Catalogue > List by artist

A man is moving along, accompanied by a restless and compelling rhythm; we see him in profile against a black background. His legs and arms are stepping out. As if the camera is also managing to penetrate his inner motives, each movement is fragmented, repeated, and multiplied. Every thought about, memory of, impulse towards, and hesitation over, his walking is incorporated in his stride. It should be driving him crazy, but he seems to be oblivious to all the excitement. When the camera slowly zooms in on his face, we can see that his lips are moving, but the words dry up in half syllables which, when repeated and multiplied, cannot mean anything. The walk continues, the tapping and ticking of the soundtrack carries on, and almost imperceptibly it becomes clear that he has, in fact, only made a quarter of a turn.

Antonin de Bemels was born in 1975 in Brussels and studied in the Visual Communication and Narration section of the ERG (Ecole de Récherche Graphique). His work has been shown throughout the world and has received various prizes. He frequently collaborates with musicians, and many of his works fall under a category that he refers to as 'non-commercial music videos'. Formally, de Bemels' works rely heavily on various editing techniques ranging from direct manipulation of super-8 film to 'scrubbing', a digital technique that can be described as the visual equivalent of audio scratching. The images de Bemels edits are of bodies or body parts, found objects and various natural or architectural settings, often lit in ways that are reminiscent of caravagesque painting. The footage is edited into sped-up, rhythmic patterns whose pace is set in time with the soundtrack. This technique alienates everyday objects and actions by arresting and abstracting them, highlighting the processes of sensory perception through which the embodied subject gains knowledge of the material world.

Ongoing series of short "impromptus", in collaboration with the so-called Bonhomme Daniel. Tips and tricks to better cope with loneliness and boredom.

Antonin De Bemels was born in 1975 in Brussels. He graduated as an ERG (Graphic School of Research) in 1997. His videographic work is mainly centered on the representation of the body movement and on the dynamic relationship between images and sounds. He has to date about fifteen experimental short, shown at many international festivals, mainly in Europe but also in the United States, Canada, South America (Peru, Uruguay, Brazil), Asia (Taiwan, China, South Korea) and Australia. He also develops his visual universe through audio-visual showings (?veejaying?) in Belgium and abroad (Serbia, Netherlands, Switzerland, Spain?) and the video editing. He participated in group exhibitions in Belgium, in France, in the Netherlands and Quebec. Alongside his own creative work, he regularly helps in shows of contemporary dance as a videomaker and sound creator.

From a swarm of bright moving patches obviously disordered, an inaccurate figure of a man?s body appears. We only see his head, his arms, his trunk. It seems the features will never fix. This incomplete body is repeating the same simple movements? sequence. Then, the face is gradually taking more and more space, until it totally invades the screen. The features are now going disordered; some shadows are digging the pleated skin. The face details are going isolated each one from each other so that they transform themselves in light patches, like skinless body peaces...

Antonin De Bemels is a video and audio artist, born in 1975 in Brussels. He discovered video art and experimental cinema at Erg (Ecole de Recherche Graphique), from 1993 to 1997. At about the same period, he started getting interested in electronic music, and initiated his personal approach of videography, based on the representation of body movements and the dynamic relationship between sounds and images. Since 1997, he has made a dozen of short videos that were screened in many festivals around the world. He also creates video backgrounds for dance and theatre pieces, and regularly performs live visuals during electronic music shows. As an audio artist, he created original soundtracks for some contemporary dance pieces, and for some of his own videos. He released his first record on the Austrian label Tonto Records in 2004.

Ongoing series of short "impromptus", in collaboration with the so-called Bonhomme Daniel. Tips and tricks to better cope with loneliness and boredom.

Antonin De Bemels was born in 1975 in Brussels. He graduated as an ERG (Graphic School of Research) in 1997. His videographic work is mainly centered on the representation of the body movement and on the dynamic relationship between images and sounds. He has to date about fifteen experimental short, shown at many international festivals, mainly in Europe but also in the United States, Canada, South America (Peru, Uruguay, Brazil), Asia (Taiwan, China, South Korea) and Australia. He also develops his visual universe through audio-visual showings (?veejaying?) in Belgium and abroad (Serbia, Netherlands, Switzerland, Spain?) and the video editing. He participated in group exhibitions in Belgium, in France, in the Netherlands and Quebec. Alongside his own creative work, he regularly helps in shows of contemporary dance as a videomaker and sound creator.

From a swarm of bright moving patches obviously disordered, an inaccurate figure of a man?s body appears. We only see his head, his arms, his trunk. It seems the features will never fix. This incomplete body is repeating the same simple movements? sequence. Then, the face is gradually taking more and more space, until it totally invades the screen. The features are now going disordered; some shadows are digging the pleated skin. The face details are going isolated each one from each other so that they transform themselves in light patches, like skinless body peaces...

Antonin De Bemels is a video and audio artist, born in 1975 in Brussels. He discovered video art and experimental cinema at Erg (Ecole de Recherche Graphique), from 1993 to 1997. At about the same period, he started getting interested in electronic music, and initiated his personal approach of videography, based on the representation of body movements and the dynamic relationship between sounds and images. Since 1997, he has made a dozen of short videos that were screened in many festivals around the world. He also creates video backgrounds for dance and theatre pieces, and regularly performs live visuals during electronic music shows. As an audio artist, he created original soundtracks for some contemporary dance pieces, and for some of his own videos. He released his first record on the Austrian label Tonto Records in 2004.

