, specially in Deichtorhallen-Haus der Photographie in Hamburg. In 2007, he was part of the opening exhibition of Berardo Museum in Lisboa (Portugal). In 2008, the Iberê Camargo Foundation in Porto Alegre (Brazil), commissioned him a film and a video-installation, for an exhibition in June 2009. His works are part of main public collections. (1993- Leonardo da Vinci Grant from the French Ministry of Foreign Affairs for a residency in Italy (Cinema) 1995-96- Artist in residency at the Center of Contemporary Art of the Domaine de Kerguéhennec, Brittany, France 2001- Chevalier de l?Ordre des Arts et des Lettres (Knight of the Arts and Literature?s Order)).

The Siren is a digital exploration that questions the traditional conventions of video games. The project exists in two forms: an installative version played on a screen with a game controller, and an immersive virtual reality experience. The work investigate the meaning we assign to actions within a game, the motivations behind our playful engagements, and aims to introduce an art exhibition audience to the medium. This inclusive approach is designed to be accessible to everyone, including newcomers, while also providing an additional level of understanding for those already familiarized with video games. When showcased as an installation the piece features accessible gameplay and contemplative cinematics, offering a rich visual experience for those who prefer to watch. As in the virtual reality version, hands free interactions add a new immersive layer, allowing visitors to engage with the work in a more embodied and intuitive way. The Siren begins like many games do: you control a heroine clad in shimmering armor and guided by an omniscient narrator, seemingly tasked with rescuing a damsel in distress. But before you can embark on this “main quest,” you’re ordered to complete a minor one: collecting glowing seashells scattered across a quiet beach at dusk. As the game unfolds, the narrator’s presence intensifies, their instructions become more insistent, more authoritarian, pushing the player to obey, to perform. This growing take over invites reflection on our relationship to authority within games, and beyond them. Why do we follow orders? What happens when we stop? The Siren draws a parallel between the logic of “side quests” (like gathering hundreds of Korok seeds in Breath of the Wild), and the way we fill our real lives with tasks, projects, and goals to distract ourselves from the inevitability of death. Learning a new skill, optimizing routines, falling in love, we keep ourselves busy, hoping that purpose will emerge from repetition. These are little rituals we invent to trick the void. At its core, The Siren also questions the narrative of romantic salvation, the belief that by “saving the princess,” or by chasing the idea of an “other half” we might finally be whole. That love might protect us from the absurdity of existence, that if we are the main character, there must be a story, and it must lead somewhere. The player’s path is guided through quiet decisions, shaping multiple possible endings. None are final, the “good ending” is tough to find. The Siren doesn’t ask you to win, it invites you to drift and to wonder what it means to keep going when the quest no longer makes sense. The Siren was first commissioned by the Pully Art Museum, under the curatorship of Victoria Mühlig.

Mélanie Courtinat (b. 1993) is an award-winning artist and art director based in Paris. Her work spans video games, CGI imagery and films, and immersive virtual reality experiences. Primarily developed with real-time engines, her personal works have been shown internationally, from the Venice Immersive Biennale to LISTE Art Fair Basel. Her practice draws on the codes and structures of video games, taking gameplay itself as raw material. She focuses on core mechanics (tutorials, quests, NPCs, save points…) and uses them to question the logics of play and the assumptions embedded within them. By reworking these familiar structures, she creates sensitive meta-games in which the rules of play are subverted to reveal new layers of meaning. Alongside her artistic practice, she directs commissioned projects for luxury, fashion and high jewelry, guiding brands in exploring the language and aesthetics of video games and interactive media. She also works closely with creators from cultural fields such as cinema, theatre, dance, offering artistic direction and interactive design, helping translate each author's vision into meaningful digital experiences. Mélanie is a recurring guest lecturer in video-game history and digital humanities at ECAL, and regularly speaks, mentors, and serves on juries across Europe and North America.

These days, reflections on the future generally dwell on a commercial or global economic context. The extent to which various cities present themselves, on an innovative and globally competitive scale, on the internet via PowerPoint presentations serves to illustrate this statement. The starting point in "Insert the Name of the City Here" is the fact that each of these PowerPoint presentations consists of the same topics and structure: a slogan that is placed on a standard background, accompanied by a logo. The apparently naive and utmost dogmatic technique becomes even more dubious as a video sequence displays these pages one by one as each presentation is read aloud by a series of tourists.

Yves Coussement, born in 1978, in Ghent, Belgium, studied Engineer-Architecture at the Department of Architecture and Urbanism at the University of Ghent, Belgium, from 1996 to 2001. After a brief period of working for the architect Luc Deleu, he decided to fully concentrate on his own work as a video artist. His work has recently been shown at video festivals like Image Forum Festival (Tokyo) and Transmediale Festival (Berlin), where his video "Insert the Name of the City Here" received an honourable mention. He is currently working on two new videos that he recently shot in New York and Mexico City.

