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This video is produced from different VR Painting I produced about Ukraine Cyber war as an ex member of IT Army of Ukraine, by using different AI images produced on the basis of the real Ukraine war one, by using also different logs from my Hacktivism with IT Army to support Ukraine. The point is to define a kind of mental cage, because a cyber war is mostly a mental war than a physical one.

Born in 1967, Valéry Grancher is a French-born artist, theorist, curator and lecturer, living and working in Paris and Hong Kong since 2014. He first became well known in the mid-1990s for being one the first net artists (online art) and for his ‘Google paintings’ but his artistic practice is vast and covers internet art, video, photography, painting, AI painting and VR installation. Valéry Grancher is an explorer. His curiosity leads him to investigate all kinds of territories such as the different media and new technology to define new forms and concepts. On 2014, the French public collection National Fund for Contemporary Art, National Centre for Visual Arts (FNAC) acquired his video installations Geopol (a 24-hour tracking shot of the horizon at the North Pole) and Tanguntsa (a 6-hour shot in deep Amazonia). His productions are included in several public collections such like Cartier Foundation for contemporary arts (Paris), Maison Européenne de la photographie (Paris), Carillo Gil Museum (Mexico), Berkeley Art Museum Pacific Film Archive (Berkeley), ZKM (Karlsruhe), Bandjoune Station (Cameroon), VMAC (Hong Kong) and many others…

N`ayant pas vécu l`Exposition universelle 1967 à Montreal, nous ressentons une sorte de vertige entre ce que l`évènement évoque aujourd`hui et l`absence de vestiges qui en témoignent. Une impression de vide qui nous incite à scruter attentivement le site de l`exposition universelle à la recherche d`indices révélateurs de son passé. L’image d`une archéologie matérielle inspiré de Walter Benjamin qui recherche dans la matière, les débris et les laissés pour contre, les traces d`une histoire qui émanerait jusqu`à nous. Pour tenter de cerner l`ampleur de ce décalage, nous nous sommes intéressés aux facteurs d’apparition et d’éffacement révélateurs des contradictions du site et de son histoire : la succession de déplacements de matière, d`additions et d`extractions, qui sont à l`origine de la création des îles Sainte-Hélène et Notre-Dame. La transformation radicale de la forme de l`île Sainte-Hélène, la dissolution de sa configuration ancienne et son artificialité actuelle, nous est apparue comme l`objet privilégié de notre désir d`en comprendre la portée actuelle. Les mouvements de remblais et de déblais de la matière sont transposés, dans le montage des séquences filmées, par la juxtaposition alternée d`une action performative et son contraire. Un jeu incarné par la confrontation de notre interprétation personnelle comme duo d`artistes. La réciprocité entre la spontanéité du geste de l`un et la transcription du cadrage de l`autre. " Il ne suffit pas que tout commence, il faut que tout se répète, une fois achevé les cycles des combinaisons possibles" Causes et raisons des îles désertes G. Deleuze

Pascal Grandmaison (1975-) est un artiste canadien qui vit et travaille à Montréal. Sa pratique explore les façons dont les images influencent la perception et la compréhension du concept de l’infini. Son travail fait l’objet de nombreuses expositions individuelles et collectives, incluant Expo 67 au Musée d’art contemporain de Montréal (2017), Intersections: Contemporary Artist Films au Audain Art Museum (Whistler, 2016), Installations au Musée national des beaux-arts du Québec (Québec, 2016), All membranes are porous à la Kamloops Art Gallery (2016) et La vie abstraite I à la galerie Diaz Contemporary (Toronto, 2015). Ses oeuvres filmiques sont présentées internationalement, notamment à la galerie Power Plant (Toronto, 2016), à la Haus de Kulturen des Welt (Berlin, 2014), au Palais de Tokyo (Paris, 2014) et au Centre Georges-Pompidou (Paris, 2011). Il est représenté par la Galerie René Blouin (Montréal) et la Galerie Eponyme (Bordeaux). Marie-Claire Blais vit à Montréal. Diplômée en architecture, elle se consacre à temps plein aux arts visuels. Ces dernières années elle a entrepris la production d`un ensemble d`oeuvres qui chacune à leur manière active les différentes façons que nous appréhendons forme (s) et espace et les organisons dans notre mémoire perceptuelle. Diffusion et diffraction de la lumière articulent un espace entre le spectateur et sa mise en action, délimitant le seuil entre eux, offrant une voie d`accès. L`artiste a présenté plusieurs expositions personnelles à la Galerie René Blouin de Montréal. Son travail a figuré dans des expositions au Canada et au Mexique, incluant, à la recherche d`Expo 67, Musée d`art contemporain de Montréal (2017), Road Wall Door, Diaz Contemporary, Toronto (2016), L’oeil et l’esprit, Musée d`art contemporain de Montréal (2015), Projet HoMa, Fondation Guido Molinari, Montréal (2013). Elle prépare pour novembre 2017, Entrouvrir, entrevoir, enclore, une exposition solo au Centre culturel canadien à Paris et Buveurs de Quintessences, une exposition collective à la Fonderie Darling (2018) et au Casino du Luxembourg (2019).