Three characters, three bodies, three trajectories: Piéton walks through the city, Pensée loses herself in her thoughts, Pantin slowly comes out of his immobility... A short film about how to deal with the reality that surrounds us. Some will work their way through it, some will merge into it, some will melt into thin air... Movement is the key.

Antonin De Bemels is a video and audio artist, born in 1975 in Brussels. He discovered video art and experimental cinema at Erg (Ecole de Recherche Graphique), from 1993 to 1997. Roughly during the same period, he started becoming interested in electronic music, and initiated his personal approach of videography based on the representation of body movements and the dynamic relationship between sounds and images. Since 1997, he has made a dozen short videos that have been screened all around the world. He also creates video backgrounds for dance and theatre pieces, and sometimes performs live visuals during electronic music shows.

Manon de Boer`s film `Presto, Perfect Sound` depicts composer and violinist, George Van Dam, performing Béla Bartok`s sonata for violin solo, `Presto`. De Boer filmed George van Dam six times playing the whole piece while at the same time recording the sound. In order to achieve the ?perfect? soundtrack, she gave George van Dam the six sound recordings and asked him to reconstruct the Bartok piece into a perfect sound piece. Afterwards De Boer synchronized the filmed image to this soundtrack. The jump-cuts in the image visualize the cuts in the sound, while the sound sounds continuous and sound and image look synchronized. In allowing the audio sequence to dictate the image on screen, de Boer inverts the traditional dominance of image over sound in cinema. The film is a meditation on the relationship between sound and image and offers an intense reflection on a moment of creative concentration. Recorded in Flagey`s Studio 4, Brussels 13th August 2006. Co-commissioned by LUX and Frieze Projects, with support from Arts Council England, the Independent Cinema Office and the Culture 2000 programme of the European Union. Frieze Projects are presented in association with Cartier

Manon de Boer (°India) lives and works in Brussels, Belgium. She makes films, videos, installations, publications and she teaches at KASK. She`s part of the production-distribution platform named Auguste Orts. "The work of Manon de Boer revolves around the portrait and the memory. Image and biographical account are often separated to question the nature of a portrait, to the one who is portrayed and the spectator." Recent group exhibitions include ?Don Quijote?, Witte de With, Rotterdam, (2006), ?Documentary Creations?, Kunstmuseum, Lucerne (2005) and ?Nederland niet Nederland?, Van Abbemuseum, Eindhoven (2004). De Boer`s film Sylvia Kristel - Paris (2003) has been included in the International Film Festival, Rotterdam, and was awarded the Prix Georges de Beauregard at Marseille in 2004. Her film Resonating Surfaces (2005) won the Prix Marseille Espérance at the International Competition FID, Marseille (2006) and the prize for best experimental film at the festival Curtas Metragens Vila do Conde, Portugal. It?s currently shown at the Biennale in Venice.

Screams of death open Resonating Surfaces on a whitened and scratched film. It is upon that bearer of images where no image is to be found that the two female voices ? opera parts of Alban Berg?s Lulu and Wojzzeck ? act out a bodily vibration, a pure vibration which manifests life and which is succeeded by silence and a dark screen. The darkness slowly gives way to takes of São Paulo, searchingly gliding over the surface of the elusive city and skirting around the rhythmic bodies and portraits of some individuals. All the while there is a song-like voice, voices loosely uttering words and memories, making the sound have its own mental room which never derives from the one that is occupied by the image. A voice of an individual starts telling a story and becomes language as well as text while, in a punctuated off-beat rhythm, the image moves to the portrait of that individual. As Suely Rolnik?s personal story grows, the voice comes to the foreground and the image vanishes into dark takes of her and bright takes of Paris, into under and overexposure so as to give room to that voice, its physical presence and the images it summons. Resonating Surfaces is triple portrait, of a city, a woman and an attitude to life. For the personal story of Rolnik, who is a Brazilian psychoanalyst currently living in São Paulo, involves the Brazilian dictatorship of the sixties as well as the Parisian intellectual climate surrounding Deleuze and Guattari in the seventies. The film is woven through by different themes: the other and the relation to otherness, the connection between body and power, the voice and, ultimately, the micropolitics of desire and of resistance.

Manon de Boer (°India) lives and works in Brussels, Belgium. She makes films, videos, installations, publications and she teaches at KASK. She`s part of the production-distribution platform named Auguste Orts. "The work of Manon de Boer revolves around the portrait and the memory. Image and biographical account are often separated to question the nature of a portrait, to the one who is portrayed and the spectator." Recent group exhibitions include ?Don Quijote?, Witte de With, Rotterdam, (2006), ?Documentary Creations?, Kunstmuseum, Lucerne (2005) and ?Nederland niet Nederland?, Van Abbemuseum, Eindhoven (2004). De Boer`s film Sylvia Kristel - Paris (2003) has been included in the International Film Festival, Rotterdam, and was awarded the Prix Georges de Beauregard at Marseille in 2004. Her film Resonating Surfaces (2005) won the Prix Marseille Espérance at the International Competition FID, Marseille (2006) and the prize for best experimental film at the festival Curtas Metragens Vila do Conde, Portugal. It?s currently shown at the Biennale in Venice.