Passing Place (2009) is set at a remote crossroads in the North East of England. Scenes from six feature films, where significant moments occur at crossroads, are re-enacted by local people who live or work nearby and know the location well. Re-visited excerpts from Oedipus Rex, (Paolo Pasolini, 1967); Down By Law, (Jim Jarmusch 1986); Cool Hand Luke (Stuart Rosenberg, 1967); Castaway, (Robert Zemeckis 2000); Divine Horsemen: The Living Gods of Haiti, (Maya Deren, 1985) and The Discreet Charm of the Bourgeoisie, (Luis Buñuel, 1972) show people hiding from the law, getting shot, killing members of their own family, performing voodoo rituals; all in this one location. Crossroads are traditionally where life-changing decisions are made. Seen as unhallowed ground in most Western cultures, they represent a threshold between the worlds of the real and the imaginary, the living and the dead. Although familiar with the location, participants in Passing Place have a fragile relationship with the unrehearsed parts they are asked to play. The film exposes non-professional actors in the process of adopting roles, relating to the stories of others, intuitively presenting their own version of events.

Nicky Coutts (b. 1968) works primarily with film, video and photography, but also with sculpture and installation. Her work often contains elements of collage, or the reuse of materials such as film clips, paintings and photographs. Her work has been shown widely in the UK and internationally. She was awarded a six-month scholarship at Künstlerhaus Schloss Balmoral April-Oct 2010. Her work was also shown during 2010 at Ha Gamle Prestegard, Havegen, Naerbo, Norway; Doris, Stedefreund, Berlin; Es War Einmal Ein Papegei?, Künstlerhaus Schloß Balmoral, Germany and Multichannel, Artsway, UK. The solo show Millions Like Us at Danielle Arnaud Contemporary Art, London (Nov 5th- Dec 19th 2010) features film works and photographs made over the past 2 years. Her work often engages with the complicated perceptions one culture might have of another. ?A Tower in the Minds of Others?, commissioned for Tatton Park Biennial (2008), was a stack of three English garden sheds reminiscent of a pagoda, overlooking the Japanese Garden. In 2011 she returns to Japan for a 3 month residency to make a film at Youkobo Artspace, Tokyo. Coutts has an MA from Chelsea College of Art and a Phd from the Royal College of Art, London. www.nickycoutts.com

"Buried in the Rain" opens a minimalist sound space where the artist own voice unfolds, singing the possibility of memory and questioning our identity.

Daan Couzijn (Haarlem, 1994) is a multidisciplinary artist currently based in Amsterdam. After having studied singing at the Conservatory of Music in Rotterdam, he continued his studies at the Institute of Performative Arts in Maastricht where he graduated with a BA in Performance Art. Concluding his education, Couzijn graduated in June 2019 from a Post-Graduate program (Radical Cut-Up department) at the Sandberg Institute in Amsterdam, where he received the title of MA in Fine Art and Design. Couzijn is a creative all-rounder - musically skilled with a very strong eye for visual aesthetics who focuses on authenticity, existentialism and the way external influences (in particular digital influences such as social media) shape us. Often using the richness of the internet and the possibilities of technology as an inspiration for his works, Couzijn believes that every idea, every creation, is a combined effort of everything we?ve ever witnessed and experienced. Besides working as a professional actor/performance artist, he performs live with his own music under the pseudonym of Cousin. As Cousin, he creates minimalistic, electronic music combined with his own angelic vocals. More recently he also started exhibiting several audio/visual- ánd kinetic installation works, often using video and other digital media as an expressing tool.

Daan Couzijn (Haarlem, 1994) is a multidisciplinary artist currently based in Amsterdam. After having studied singing at the Conservatory of Music in Rotterdam, he continued his studies at the Institute of Performative Arts in Maastricht where he graduated with a BA in Performance Art. Concluding his education, Couzijn graduated in June 2019 from a Post-Graduate program (Radical Cut-Up department) at the Sandberg Institute in Amsterdam, where he received the title of MA in Fine Art and Design. Couzijn is a creative all-rounder - musically skilled with a very strong eye for visual aesthetics who focuses on authenticity, existentialism and the way external influences (in particular digital influences such as social media) shape us. Often using the richness of the internet and the possibilities of technology as an inspiration for his works, Couzijn believes that every idea, every creation, is a combined effort of everything we've ever witnessed and experienced. Besides working as a professional actor/performance artist, he performs live with his own music under the pseudonym of Cousin. As Cousin, he creates minimalistic, electronic music combined with his own angelic vocals. More recently he also started exhibiting several audio/visual- ánd kinetic installation works, often using video and other digital media as an expressing tool.