Soleil différé thrusts us into the ghostly world of the Canadian islands of Sainte Hélène and Notre-Dame, sites of the Universal Exposition hosted by Montreal in 1967. Being an ambitious, extravagant showcase for technological advances of the day, a universal exposition always represents a major event for the host country, on the same scale as the Olympic Games, for example. In anticipation of this event, Sainte-Hélène and Notre-Dame were considerably enlarged, indeed created from scratch with the rubble from excavations for the Montreal metro system, then under construction. The site symbolized the utopian aspirations of a period when ?man-made? rhymed with ?progress,? with the future, with human supremacy. Expo 67 was a huge success, and on the crest of this wave the mayor of the day, Jean Drapeau, decided to keep the site open under the name of Man and his world, recalling the title of Expo 67. The theme park closed for good in 1981, however, due to lack of business. Born in 1975, Grandmaison never experienced the heyday of Man and his world; rather, he witnessed its decline. Today the site still bears the stigma of its past and functions as a recreational park. It includes strange-looking, neglected features of Man and his world along with natural overgrowth that is steadily superseding manmade nature.

The film Light my fiction is based on images shot on Coney Island, a peninsula just off New York once famous for its legendary amusement park. These images are accompanied by macroscopic shots of the inside of video-game consoles such as the Sony Playstation and Atari 2600. Two diametrically opposed forms of the entertainment industry are thus juxtaposed here: amusement parks (those sites of pilgrimage for fans of thrills and ?life-size? rides) versus personal video games (designed for home use). The contrast of these two forms of entertainment, born of different generations, sheds light on the ?advances? made by the entertainment industry. However, Grandmaison?s pictures do not celebrate the technical prowess of these machines, nor do they even show them in action; instead, Grandmaison dwells on the halted rides, disused, worn and tarnished by time, while the game consoles represent an outmoded, old-fashioned generation already gathering dust, replaced by more sophisticated technology. Compared to amusement parks, playstations nevertheless represent a considerable change in the way entertainment is experienced. Whereas people used to gather to have fun together on huge outdoor rides, the emergence of game consoles has privatized entertainment, consigning it to living rooms and bedrooms. Video games have literally shut down amusement parks, leaving them to rot. Victims of their own success, these video games were soon relegated to ?dinosaur? status themselves, replaced by new, superfast equipment. Light my fiction thus functions like a vanitas of the entertainment world. All things must come to an end, to be replaced by something better as human beings constantly seek something new. The world flows on ? like time (and like the projected images themselves) ? leaving the vestiges of a past era in its wake. Kevin Muhlen Director Casino Luxembourg

Pascal Grandmaison, born in1975, lives and works in Montréal. He holds a degree in visual art from UQAM (Montréal). He is known for the contemplative themes of his large-scale photographs and works in film and video. Capturing a psychological complexity through a minimal and detached view, his diverse subjects range from pensive portrait images to deep meditations on the legacies of modernist architecture. Pascal Grandmaison has exhibited extensively in Canada and Europe. He had numerous solos shows at Galerie René Blouin (Montréal), Jessica Bradley Art + Projects (Toronto), Carleton University Art Gallery (Ottawa), Art gallery of Hamilton, Galerie Georges Verney-Carron and Galerie BF 15 (Lyon, France), Contemporary Art Gallery (Vancouver), Galerie B-312 and Espace Vox (Montréal). In 2010, he had an important solo exhibition at Casino Luxembourg - Forum d?art contemporain (Luxembourg) in 2006, the Musée d?art contemporain de Montréal that has toured to the National Gallery of Canada. He has also been included in group exhibitions at the Musée national des beaux-arts du Québec (Québec), Montreal Museum of Fine Arts, Vancouver art gallery, Edmonton Art Gallery, Museum of Canadian Contemporary Art (Toronto), the Jack Shainman Gallery in New York, Casino Luxembourg - Forum d?art contemporain (Luxembourg), as well as the Prague Biennial 2005. He is represented by Jack Shainman Gallery, Galerie René Blouin, Montreal and Jessica Bradley Art + Projects, Toronto. www.pascalgrandmaison.com 

N`ayant pas vécu l`Exposition universelle 1967 à Montreal, nous ressentons une sorte de vertige entre ce que l`évènement évoque aujourd`hui et l`absence de vestiges qui en témoignent. Une impression de vide qui nous incite à scruter attentivement le site de l`exposition universelle à la recherche d`indices révélateurs de son passé. L’image d`une archéologie matérielle inspiré de Walter Benjamin qui recherche dans la matière, les débris et les laissés pour contre, les traces d`une histoire qui émanerait jusqu`à nous. Pour tenter de cerner l`ampleur de ce décalage, nous nous sommes intéressés aux facteurs d’apparition et d’éffacement révélateurs des contradictions du site et de son histoire : la succession de déplacements de matière, d`additions et d`extractions, qui sont à l`origine de la création des îles Sainte-Hélène et Notre-Dame. La transformation radicale de la forme de l`île Sainte-Hélène, la dissolution de sa configuration ancienne et son artificialité actuelle, nous est apparue comme l`objet privilégié de notre désir d`en comprendre la portée actuelle. Les mouvements de remblais et de déblais de la matière sont transposés, dans le montage des séquences filmées, par la juxtaposition alternée d`une action performative et son contraire. Un jeu incarné par la confrontation de notre interprétation personnelle comme duo d`artistes. La réciprocité entre la spontanéité du geste de l`un et la transcription du cadrage de l`autre. " Il ne suffit pas que tout commence, il faut que tout se répète, une fois achevé les cycles des combinaisons possibles" Causes et raisons des îles désertes G. Deleuze