Manon de Boer`s film `Presto, Perfect Sound` depicts composer and violinist, George Van Dam, performing Béla Bartok`s sonata for violin solo, `Presto`. De Boer filmed George van Dam six times playing the whole piece while at the same time recording the sound. In order to achieve the ?perfect? soundtrack, she gave George van Dam the six sound recordings and asked him to reconstruct the Bartok piece into a perfect sound piece. Afterwards De Boer synchronized the filmed image to this soundtrack. The jump-cuts in the image visualize the cuts in the sound, while the sound sounds continuous and sound and image look synchronized. In allowing the audio sequence to dictate the image on screen, de Boer inverts the traditional dominance of image over sound in cinema. The film is a meditation on the relationship between sound and image and offers an intense reflection on a moment of creative concentration. Recorded in Flagey`s Studio 4, Brussels 13th August 2006. Co-commissioned by LUX and Frieze Projects, with support from Arts Council England, the Independent Cinema Office and the Culture 2000 programme of the European Union. Frieze Projects are presented in association with Cartier

Manon de Boer (°India) lives and works in Brussels, Belgium. She makes films, videos, installations, publications and she teaches at KASK. She`s part of the production-distribution platform named Auguste Orts. "The work of Manon de Boer revolves around the portrait and the memory. Image and biographical account are often separated to question the nature of a portrait, to the one who is portrayed and the spectator." Recent group exhibitions include ?Don Quijote?, Witte de With, Rotterdam, (2006), ?Documentary Creations?, Kunstmuseum, Lucerne (2005) and ?Nederland niet Nederland?, Van Abbemuseum, Eindhoven (2004). De Boer`s film Sylvia Kristel - Paris (2003) has been included in the International Film Festival, Rotterdam, and was awarded the Prix Georges de Beauregard at Marseille in 2004. Her film Resonating Surfaces (2005) won the Prix Marseille Espérance at the International Competition FID, Marseille (2006) and the prize for best experimental film at the festival Curtas Metragens Vila do Conde, Portugal. It?s currently shown at the Biennale in Venice.

Screams of death open Resonating Surfaces on a whitened and scratched film. It is upon that bearer of images where no image is to be found that the two female voices ? opera parts of Alban Berg?s Lulu and Wojzzeck ? act out a bodily vibration, a pure vibration which manifests life and which is succeeded by silence and a dark screen. The darkness slowly gives way to takes of São Paulo, searchingly gliding over the surface of the elusive city and skirting around the rhythmic bodies and portraits of some individuals. All the while there is a song-like voice, voices loosely uttering words and memories, making the sound have its own mental room which never derives from the one that is occupied by the image. A voice of an individual starts telling a story and becomes language as well as text while, in a punctuated off-beat rhythm, the image moves to the portrait of that individual. As Suely Rolnik?s personal story grows, the voice comes to the foreground and the image vanishes into dark takes of her and bright takes of Paris, into under and overexposure so as to give room to that voice, its physical presence and the images it summons. Resonating Surfaces is triple portrait, of a city, a woman and an attitude to life. For the personal story of Rolnik, who is a Brazilian psychoanalyst currently living in São Paulo, involves the Brazilian dictatorship of the sixties as well as the Parisian intellectual climate surrounding Deleuze and Guattari in the seventies. The film is woven through by different themes: the other and the relation to otherness, the connection between body and power, the voice and, ultimately, the micropolitics of desire and of resistance.

Manon de Boer (°India) lives and works in Brussels, Belgium. She makes films, videos, installations, publications and she teaches at KASK. She`s part of the production-distribution platform named Auguste Orts. "The work of Manon de Boer revolves around the portrait and the memory. Image and biographical account are often separated to question the nature of a portrait, to the one who is portrayed and the spectator." Recent group exhibitions include ?Don Quijote?, Witte de With, Rotterdam, (2006), ?Documentary Creations?, Kunstmuseum, Lucerne (2005) and ?Nederland niet Nederland?, Van Abbemuseum, Eindhoven (2004). De Boer`s film Sylvia Kristel - Paris (2003) has been included in the International Film Festival, Rotterdam, and was awarded the Prix Georges de Beauregard at Marseille in 2004. Her film Resonating Surfaces (2005) won the Prix Marseille Espérance at the International Competition FID, Marseille (2006) and the prize for best experimental film at the festival Curtas Metragens Vila do Conde, Portugal. It?s currently shown at the Biennale in Venice.

China at Work is an observational video portraying Chinese factory workers. Filmed in the periphery of Shanghai it shows detail of individuality within the Chinese wirtschaftswunder. Quote: ?By doing the same thing the whole day one can only daydream.? The distorted but hopeful soundtrack consist and refers to classical Chinese music. There is no desire to make a strong statement or point out an opinion with this short film. It is more so an attempt to briefly put on a stage the individual within the masses. In a philosophical way it weavers around desire.