New Centuries Are Rare is a short film by the artist collective coyote (SWE/DK). The film explores the interlaced history of the former mining village Norberg in Sweden and the emblematic story of the electronic music scene at the turn of the last century. Sampling these intersections in time, New Centuries are Rare unfolds a journey through psychological, chemical and technological rhythms placed in close proximity to the grinding resistance present in the region’s past.

coyote is a multidisciplinary artist collective founded in 2017. Their collective practice is constantly in flux and moves between artistic and curatorial work. In addition to several self-produced exhibitions and projects, coyote have exhibited at Bizarro (DK), KØS - Museum of Art in Public Spaces (DK), Index - The Swedish Contemporary Art Foundation (SE), NSFW/SVILOVA (SE) and curated events at Filmform (SE), Moderna Museét (SE) and Bonamatic (DK) among others.

Behind the wheel of her little car, Nicky seems to be on a mission. Roads pass by but the ideas in her head remain unfathomable. A meal, the discovery of a rifle, chance encounters: the mystery remains unsolved.

In the 90s, he shot some fifteen short films, then worked as a journalist and film critic before directing his first feature Les états nordiques in 2005. His 4th feature, Carcasses (2009), was presented at the Directors' Fortnight in Cannes, while Curling, won top honors at the Locarno Festival in 2010. Vic+Flo ont vu un ours (2013) won the Silver Bear at the Berlinale in Germany for its innovation. Also at the Berlinale, he presented four features in the Official Competition. Denis Côté's singular films have been shown at hundreds of cinematic events, as well as being the subject of some forty retrospectives around the world.

An encounter.

Jordan Crandall is a media artist and theorist based in Los Angeles. He is Associate Professor in the Visual Arts Department at University of California, San Diego. His video installations have been presented in numerous exhibitions worldwide, including recent group exhibitions at Tate Modern, San Francisco Museum of Modern Art, and the Walker Art Center. His most recent video installation, HOTEL, produced in advanced 4K high definition technology, probes into the realms of extreme intimacy, where techniques of control combine with techniques of the self. He writes and lectures regularly and is the founding editor of the new journal VERSION.

We begin with a monitor and end with a mirror. In between, two actors engage in an elaborate pas de deux. They are desirous of each other but their actions are infused with a presumptive suspicion. They analyze and deceive one another - and themselves - as they both solicit and block erotic contact. Circulating within the potent mixes of contemporary entertainment and security cultures, they embody mutually reinforcing mechanisms of pleasure and paranoia. In an increasingly militarized culture, there is a reciprocity between the way that control technologies function and the way that identity coalesces. "Homefront" performs an analysis of spectatorship and identification that is resonant with the new regime of mediatized security: a "security unconscious" projected into the cinematic lexicon.

Jordan Crandall is a media artist and theorist. He is Associate Professor in the Visual Arts Department at University of California, San Diego. His ongoing art and research project "Under Fire", concerning the organization and representation of political violence, opened in October 2006 at the International Biennial of Contemporary Art of Seville. To date, two catalogues of "Under Fire" have been produced, in 2004 and 2005, published by the Witte de With center for contemporary art, Rotterdam. The third volume will be produced by the Seville Biennial in early 2007. Crandall has currently completed a new 3-channel video installation entitled "Homefront", which combines live-action video, surveillance footage, and military tracking software. It explores the effects of the new security culture on subjectivity and identity. His work has been presented in numerous solo exhibitions worldwide, including the Museum of Contemporary Art Kiasma in Helsinki; the Neue Galerie am Landesmuseum Joanneum in Graz; ARTLAB in Tokyo; the Museo de Arte Carillo Gil in Mexico City; the Centre d?Art Contemporain de Basse-Normandie in Caen; the Kunst-Werke in Berlin; the Kitchen in New York; AGORA in Rio de Janeiro; the Edith Russ Site für Medienkunst in Oldenburg; and the TENT Centrum Beeldende Kunst in Rotterdam. His work has also been presented in group exhibitions at major institutions such as the Whitney Museum in New York. Crandall writes regularly on technology and culture. An anthology of his projects and critical writing - entitled Drive - was published by Hatje Cantz Verlag, in conjunction with Zentrum für Kunst und Medientechnologie (ZKM), Karlshrue, in 2002. He is currently completing a body of writing on the culture of tracking, which looks at tracking as a technology, a discourse, and a perceptual modality. His most recent essay is entitled "Precision+Guided+Seeing", published in CTheory in January 2006. Crandall has written on technology and culture for magazines such as Artforum, Parachute, Framework, Cultural Politics, Journal of Visual Culture, and TRANS>arts.cultures.media. Crandall?s other books include Trigger Projekt (Frankfurt: Revolver, 2002); Heatseeking (Caen: Esac, 2002); Suspension (Kassel: Documenta X, 1997); and Interaction: Artistic Practice in the Network (New York: D.A.P., 2001). Crandall?s videos have been presented at many international film and media festivals, including the World Wide Video Festival in Amsterdam; the Transmediale International Media Art Festival Berlin; the Montreal International Festival of New Cinema and New Media; the Video Archaeology Festival in Sofia, Bulgaria; the MIX Festival in New York City; the Berlin Biennial; the European Media Art Festival in Osnabruck, Germany; ?Cine y Casi Cine? at the Museo Nacional Centro de Arte Reina Sofia in Madrid; the Kasseler Dokumentarfilm und Videofest; and the Rotterdam International Film Festival. Crandall works in film, video, and new technologies that are particular to the military and surveillance culture. His earlier works include the site-specific video installation "Suspension" (1997) commissioned by Documenta X in Kassel; a seven-part video installation entitled "Drive" (1998-99), commissioned by the Neue Galerie am Landesmuseum Joanneum and the Zentrum für Kunst und Medientechnologie (ZKM) in Karlshrue; a six-part video installation entitled "Heatseeking" (2000), commissioned by inSITE in San Diego and Tijuana; and "Trigger" (2002), a two-channel video installation which debuted in October 2002 at Henry Urbach Architecture, New York, supported by the New York State Department of Cultural Affairs and ARTSPACE, San Francisco and New York.