Pascal Grandmaison (1975-) est un artiste canadien qui vit et travaille à Montréal. Sa pratique explore les façons dont les images influencent la perception et la compréhension du concept de l’infini. Son travail fait l’objet de nombreuses expositions individuelles et collectives, incluant Expo 67 au Musée d’art contemporain de Montréal (2017), Intersections: Contemporary Artist Films au Audain Art Museum (Whistler, 2016), Installations au Musée national des beaux-arts du Québec (Québec, 2016), All membranes are porous à la Kamloops Art Gallery (2016) et La vie abstraite I à la galerie Diaz Contemporary (Toronto, 2015). Ses oeuvres filmiques sont présentées internationalement, notamment à la galerie Power Plant (Toronto, 2016), à la Haus de Kulturen des Welt (Berlin, 2014), au Palais de Tokyo (Paris, 2014) et au Centre Georges-Pompidou (Paris, 2011). Il est représenté par la Galerie René Blouin (Montréal) et la Galerie Eponyme (Bordeaux). Marie-Claire Blais vit à Montréal. Diplômée en architecture, elle se consacre à temps plein aux arts visuels. Ces dernières années elle a entrepris la production d`un ensemble d`oeuvres qui chacune à leur manière active les différentes façons que nous appréhendons forme (s) et espace et les organisons dans notre mémoire perceptuelle. Diffusion et diffraction de la lumière articulent un espace entre le spectateur et sa mise en action, délimitant le seuil entre eux, offrant une voie d`accès. L`artiste a présenté plusieurs expositions personnelles à la Galerie René Blouin de Montréal. Son travail a figuré dans des expositions au Canada et au Mexique, incluant, à la recherche d`Expo 67, Musée d`art contemporain de Montréal (2017), Road Wall Door, Diaz Contemporary, Toronto (2016), L’oeil et l’esprit, Musée d`art contemporain de Montréal (2015), Projet HoMa, Fondation Guido Molinari, Montréal (2013). Elle prépare pour novembre 2017, Entrouvrir, entrevoir, enclore, une exposition solo au Centre culturel canadien à Paris et Buveurs de Quintessences, une exposition collective à la Fonderie Darling (2018) et au Casino du Luxembourg (2019).

Soleil différé thrusts us into the ghostly world of the Canadian islands of Sainte Hélène and Notre-Dame, sites of the Universal Exposition hosted by Montreal in 1967. Being an ambitious, extravagant showcase for technological advances of the day, a universal exposition always represents a major event for the host country, on the same scale as the Olympic Games, for example. In anticipation of this event, Sainte-Hélène and Notre-Dame were considerably enlarged, indeed created from scratch with the rubble from excavations for the Montreal metro system, then under construction. The site symbolized the utopian aspirations of a period when ?man-made? rhymed with ?progress,? with the future, with human supremacy. Expo 67 was a huge success, and on the crest of this wave the mayor of the day, Jean Drapeau, decided to keep the site open under the name of Man and his world, recalling the title of Expo 67. The theme park closed for good in 1981, however, due to lack of business. Born in 1975, Grandmaison never experienced the heyday of Man and his world; rather, he witnessed its decline. Today the site still bears the stigma of its past and functions as a recreational park. It includes strange-looking, neglected features of Man and his world along with natural overgrowth that is steadily superseding manmade nature.

The film Light my fiction is based on images shot on Coney Island, a peninsula just off New York once famous for its legendary amusement park. These images are accompanied by macroscopic shots of the inside of video-game consoles such as the Sony Playstation and Atari 2600. Two diametrically opposed forms of the entertainment industry are thus juxtaposed here: amusement parks (those sites of pilgrimage for fans of thrills and ?life-size? rides) versus personal video games (designed for home use). The contrast of these two forms of entertainment, born of different generations, sheds light on the ?advances? made by the entertainment industry. However, Grandmaison?s pictures do not celebrate the technical prowess of these machines, nor do they even show them in action; instead, Grandmaison dwells on the halted rides, disused, worn and tarnished by time, while the game consoles represent an outmoded, old-fashioned generation already gathering dust, replaced by more sophisticated technology. Compared to amusement parks, playstations nevertheless represent a considerable change in the way entertainment is experienced. Whereas people used to gather to have fun together on huge outdoor rides, the emergence of game consoles has privatized entertainment, consigning it to living rooms and bedrooms. Video games have literally shut down amusement parks, leaving them to rot. Victims of their own success, these video games were soon relegated to ?dinosaur? status themselves, replaced by new, superfast equipment. Light my fiction thus functions like a vanitas of the entertainment world. All things must come to an end, to be replaced by something better as human beings constantly seek something new. The world flows on ? like time (and like the projected images themselves) ? leaving the vestiges of a past era in its wake. Kevin Muhlen Director Casino Luxembourg