Jan de Bruin ( Delft, 1977) graduated in 2002 from the film department at the Dutch art-school St. Joost in Breda. After his graduation he devoted himself to making personal short documentary videos. In 2003 through 2005 with the support of the Dutch Foundation for Visual Arts he committed himself to the ?In America? project. Via this documentary project the artist tried to find a truth behind the (cinematographic) clichés of the USA. These clichés established themselves in his youth via media culture that did not have their origin in Europe. The short video Calling 911 (6:21min.) made in 2004 is one of the results of the above-described project. Shot in Los Angeles in November of 2003 it tells the story of a rescue operation of eventual mythical proportions. An example of the idea that ? reality ? does not exist but is a constant continuation of narrative. Nowadays de Bruin travels mostly around Europe with camera to film the unseen theatre of reality. To point out the unavoidable narrative. Via these short films de Bruin creates a psychological mirror on everyday life. Usually he records people in urban situations, engaged in interaction with each other. Hereby exploring the boundaries between film and art, as well as reality and fiction but since these are clichés; making foremost an effort to show us ourselves. This may be even a revolt against post-modernism.

Calling 911: Recorded in Los Angeles about the hidden network of Resque in the United States. It is an example of the idea that in the USA, reality does not exist but is rather a constant continuation of a narrative.

Jan de Bruin, born in Delft in 1977, graduated in 2002 from the Dutch art school St. Joost in Breda. Afterwards he devoted himself to making personal short documentaries. From 2003 to 2005, with the support of the Dutch Foundation for Visual Arts, he committed himself to the "In America" project. Via this documentary project de Bruin tried to find a truth behind the clichés of America. Presently he travels around Europe with camera to film the unseen theatre of reality. His latest works (both 7min) are: "Waiting for Felipe", shot in September 2005 in Milan, Italy, and "No Fire", shot in Hamburg, Germany in June 2006.

Amidst the noise of traffic, a young woman is standing in a corner, she is still a girl, without a coat or bag. Her face and posture betray despondency and sorrow, which makes her look even more withdrawn. A new reality has come too close; the reality of the street is now miles away from her. The man who is speaking to her (at first you think he is someone who is coming to her rescue) is obviously the cause of her predicament. Small gestures, larger gestures... except for a few words, you cannot understand them, but there is clearly a conflict going on, and not just that: this is the end ('suit yourself, call 911'). She only has to press three keys. A sudden sway of the camera, which allows us to see more of the street, and the sound of music starting up give the incident a new turn: a registered event becomes a tragedy. What has happened, who was that man, who is she talking to, what is she saying between her violent sobs and her gasps for air? When the police arrive she carries on talking, because to her, the voice on the phone is closer to the one who left her there alone than a couple of men in blue; she hardly seems to notice them. In the meantime the fire brigade has also arrived, followed by an ambulance. A whole team of rescuers gathers around her. Eventually she staggers through the open door of the ambulance under her own steam. One shot, one single take, encompasses a whole story, summarizes an entire feature film.

Jan de Bruin, born 1977 in Delft/Netherlands, lives and works in Rotterdam. From 1996-2002 he studied at the audio visual department of the 'Academy of Fine Arts St. Joost' in Breda. In his films he is initiator, director, cameraman, and editor. "Calling 911" was shown at many European festivals in the Netherlands, Italy, Belgium, Germany, Switzerland, and France. Since 1999, he has been working on several other short videos, like a film made from found footage, "Lost Angels" (2000), or "No Fire" (2006), a one shot documentary film.

Un esprit communique avec une lumière mystérieuse.

Sébastien De Buyl est né le 23 février 1987 à Houston, Texas. À 18 ans, il reçoit un appareil photo et gagne un concours de photographie la même année. Il suit une formation artistique à la UCCA – University College for the Creative Arts Maidstone (Royaume-Uni), où il pratique la peinture. En 2012, il réalise "Lone Wolf", un long-métrage tourné en guérilla (Belgique, France, Espace) librement adapté du roman de Jim Harrison "Un bon jour pour mourir". En 2015, il co-écrit le long-métrage, "The Life List" avec Louise Dubois pour Belga Films. En 2016, il réalise "Tournures", film court sur la thématique de l'inégalité homme-femme. Le film connait une belle vie en festivals. En 2017, il réalise "Ya me voy", long-métrage documentaire, portrait croisé d'un petit village de pêcheurs dans le golfe du Mexique. Le film est projeté au FIFF – Festival international du film francophone de Namure (Belgique) en 2017. Sébastien De Buyl est actuellement en post-production du film "Usures", en pré-production d’un film court de fiction, "Démon", et en développement de d’un film documentaire au Venezuela.

The way in which we cross, one time only, the space of a public swimming pool reminds us of life, from birth until the end.

João Viana was born in Angola in 1966. He graduated from Law at the University of Coimbra and studied cinema in Oporto. He has worked in the areas of film direction, production, and script writing. He has collaborated with de Oliveira, Rocha, César Monteiro, Seixas Santos, and Biett. Iana Viana was born in Germany in 1971. She was directly influenced by António Reis and studied at the Film School in Lisbon, graduating in cinematography. She has worked with Serra, de Almeida, Lancelin and Filac.

One of the biggest pop stars comes back to make a toast to some of the most important politicians of our times.

José Maças de Carvalho was born in Anadia, Portugal, in 1960. He holds a degree in Literature from the University of Coimbra and a Post Graduation on Managements of the Arts, Macau. He has been working on photography since the early 90's and started to work on video in 2000. He has had exhibitions in Portugal, Macau, France, Spain, Holland, Slovakia, and Brazil, among others. He is also a curator of several exhibitions.