What happens when you try to perform Shakespeare inside GTA Online, a game space notorious for its aggression and gratuitous violence? You might expect the other players in your server to respond with heavy weaponry, perhaps a mini SMG, or a compact grenade launcher. And indeed, this is often what happens. Yet occasionally you may come across someone who responds in an entirely unexpected manner. This work radically subverts and appropriates the notoriously violent world of GTA Online and reimagines it as a meditative space for live performance of Shakespeare. It challenges lazy assumptions about video games (that they are simply mindless entertainment or the nadir of violent youth culture) to reveal their inherent artistry and sophistication, and at the same time opens up the snobbish and elitist world of classical theatre to those who are excluded from it due to disability, financial concerns, geographical proximity or lack of familiarity with the theatrical ecosystem. By harnessing the technological capabilities and networked connectivity offered by contemporary video games, it also interrogates the concept of the audience: what it is, how it can be accessed, and how it can interact with live performance.

Sam Crane is an actor and video artist, critically acclaimed for his performances at the National Theatre, Shakespeare’s Globe, in The West End and on Broadway. He has collaborated with many of the most celebrated and influential theatre artists in the world including Mark Rylance, Katie Mitchell and Robert Icke in groundbreaking productions including Farinelli and The King, 1984 and ...some trace of her. In the guise of his alter ego Rustic Mascara, he attracted over 50 thousand views in two weeks to his radical attempts to perform Shakespeare inside GTA online and has had his films shown at contemporary art and film festivals worldwide (including London Short Film Festival, Slamdance and Athens Digital Arts Festival). He is also a prolific screen actor and has appeared in many the most loved and successful television shows of recent years including The Crown (Netflix), The Trial of Christine Keeler (BBC), COBRA (Sky), Poldark (BBC), Endeavour (ITV) and Call The Midwife (BBC). He has recently been selected as one of six emerging artistic researchers for Zurich University of the Arts PEERS programme, and was longlisted for the Aesthetica Art Prize 2022

Buried deep underground in an abandoned Russian broadcasting station located in the forest of Vilnius, Lithuania, an actor performs the role of a Red Army General to teach free-market values to a group of unemployed teenagers by subjecting them to an antagonistic history lesson on the Soviet occupation of the Baltic States.

Mike Crane is an artist raised in Bogotá, Colombia and currently based in New York. He is a graduate of the Cooper Union School of Art and studied at Hunter CUNY. Previous exhibitions include The Bass Museum of Art (Miami), Center for Contemporary Art Derry (Northern Ireland), FridayExit (Austria), Dublin City Gallery The Hugh Lane (Ireland), Chashama (New York), Carnegie International Lending Library of Transformazium (Pittsburg), The Banff Centre (Canada), and Silent Green Kulturquartier (Berlin). His work was most recently exhibited at the Bronx Museum Biennial, the Berlinale Forum Expanded and the Haus der Kulturen der Welt, Berlin. He was awarded the Brenda and Jamie Mackie Fellowship for Visual Arts at the Banff Centre, and the Foundation for Contemporary Arts Emergency Grant for his film installation at Chetham’s Library in Manchester, UK. In 2015, Crane was an artist in residence at the Triangle Arts Association in Brooklyn and the Rupert Centre in Vilnius, Lithuania. He is a recipient of a 2015 Creative Capital visual arts grant and is an artist in residence at the 2016-2017 Smack Mellon studio program in Brooklyn, NY.