Pascal Grandmaison, born in1975, lives and works in Montréal. He holds a degree in visual art from UQAM (Montréal). He is known for the contemplative themes of his large-scale photographs and works in film and video. Capturing a psychological complexity through a minimal and detached view, his diverse subjects range from pensive portrait images to deep meditations on the legacies of modernist architecture. Pascal Grandmaison has exhibited extensively in Canada and Europe. He had numerous solos shows at Galerie René Blouin (Montréal), Jessica Bradley Art + Projects (Toronto), Carleton University Art Gallery (Ottawa), Art gallery of Hamilton, Galerie Georges Verney-Carron and Galerie BF 15 (Lyon, France), Contemporary Art Gallery (Vancouver), Galerie B-312 and Espace Vox (Montréal). In 2010, he had an important solo exhibition at Casino Luxembourg - Forum d?art contemporain (Luxembourg) in 2006, the Musée d?art contemporain de Montréal that has toured to the National Gallery of Canada. He has also been included in group exhibitions at the Musée national des beaux-arts du Québec (Québec), Montreal Museum of Fine Arts, Vancouver art gallery, Edmonton Art Gallery, Museum of Canadian Contemporary Art (Toronto), the Jack Shainman Gallery in New York, Casino Luxembourg - Forum d?art contemporain (Luxembourg), as well as the Prague Biennial 2005. He is represented by Jack Shainman Gallery, Galerie René Blouin, Montreal and Jessica Bradley Art + Projects, Toronto. www.pascalgrandmaison.com 

Un pays dont on ne sait rien, au c?ur de l?hiver. Des forêts immenses, une maison isolée, un lac qu?il faut traverser pour y parvenir, une famille coupée du monde et tragiquement unie par l?amour, surtout celui qui dévaste le frère et la s?ur. Un étranger arrive?

Philippe Grandrieux est un réalisateur français né en 1954. Il fait des études de cinéma à l`INSAS puis se lance dans la réalisation de fictions et de films documentaires. Philippe Grandrieux commence à travailler sur la scène expérimentale belge où il monte des installations vidéos. A partir des années 1980, dans le cadre de l`atelier de recherches à l`INA, il invente des formes et des formats qui mettent en question le documentaire, l`information, l`essai - donc certains des fondements de l`écriture audiovisuelle. En 1990, il lance l`atelier Live qui produit des plans séquences d`une heure commandés à des artistes comme Thierry Kuntzel, Robert Kramer ou Robert Frank. Il a aussi enseigné ponctuellement à la Femis et à l`Ecole Nationale Supérieure des Beaux-Arts de Paris. L`?uvre de Philippe Grandrieux s`étend sur de nombreux territoires : expérimentation télévisuelle, art vidéo, film de recherche, essais documentaires, installations. Son exigence artistique le mène à pousser chacun de ses domaines à leurs limites et se montre constamment inventive et radicale. Ses deux premiers long métrages, Sombre (récompensé au festival de Locarno) et La Vie nouvelle, font référence en termes de photographie, de travail sur le son, d`expérimentation narrative et figurative. Dans la lignée de Teinosuke Kinugasa, Jean Epstein ou Pier Paolo Pasolini, qui ont cherché et inventé des formes narratives propres à la cinématographie, les films de Philippe Grandrieux offrent des expériences sensorielles intenses, au croisement du cinéma de genre et des formes du cinéma expérimental, pour stimuler l`investissement psychique du spectateur. Sur des trames narratives pourtant linéaires voire sérielles, avec une iconographie tissées d`archétypes renvoyant à des images archaïques (souvent le conte, la légende), les films de Philippe Grandrieux déploient un monde d`énergies, ancré dans les sensations et les affects. Pour ses bandes-sons, Philippe Grandrieux a travaillé avec Alan Vega (pour Sombre), et avec le groupe de poètes, performers et musciens Etant Donnés (pour La Vie nouvelle). Le scénario de La Vie nouvelle a été co-rédigé avec l`écrivain Eric Vuillard, devenu depuis réalisateur. Une partie de leur correspondance a été publiée dans la revue Trafic. Comme le déclare le psychanalyste Jean-Claude Polack : "tentative d?approche aussi minutieuse que possible du fonctionnement même du psychisme, notamment dans ses dimensions désirantes et transformatrices. Comment fonctionne le désir ? Quels sont les éléments dont cette énergie-matière s?empare pour construire son expansion, son empire ? Quelles sont les répressions sociales qu?elle rencontre ? Contrairement à Pasolini qui s?intéresse beaucoup à la façon dont la société met en scène, théâtralement, le cérémonial de la prédation, il y a ici un cinéma expérimental, c?est vrai, comme si la caméra cherchait à capter ce que l??il ne verra jamais, pour le décomposer et l?analyser. Un cinéma analytique, comme le microscope qui donne plus à voir de ce qu?est le mouvement, l?émotion, la sensation, la couleur, le sombre, l?émergence de l?image matérielle ou pensée. À partir de quel moment quelque chose est perceptible comme image dans le noir ? Et ce quelque chose, comment se fait-il que cela ne puisse être qu?une menace ? "[1]. En 2007, le chanteur Marylin Manson, qui avoue avoir visionné La Vie nouvelle à de nombreuses reprises, demande à Philippe Grandrieux de réaliser un clip pour le morceau Putting Holes in Happiness, titre sur l`album Eat Me, Drink Me. Philippe Grandrieux apparait dans le documentaire de Sarah Bertrand, There is no direction. En 2008, à l`initiative de l`Ambassade de France, un hommage lui est rendu au Japon, dans la célèbre salle Uplink de Tokyo, sous le titre "Extreme Love - autour de Philippe Grandrieux". La même année, la Tate Modern de Londres, dans le cadre de la rétrospective « Paradise Now ! Essential French Avant-Garde cinema 1890-2008 », programme Putting Holes in Happiness et consacre une séance monographique à Philippe Grandrieux, avec La Vie nouvelle (A New Life), L`Arrière-saison et un extrait de Un Lac alors work in progress. Son dernier film, Un Lac, a reçu une Mention Spéciale dans la catégorie Orrizzonti de la 65ème Mostra de Venise, qui récompense les films ouvrant des nouvelles tendances du cinéma.[2] Il revendique les influences de son professeur à l`INSAS, le réalisateur Edmond Bernhard, de Murnau, de Robert Bresson, de Jean-Marie Straub et Danièle Huillet, de Rainer Werner Fassbinder, de Stan Brakhage. Son ?uvre est très marquée par la lecture de Marc-Aurèle, Spinoza et Gilles Deleuze.