In the Summer of 2020, at the height of the Black Lives Matter protests in her country, Helga Davis wrote a text that voices her pain, her despair and also her hopes for the future. After collaborating on Helga Humming (2019) and One (2020), the text became the starting point for a new film and a first work co-signed by Helga Davis and Anouk De Clercq. OK scrutinises the relations between Black and White while searching for the essence of collaboration and caring about the other.

Anouk De Clercq explores the potential of audiovisual language to create possible worlds. Her recent work is based on the utopian idea of ‘radical empathy’. Her work has been shown in Tate Modern, Centre Pompidou, Museo Nacional Centro de Arte Reina Sofia, MAXXI, Centre d’Art Contemporain Genève, BOZAR, International Film Festival Rotterdam, Berlinale, Ars Electronica, among others. She has received several awards, including the Illy Prize at Art Brussels in 2005 and a Prix Ars Electronica Honorary Mention in 2014. Anouk De Clercq is affiliated to the School of Arts University College Ghent as a visiting professor. She is a founding member of Auguste Orts and initiator of Monokino. Anouk De Clercq is the author of Where is Cinema, published by Archive Books. Helga Davis is a New York-based multidisciplinary artist who works as an actress, singer, writer and composer, as well as a radio and podcast host. Helga Davis performed as a principle actor in the 25th-anniversary international revival of Robert Wilson and Philip Glass's opera Einstein on the Beach. Davis' music career has included a stint in the rock band Women in Love, in the 1990s. More recently, Davis has starred in operas and theater pieces internationally, including Robert Wilson's The Temptation of St. Anthony, libretto and score by Bernice Johnson Reagon; Octavia E. Butler's Parable Of The Sower, Milton by Katie Pearl and Lisa Damour; The Blue Planet, a multimedia theater piece, by Peter Greenaway and Saskia Boddeke; and Soho Rep's Jomama Jones, Radiate. Davis hosts the "Helga" podcast, live events for New Sounds and WQXR-FM's Q2 Music.

An architect talks about the city he has built. Gradually we realise that the city is imaginary. His account is an attempt to give his ideas a fixed shape. This, in a nutshell, is the story of Thing. Screened at a very large scale, Thing, is an architectural universe that ceaselessly reveals its own virtuality for it exists only as a nebula of points wherein the camera, or actually, the point of view, wanders. Indeed, the technology used in Thing does not allow talking about a camera since it is made of 3D scans of urban spaces. Instead, we could talk about a point of view, a gaze, or even a body (that wanders). Thereby, a tension is generated between the mechanical register of space and its embodied perception. A tension or overlap between two sensing interfaces: the scanner and the body, without any need to determine whether there is a desire to reproduce the mode of sensing of the latter through the technology of the former. Unlike other works in which the animation is for the artist an occasion to create spaces without memory (precisely because animation does not capture anything), in Thing, the virtual universe does have a memory; the scanner does capture. The same memory that a body has or that is required in the learning of perception. Calling it Thing is a resistance to provide connotation beyond the signalling of a paradoxical –for it is virtual– materiality. Notwithstanding the nuances between authors and periods, the word "thing" in philosophical and psychoanalytic traditions has often been used to refer to the inaccessible, a stronghold of inexplicable emptiness on which meaning is built. Thing, is a film that is built from a text that progressively describes, creates, or builds a space. The dot and the word become thereby, parallel compositional elements. (Anna Manubens)

Anouk De Clercq studied piano in Ghent and film at the Sint Lukas Brussels University College of Art and Design. Her works explore the audiovisual potential of computer language to create possible worlds, many of which have a strongly architectonic character. She has received several awards, including the Illy Prize at Art Brussels in 2005 and a Prix Ars Electronica Honorary Mention in 2014. Her work has been shown in Tate Modern, Centre Pompidou, Museo Nacional Centro de Arte Reina Sofia, MAXXI, Centre d’Art Contemporain Genève, International Film Festival Rotterdam, Ars Electronica, among others. Anouk De Clercq is affiliated to the School of Arts University College Ghent as an artistic researcher.

In a reconstruction of his father's death, the director combines techniques of animation, live action and photogrammetry. This intensely personal film deals with the universal topic of grief in a way that shows the power of contemporary artist animation and pushes the medium to its limits.

Brecht De Cock (1999) is an experimental multimedia artist, animator and filmmaker whose work combines computer graphics with original and archival footage. De Cock received his master's degree in audiovisual arts at LUCA School of Arts, Sint-Lukas Brussels, where he specialized in animation. He is currently studying for a master's degree in Cultural Studies at the Catholic University of Leuven (KUL).

Benevolence is a film art installation in the form of a flicker film. The subject is the depiction of relationships between men and women in film. The work analyses and reveals the various forms of sexism, particularly benevolent sexism. The movement of the film unfolds like a love scene: starting with a seemingly innocent chase, it progresses into violence and ultimately culminates in an overwhelming display of love and submission. The film constructs a choreography using the mise-en-scène typical of classic Hollywood films from the 40s and 50s. Shots are divided into segments of 7 frames and interwoven with one another, creating a choreography of movement, a dance. By doing this, the film reveals the conventions in the ways men and women interact with each other in physical space. In doing so, the film not only questions the normative framework of that time but also challenges the cinematic conventions of today, as many of them are still in use.

Karel De Cock, born in 1982, works and lives in Brussels. He studied Audiovisual Arts at the Sint-Lukas Institute. In his film and photography work, he often reflects on the weight of social conformity. His practice is heavily grounded in research, drawing from popular culture, film, and media history. His photography takes a sociological approach, incorporating an observational element in an urban context. His central goal is to bring visibility to the unseen, emphasizing the extraordinary within the ordinary rather than seeking out exceptions. His work has been featured internationally in several exhibitions and museums, including, House Of World Cultures, Transmediale, Berlin; European Media Arts Festival, Osnabrueck; Centre Pompidou, Rencontres Internationales, France; Europalia Arts Festival, Belgium; Beirut Art Center, Lebanon; Museum M, Belgium and Courtisane, Belgium.

?Accepting The Image? portrays the way New York City women, their dreams and their lifestyles are represented in the media and in reality. The film questions this dual relationship between both worlds by sketching the portraits of Alynn, Lindsey and Holly, three young women who recently moved to the city. Filled with certain dreams and expectations, they each tell us what New York means to them and what their motivations were to go live there. As it appears, their incentives seem to blend with the image of the city as it is depicted in their favourite movies and television series. Some of the girls try to live up to the fiction, while others have already been confronted with a somewhat different reality. An observing camera sketches a feminine image of the streets of New York. The girls` story provides a direct comment to this and offers a critical perspective on the way young women in general identify with this and their idols representing it. ?Accepting The Image? questions the adoration of certain media and its consequences.

Karel De Cock °1982: Lives in Brussels and studied Audiovisual arts at the Sint-Lukas Institute in Brussels. In 2008 he received his Bachelor degree with his film ?Resonance? (2008). The film has been selected by various festivals e.g. Rencontres Internationales (FR), Transmediale 09 festival (DE) and Migrating Forms (New York Underground Film Festival). In 2009 he was selected for an exchange program with Beijing where he shot ?A Beijing Tale?, which was shown at Europalia China and The Beijing Student Film Festival. He graduated in the master department in 2010 with the film ?Accepting The Image? for which he spend 3 and a half months in New York City. His films are character based and situate themselves in the search and recovery of identity and relations. He has a background in the traditional fiction genre but since Resonance he finds himself crossing the borders of both fiction and documentary. He finished his studies as a bachelor in the fiction department with guidance from Patrice Toye and graduated in the master department of documentary with guidance from Herman Asselberghs & Rob Rombout

Unheard Silence is a meditation on the role of women in the western genre. I came to realize that I related this subject matter to an image of The Searchers that was imprinted on my memory. So I decided to use this image hoping it would trigger a similar memory and communicate this subject to others as well. We stand together with a woman. Waiting and staring into the empty desert. Not knowing if the men will return or not.

Karel De Cock °1982: Lives in Brussels and studies Audiovisual arts at the Sint-Lukas Hogeschool in Brussels. In 2008 he received his Bachelor diploma with his film Resonance (2008). The film has been selected by various festivals e.g. Rencontres Internationales (FR), Transmediale 09 festival (DE) and Migrating Forms (New York Underground Film Festival). His films are character based and situate themselves in the search and recover of identity and relations. He has a background in the traditional fiction genre but since Resonance he finds himself crossing the borders of both fiction and documentary. Right now he finishes his studies in the master department of documentary with guidance from Herman Asselberghs, Rob Rombout and Ronnie Ramirez

There`s John a businessman from Louisiana, François the banker from London and Antoine a trader from Switzerland. Together they reflect on their career and on the choices they made and the one`s they didn`t. Choices that made them successful, and into who they are today. As we get to know them, we also get to know someone else. Someone that may have been less lucky in his career. Or maybe we see what the true face of success can be.

Karel De Cock is a filmmaker who lives and studies in Brussels, Belgium. He has roots in graphic design but soon developed an interest for film. The foundation of his films can always be found in the character`s psyche. For every new film the main challange is to find a new way to communicate the story, and to find a way to combine both content and form in a harmonious way. Having a graphical background he combines the conventions of communication trough still images with the traditional film conventions. This way the traditional film conventions can be expanded and new ways of communication can be explored.

Proposition Two: The Collection SYNOPSIS The Propositions series assemble my projects dealing with contemporary art issues through photography and video. Contemporary art, as most intellectual endeavors today, has its own narratives, languages and contradictions that often feel highly specialized and removed. These projects search for visual structures that raise questions and pull them back to the social and political. In particular, ?Proposition Two: The Collection? addresses the permanent collections in contemporary art museums today. A collection necessarily reflects the dominant/institutional understanding of the nature of art and its role in society. Long gone the alternative visions led by artists such as Broodthaers and Haacke, the model initiated by Thomas Krens has been carried out to its logical consequences by incorporating advertising and entertainment into the museums core values.