The theme of Meurtrière is Das Ding. Das Ding is senseless, insane, intolerable, hysterical, grotesque, phobic, dangerous, brutal, consuming, wild, sexual, unpredictable, staggering, frenetic, atrocious, anxious, frightening,ecstatic, desirable, vulgare, perverse, embarrassing, shameless nervous, obscene, sacred, furious, murderous. But first, without intention. With dancers: Émilia Giudicelli, Vilma Pitrinaite, Hélène Rocheteau, Francesca Ziviani.

As she arrives in an unusual setting, Jaque Jolene reveals an unknown feeling of letting go of some belongings.

Márcia Beatriz studied at the Academy of Fine Arts in São Paulo, where he lives and works today. His projects involve the performance and motivation of video on a intense traffic between the visual arts and cinema. The videos draw an original vision of everyday life in the figure of a carefully constructed persona and interpreted by the artist herself. The construction of each video is linked to the central figure of Jolene Jaque - the character that dresses and guide the evolution of the screenplay, art direction, costumes and choice of locations, decoupage.

2002, North Carolina. Teenagers recall the investigation into the mysterious fainting of high school cheerleaders.

Lilith Grasmug is an Austrian actress based in Paris. She began her career in 2017 starring in Virgil Vernier's feature 'Sophia Antipolis'. She is known for appearing in Jean-Christophe Meurisse's 'Bloody Oranges' (2021), Carmen Jaquier's 'Thunder' (2022) and Claire Burger's 'Langue étrangère' (2024). She is currently doing a master's degree in contemporary art research at La Sorbonne after a spell at the ECAL art school in Lausanne. ‘Some of you fucked Eva’ is her first short film as a director.

Carmen San Diego: Out Of Work And On The Run (2011) is a philosophical drama in which nothing dramatic takes place ? a production that plugs wordy explanations of content into a cinematic form that looks like an action movie but sounds like a lecture. The script is entirely earnest, but the performances are removed from a stable ground determined by goal-oriented behaviour. It is imperfect according to the categories it appears to activate.

Sean Grattan (1981) is a Los Angeles based artist, originally from Auckland, New Zealand. He has a BA, BFA (Hons) and is currently completing an MFA at CalArts.

Ostensibly a horror movie, HADHAD uses the traditional storyline of a group of people encountering an intruder from the outside. The action takes place in a preset of domestic modern architecture, contextually displaced by the limited compositional palette. The performances emphasize the absurd aspects of an obsessive use of rational language, via the subject of technological determinism.

Grattan graduated from the University of Auckland with a BA (Philosophy) in 2001 and again in 2008 with a BFA (Honours) from Elam School of Fine Art. He is a recent MFA graduate from California Institute of the Arts. Since 2007 Grattan?s work has been shown both locally and internationally, including the Centre Pompidou Paris, Heidelberger Kunstverein Heidelberg, Artspace Auckland and the New Zealand International Film Festival.

«[…] craving for narrative» is some kind of non-indexical essay film about temporality and the porosity of meaning. Using a desktop-like visual space, it is structured around a 23 second clip from the 1978 movie «Grease» starring John Travolta and Olivia Newton-John. This short clip becomes the starting point for a sprawling narration. It’s about making sense of obsessions and what it is, that makes nostalgia so appealing. About pop music as a dispositive structuring reality and about white Adidas high top sneaker. It’s about dancing and hyper-intensity. About loops, the presence, families and the question if there’s some kind of post-ideological media-usage these days. And I guess somehow, this film is also about the internet.

Max Grau (*1988) works with film, text, performance, photography and music. His work addresses the relationship between the self and the social, the circulation and shifting of signs and contemporary forms of communication. He studied Fine Arts in Saarbrücken, Berlin and Los Angeles. Besides doing things individually, he’s interest in friendship-based modes of collaboration. His work has been shown internationally in art spaces and film festivals. He lives and works in Berlin.