Biography Max was born in 1959 in Barcelona, Spain. Lived and worked in Palo Alto, New York, Madrid and London. In 2009 opened his first stable studio in Barcelona and since then focuses exclusively on personal project-based work. Solo Exhibitions: Elegies of Manumission, Quartier Gallery, Vienna, Feb. 2013 Proposition One. Festival de la Luz, Buenos Aires, 2012 Elegies of Manumission, CEHP, Bratislava, 2012 Proposition One. Klompching Gallery, New York, 2011 Proposition One. Spicer House, Barcelona, 2011 Vertige. Fotofestiwal, Lodz, 2010 Don?t listen to me. Spicer House, Barcelona, 2010 Selected Group Exhibitions: Museum of Fine Arts Houston, USA, 2012 Post Script, Cork, Irland, 2012 The Gathering. Rhubarb. Diemar/Noble, London, 2012 Winter Salon. Klompching Gallery, New York, 2012 PNetwork, Siegen, Germany, 2011 Fnac. Madrid and Barcelona, 2011 Escuela Arte, Granada, 2011 FotoTageTrier Triennial, Trier, Germany, 2010 Awards: Encontros da Imagem, Best Portfolio, Finalist, 2011, Portugal National Award of Professional Photography, Gold LUX, 2010, Spain Grand Prix Jury`s Special Award, Fotofestiwal 2010, Poland Monographs: Elegies of Manumission, Nazraeli Press, USA, 2012 Selected TV, Magazine, Journal and Online Features: TA3, TV feature, July 2012, Slovakia Pravda Kultura, Elegies of Manumission, by Jena Opoldusová, July 2012, Slovakia ARTVAS, Vertige, by Joanne Junga Yang, June 2012, Korea Lens Culture, Elegies of Manumission, by Jim Casper, May 2012, France DW-TV Deutsche Welle, TV feature, November 2011, Germany Feature Shoot, by Alison Zavos, November 2011, USA NYC Art Scene, November 2011, USA NY Art Beat, October 2011, USA Wired, August 2011, Italy, USA and Japan Conscientious, by J. Colberg,, March 2011, USA Hotshoe Magazine, by Bill Kouwenhoven, February 2011, UK Education: Graduate from Universitat Politècnica de Catalunya (Spain) Master from Stanford University (USA) PhD from Universitat Ramon Llull (Spain) Fulbright Alumni. Representation: Klompching Gallery (New York) Charles Guice Contemporary (San Francisco) Spicer House (Barcelona)

Guglielmo, my grand-father, enters an old people's home. He hands over a file to each of his children. My mother does not open it. I do. I always heard about this file. The black file. I was sure it was only a image, a myth. The black file does exist, it is brown. It is a collection of files regarding my mother. In it I find various letters, drawings, cards, school reports and even a list of her mistakes. The documents are moreless in chronological order. Gugliemo fournished his collection during fifty years. His fille, his son in law and his grand children all are in this herbarium. I find articles realting a suicide attempt by my mother, underlined in red. When she was twenty-one, Paola swallowed sleeping pills in the waiting lounge of Pisa's train station after failling an anatomy exam. I also find pages from her diary. My grand-father rip them off the following days. I read them today as he read them yesterday. Guglielmo files, steals,invesigates but does not listen.

“Whoever You Are” is a cinematic adaptation of Walt Whitman's seminal poem, “Whoever You Are Holding Me Now In Hand” directed by Javier De Frutos and produced by Whoever You Are Productions. Following a lifelong scholarship and appreciation of American literature, De Frutos adapted Walt Whitman's poem into a screenplay for the film. Within “Whoever You Are”, De Frutos utilizes several different mediums of execution including dance and vocals, which he combines using his unique directorial and choreographic style blended with dexterous editing.

Shocking, sensual, raw, radical – these are words synonymous with work by Olivier award-winning director and choreographer Javier De Frutos. Renowned for creating brutal yet beautiful film and stage work, De Frutos has consistently stunned audiences with his ability to make work that not only is violently challenging, but also sears the stage and screen with its intelligence and wit. Prompted by the pandemic to expand their film-making practice, producers Paul Chantry and Rae Piper of Whoever You Are Productions, invited De Frutos to collaborate with them in creating a new short film. This collaboration sought to build on a fruitful prior relationship which Chantry had enjoyed with De Frutos, that had involved working together on several productions, two of which had been filmed for the BBC ("Eternal Damnation to Sancho & Sanchez" and "The Most Incredible Thing"). Chantry and Piper had enjoyed a longstanding relationship of 7 years collaborating with award-winning company Evenlode Films and Productions, who were additionally invited to join the project.

Now that Lumumba's mortal remains have been repatriated, renowned artists Marlene Dumas (South Africa) and Luc Tuymans (Belgium) talk about their paintings of Pauline and Patrice Lumumba respectively. About paintings, politics of nudity and death.

I’m a Belgian filmmaker and professor in film studies and visual cultures. Since 2005, my work centers around exploring the failures of decolonization. I've been trained in Philosophy (MA), African Studies, International Relations (MA), and Cinema Studies (MA). After I completed a thesis on Eurocentrism (Europa Mensura) and co-created a video series on Alterity (ôtre k’ôtre 2007), I researched African cinema and postcolonial film theory at the New York University’s Tisch School of the Arts; at the Helsinki Collegium for Advanced Studies; the University of Bayreuth’s Africa Multiple Cluster of Excellence and at the Waseda University in Tokyo. I teach/taught courses on World Cinema, Aesthetics, Curating & Exhibiting, Documentary Theory, Film Criticism, and Script Writing. My current Marie Sk?odowska-Curie research at the Amsterdam School for Cultural Analysis of the University of Amsterdam, explores scattered worldviews and aesthetics as politics of forms. My films, including Under The White Mask(2020), Palimpsest of the Africa Museum (2019), Lobi Kuna (2018), Diorama (2018), and Jerusalem, the Adulterous Wife (2008), have been showcased at festivals such as the Berlinale and numerous platforms. I guest lectured at EHESS, Paris1-Panthéon, Humbold… and published with Interventions, Third Text, Cambridge Scholars, Columbia UP, Black Camera, Artl@s Bulletin, Visual Anthropology, Francofonia, Imaginations, Journal of African Cinema, Image [&] Narrative, Ethische Perspectieven, L'Harmattan, Sternberg Press and Wallflower Press amongst others. My writings include an edited book on Lumumba in the Arts (Leuven University Press) which reached a list of the top-100 "books to escape the news" (LitHub). Besides, I was regularly invited to talk in non-academic contexts (Bozar, RFI, Klara, KVS, De Roma, Bruzz, Cinematek, WIELS), to curate film programs (MuZee, NOVA) and to write for MO* Magazine, Rekto:Verso, l’Art Même, Aktief, Filmmagie and Décadrages.