The Great Refractor, a collaboration with Irish poet and neuroscientist Laurence O’Dwyer, charts the undulating terrain of our attempts to understand the world through both scientific and poetic inquiries. The film contrasts histories of mapping, visualizing and territorializing with contemporary practices centered on sounding, listening and collective resonation. The film models a ‘refractive’ method of narration and authorship, one that seeks out possible transformations and decolonizations of our processes of interpreting and sharing the world. The film presents a series of solitary figures engaged in their work, including an astrophysicist, an artist, a translator and a weather station engineer. Participants were asked to mimic with their voices the sounds of sonified observations, from underwater hydrophone recordings to black hole gravitation waves. All the sound in the video was made from these vocal recordings. Through a chorus of voices, stories and practices, the project prods at the sensitive and uncertain interface between outer and inner worlds, exploring regions of doubt where an often inscrutable reality meets the echo chambers of human knowledge.

Andy Graydon is an artist and filmmaker originally from Maui, Hawai’i. His work is concerned with natural and social ecologies, and with sound and listening as creative practices. Recent projects have focused on island ecologies and the imaginal and narrative forms employed by the natural sciences. His projects frequently engage structures of music such as the ensemble, the score, improvisation and variation, and techniques of the voice. His work has been presented internationally including shows at the New Museum; Mass MoCA; Berlinische Galerie, Berlin; Frye Art Museum, Seattle; and the Honolulu Biennial. Screenings include the Fulcrum Festival, Los Angeles; the Flaherty Series at Anthology Film Archives; WRO Media Arts Biennial, Poland; Arsenal Institut für Film und Videokunst, Berlin; and Millennium Film Archive. Graydon has collaborated widely as a sound artist and composer, including work with Jennifer Walshe, Jan St Werner, Michael Pisaro, Richard Garet, Delia Gonzalez, Stephen Vitiello, David Grubbs, Amnon Wolman, Kato Hideki, John Hudak, Sandra Gibson and Luis Recoder.

At the Gaomeigu Observatory in China, the Naxi people scan the sky, convinced they are the descendants of immortal beings living there, abandoned on earth to watch them. The telescope triggers their local legends, both old and new. There is a legend about the Leader who fed his people. There is a story about Sanduo, a folk tale hero from the Middle ages. Today, he is a skater in the big city. Two gods are in love, but a foreigner interferes.

Marko Grba Singh was born in 1988 in Belgrade, Yugoslavia. He is currently on his PhD studies in Film & TV directing, exploring docu-fiction. His first mid-length film Abdul & Hamza, won the Special Mention in the First film competition at FID Marseille 2015. He was a member of the student jury at the San Sebastian Film Festival in 2016. The newest film of his, Stars of Gaomeigu won Most innovative short film award at Visions du reel in 2017. He is the Artistic director of IDFF Beldocs.

Virgile and Blanche who are both seventeen years old, exchange e-mails in their rooms. Virgile likes Blanche, but Blanche likes a boy named Eustache. However, they don`t know each other`s thoughts. Virgile talks about life and death, and Blanche accepts it. Eustache, wearing a blue hat, walks in. He first goes to Virgile, and then to Blanche. At that moment, Blanche remembers that she had danced with Virgile, and goes out of her room to meet him.

Eugene Green was born in 1947 in New York. In 1969 he moves to france where he studies literature, linguistique, art and cinema history. He receives the french nationality in 1976. In 1999 he directs "Night After Night for which he recieves the Luis-Delluc price. He starts being noticed for his second feature film "The Livng World" presented in Cannes in 2003. His short film "The Signs" was selected for Cannes too. At the moment he is working on "The Silent Fields", "Life is a Dream" and "The Portuguese Nun".

The video images of Lutz Gregor, in tightened dialogue with the space and the choreographic movement, propose an approach to the spiritual and political body, with a strong commitment to the iconography of the Italian school (Duccio, Fra Angelico, Caravaggio, Signorelli), as an ulterior plan and parallel to an emotional vision.?

Lutz Gregor is a freelanced filmmaker, a media artist and a lecturer. He was born in Berlin in 1952 and currently lives in Cologne. Since 1983, the artist?s work has established his reputation in the sphere of experimental documentaries. In more recent years, he became especially interested in the connection between film and dance with several dance film productions resulting from his own dance practice (Contact Improvisation). His films include: ? Kontakt Triptychon (1992), awarded at the 1992 Grand Prix Vidéo Dance Paris ? Königskinder (2001), a full length feature film, awarded at the 2003 Festival International du Film Indépendant in Brussels for its new cinematographic themes and language ? Frankfurt Dance Cuts (2005), selected for ARTEs 2005 Festival Temps d?Images. The artist has also collaborated in various film projects and live performances. Recent works include the documentary series ?Menschen im Wind? (2007) and the FilmDance Installation ?Maps of Emotion? (2007). He teaches ?Physical Cinema? in workshops and at universities and art academies all over Europe.

Observations of Michael Heizer`s 340 ton boulder being transported through the streets of Los Angeles, CA.

Brenda Grell is an artist with an MFA from the Rhode Island School of Design who works in digital video and new media using a feminist`s ideology, a hacker`s mentality, and a child`s curiosity. Her videos have screened in alternative and guerilla settings presented at the Pacific Film Archive, UCLA Hammer Museum, and Kala Art Institute in Berkeley, and in film, art and technology festivals including Conflux Festival`s WE AR (Augmented Reality) IN MOMA show in New York. Currently, she teaches at Washington State University Vancouver in the Digital Technology and Culture Department.