"Under the White Mask: the film Haesaerts could have made" uses fragments of "Under the Black Mask", a 1958 film about Congolese art directed by the Belgian artist Paul Haesaerts and qualified as colonial propaganda. This new film imagines what the masks, now subjects and not objects, would say. Aimé Césaire's "Discourse on Colonialism" is spoken in Lingala for the first time. This speech is still a critical mirror for Europe. "Under the White Mask" is limited to elements already existing in 1958.

Matthias De Groof (1981) Belgium. Filmmaker and scholar. His award-winning films have been presented at venues like the IFFR, Cannes Pan-African Film Festival, Le FIFA and the Berlinale. His edited book “Lumumba in the Arts” is published with Leuven University Press, and reached the top-100 "books to escape the news" (LitHub). He has held appointments at the New York University’s Tisch School of the Arts; the Helsinki Collegium for Advanced Studies; the Africa Multiple Cluster of Excellence of the Bayreuth University; and the Waseda University in Tokyo. Throughout is artistic and academic career, he was granted fellowships by the Canon Foundation, the KONE Foundation, Fulbright and BAEF. His filmography, produced by Cobra Films, includes “Under the White Mask” (2021), “Palimpsest of the Africa Museum” (2019), “Lobi Kuna" (2018), “Diorama” (2018) and “Jerusalem, the Adulterous Wife” (2008) among others.

When the staff of the AfricaMuseum destroys the very dioramas they used to guard for decades, a colonial worldview is demolished. What remains are dead animals staring at you amidst ecocide. The violent destruction forms an allegory of museological and ecological relations. Diorama literally means “through that which is seen”. It is a window which wants to suggest life as truthful as possible through death. The diorama then, becomes a still life: a Vanitas. So still, that the sculptural becomes pictorial, until men enter the broken window and become part of the nature morte. Men animate death through caress and tear the animals loose from a morbid decorum that offered them verisimilitude of an obsolete landscape.

Dr. Matthias De Groof has a strong interest in film, Congo and (post)colonialism. He has a Master’s in Philosophy (HIW - KUL), International Relations (UCL) and Cinema Studies (UA). He studied African Studies at UMU (Uganda) and became a Fulbright and BAEF visiting scholar at NYU’s Tisch School of the Arts. His PhD in Cinema Studies looked at African cinema. As a Postdoctoral Fellow of the Research Foundation - Flanders (FWO), he studied postcolonial film theory at the Antwerp University where he also taught World Cinema, Aesthetics and Curating & Exhibiting. His scholarly work has been published in Third Text and Columbia University Press amongst others. He is regularly asked to talk and write in non-academic contexts and to curate film programs. His own films have been presented i.a. at the IFFR, Media City, Cannes Pan-African Film Festival and the San Francisco Art Institute. Currently, he works at the Collegium for Advanced Studies in Helsinki. His film-triptych on postcolonial museology (CobraFilms) and his book on Lumumba’s Iconography (Leuven University Press) are about to be published.

Currently_off_sight investigates visibility on sex webcam platforms through the testimonies of webcam performers. Despite the asymmetry of power between them and the sexcam platform, currently_off_sight resists a binary understanding of what is and what is not visible in that context. In this way, the project questions the purpose of rendering things (hyper)visible at the expense of others while exploring the many shades of online perception. Foregrounding webcammers’ voices, currently_off_sight examines how visibility manifests on the platform, and the various degrees of agency the different actors have there. Both in its web and video versions, the project is divided into chapters concerning the different topics addressed by the webcammers. Quoting the aesthetics used in the camming environment, these elements are placed on a simulated desktop that works as a stage and place of observation, while it also acknowledges the presence of a user in this entanglement.

Lotte Louise de Jong is a media artist from the Netherlands with a background in filmmaking. Her work is research-based and ranges from physical, digital and online installations to more traditional forms of narrative. Her practice addresses how we, as a society, view and shape our identity through mediated spaces like the digital world. The internet as a space for exploring intimacy has been the main focus of her past projects. She obtained a master’s degree in Fine Art and Design at the Piet Zwart Institute in Rotterdam in 2019. In 2020 she received an emerging artist grant from the Mondriaan Fonds. Antonia Hernández is a writer, designer, and media artist whose work explores infrastructural relations of intimacy, combining theoretical investigation with arts-based practices to understand the fleshy, living, and domestic aspects of media. She has presented her work and research-creation methodologies widely at conferences, exhibitions, and in artist talks, and is preparing a book on the role of fictional currencies in sexcam platforms.