In the most secret capital of the world a crowd attends a show while a disaster threatens the whole city... !

Mihai Grecu was born in 1981. After studying art and cinema in France, at the Fresnoy Studio of Contemporary Arts, he has been developing a complex personal visual language. By mixing symbolic images with highly metaphorical situations and surreal atmospheres, his works challenge the viewer`s perception as well as contemporary imagery, with recurring themes such as environment, war, water and metamorphosis.! ! His films-poems have been shown in numerous film and new media festivals worldwide (Rotterdam, Festival of New Cinema in Montreal, Clermont Ferrand, Videobrasil) and exhibitions ("Dans la nuit, des images" at the Grand Palais in Paris, Mois de la Photographie in Paris, Hengesbach Gallery in Berlin, etc).

Welshmen, NASA and snooker champions collide with advanced intelligence from outer space. Produced for `The Golden Record`, a contemporary exhibition in response to the phonograph record included by Carl Sagan and NASA scientists in two Voyager spacecraft launched in 1977. Containing sounds, greetings and images selected to portray the diversity of life and culture on Earth, the disc was "intended for any intelligent extra-terrestrial life form, or far-future humans, that may find it."

Dave Griffiths is a Mancheter-based artist. MA Media Art (Manchester Metropolitan University 2004). He is represented by Bureau, Salford, UK. www.davegriffiths.info

?Nothing beside remains?. An accelerated shuffle through cinematic ends. The film?s title refers to Shelley?s compressed sonnet on the shattered colossus of tyrant Ramesses II. Ozymandias deploys a database of movie cue-dots collected from free digital-TV broadcasts. This ongoing archive of near-redundant time signals provides an archaeological resource to remember cinema?s outgoing physicality, and a method of enquiry into narrative and perceptual processes.

Born 1967 in Liverpool, Dave Griffiths lives and works in Manchester, UK. He gained his MA from Manchester Metropolitan University in 2004. His filmworks, video installations and prints dwell on the physical and fictive borders of media spaces and forms. He combines a rigorous attention to barely perceptible materials in moving images with an aesthetic study of their dramatic potential. Along with political and historical asides, the work is filtered through the languages and strategies of cinema and media art to attempt an ironic critique of our social bond with visual technologies. Griffiths? ?close-up epics? playfully touch on illusions of security and perfection that surround media, and attempt to commemorate their temporary structures. He uses film, video, animation and sound - often arising from laborious search or unstable technical methods - to devise encounters between various apparatus and accidental, faltering or abandoned codes. In his ongoing project 'The Griffiths Cue-Dot Observatory' he is developing a body of interactive filmworks combining obscure media devices and processes with changeover signals gleaned from the ends of film reels. Griffiths presented his first solo exhibiton with OUTPOST during Contemporary Art Norwich in July 2007. He has recently screened in exhibitions at Kulturzentrum K4, Nuremberg; Stuttgart Filmwinter; European Media Art Festival, Osnabrueck; Impakt , Utrecht; Antimattter, Canada; 700IS, Iceland; London Short Film Festival; SparkVideo, Everson Museum of Art, Syracuse; and L'Alterativa, Barcelona. He is represented by Bureau Gallery, Salford. www.bureaugallery.co.uk www.davegriffiths.info

Entirely made from celluloid scratches and handling marks painstakingly gleaned from DW Griffiths epic Birth of a Nation. As we watch the silent smelting of white debris against the darkness, the tension of this agitated nothingness suggests an alternative American narrative through the physical history of film reels.

Born 1967 in Liverpool, UK, Dave lives and works in Manchester as artist and lecturer. In addition to his participation in group shows in festivals, galleries and artist-run screenings in the UK and internationally, Dave has run occasional curatorial projects in video and sonic practice ? in 2003 publishing the CODEC/X DVD of new collaborative work from Manchester.

?Gordon? film, 16 mm, colour, 7?07?, 2007 The aim of this work is to consider heritage, secret identification and distance in the human relationships. I ask my grand-father, Giordano Bruno, a man of eightyseven years, to play (bocce)bowls with me, an activity that he plays every day. we play with new rules, keeping the winner and the colour of the play unknown , using many bowls and possibilities.

Your work, much like you, is a mix of contemporary art practices and the ritualistic/magical. You yearn to heal open wounds and re-expose those long covered through a ritualized psycho-magical performance space. The most important medium of this work is the heart. It is from there that your work is born and there that it plants its seed in us, growing slowly as we wait for the tension to be resolved. It is not, however, leaving us the task of tending to the seeds you planted and feeling the depths of its roots. Bradley Pitts Open 2007, pubblication, Rijksakademie van beeldende kunsten

Work version of How to rewind your dog, in development with zap-o-matik.

Johan Grimonprez was born in Roeselare, Belgium in 1962. He studied at the School of Visual Arts and attended the Whitney Museum Independent Study Program in New York. Grimonprez achieved international acclaim with his film essay, Dial H-I-S-T-O-R-Y. With its premiere at Centre Pompidou and Documenta X in Kassel in 1997, it eerily foreshadowed the events of September 11th. The film tells the story of airplane hijackings since the 1970s and how these changed the course of news reporting. The movie consists of recycled images taken from news broadcasts, Hollywood movies, animated films and commercials. As a child of the first TV generation, the artist mixes reality and fiction in a new way and presents history as a multi-perspective dimension open to manipulation.Grimonprez's productions have traveled the main festival circuit from Telluride, Los Angeles, Rio de Janeiro, to Tokyo and Berlin. Curatorial projects were hosted at major exhibitions and museums worldwide such as the Whitney Museum in New York, San Francisco Museum of Modern Art, Pinakothek der Moderne, Munich and the Tate Modern in London. Grimonprez's work is included in numerous collections such as the Centre Georges Pompidou, Paris, the Kanazawa Art Museum, Japan, the National Gallery, Berlin and the Louisiana Museum of Modern Art, Denmark. Grimonprez is currently a faculty member at the School of Visual Arts (New York). Johan Grimonprez lives and works in Brussels and New York.

Director Johan Grimonprez casts Alfred Hitchcock as a paranoid history professor, unwittingly caught up in a double take on the cold war period. The master says all the wrong things at all the wrong times while politicians on both sides desperately clammer to say the right things, live on TV. DOUBLE TAKE targets the global political rise of ?fear as a commodity?, in a tale of odd couples and double deals. As television hijacks cinema, and the Krushchev and Nixon debate rattles on, sexual politics quietly take off and Alfred himself emerges in a dandy new role on the TV, blackmailing housewives with brands they can`t refuse. The novelist Tom McCarthy writes a plot of personal paranoia to mirror the political intrigue, in which Hitchcock and his elusive double increasingly obsess over the perfect murder ? of each other! Subverting a meticulous array of tv footage and using `The Birds` as an essential metaphor, Grimonprez traces catastrophe culture`s relentless assault on the home, from moving images? inception to the present day.

ZAP-O-MATIK?s productions, acquisitioned by NBC UNIVERSAL, ARTE and CHANNEL 4, travel the main festival circuit from SUNDANCE, TOKYO to BERLIN. Johan Grimonprez?s DOUBLE TAKE, premiered at the BERLINALE FORUM 2009 and is awarded with the Black Pearl Award for Best Director at MEIFF (Abu Dhabi) and a SPECIAL MENTION at the Era New Horizons and Yokohama FF. This docu fiction featuring Alfred Hitchcock during a double take on the Cold War, is a co-production with NIKOVANTASTIC FILMS (DE), VOLYA FILMS (NL), ZDF/ARTE and is supported by FLANDERS AUDIOVISUAL FUND, NORDMEDIA, THE DUTCH AND ROTTERDAM FILM FUNDS, YLE and RAISAT. His award-winning film dial H-I-S-T-O-R-Y (68?), an exploration into the annals of airplane hijacking was praised by the London and the New York Times as ?an eccentric rollercoaster ride through history?, the film garnered ?best director? awards at SAN FRANCISCO IFF and TORONTO. Since its highly acclaimed premiere at the CENTRE GEORGES POMPIDOU (Paris), it has toured worldwide (with a cinema audience of over 1 million) and has been acquisitioned by all major broadcast channels in Europe (Channel 4, ARTE) and North America (NBC UNIVERSAL). The DVD release, accompanied by contributions from DON DELILLO and SLAVOJ ZIZEK, is released by OTHER CINEMA (San Francisco), and in distribution with FACETS/MULTIMEDIA (Chicago) and IMAGEFORUM (Tokyo). A first chapter of this film, LOOKING FOR ALFRED, shot in 2005 and co-produced with FILM AND VIDEO UMBRELLA (UK) & ANNA SANDERS FILMS (FR) premiered at the PHOTOGRAPHER?S GALLERY (London) and at the ROTTERDAM IFF 2005. The film won the SPIRIT AWARD in NY and the EUROPEAN MEDIA AWARD 2006. The film was selected for, amongst others, the CLERMONT-FERRAND, SEOUL and the LOS ANGELES IFF. JOHAN GRIMONPREZ?s fiction feature HOW TO REWIND YOUR DOG, explores the theme of HAPPY ENDINGS set in a world of relentless consumerism. Selected for the BERLINALE TALENT PROJECTMARKET 2007, HOW TO REWIND YOUR DOG was developed at the BINGER FILMLAB (Amsterdam), the NORTH BY NORTHWEST writers workshop, the EAVE Producers workshop and is supported by the FLANDERS AUDIOVISUAL FUND and the MEDIA Programme of the European Union. JOHAN GRIMONPREZ is visiting professor at the SCHOOL OF VISUAL ARTS (New York), spending his time between New York and Brussels. His publications « dial H-I-S-T-O-R-Y » (2003), « Inflight Magazine » (2000) and « Looking for Alfred : the Hitchcock castings » (2007) are published with Hatje/Cantz (Germany). www.zapomatik.com www.doubletakefilm.com

What?s your favorite Hitchcock film? Obsessed with de/reconstructing our corrupted visions of media, celebrity and appearance, Johan Grimonprez assembled a bewildering gaggle of Hitchcock lookalikes, staggering in girth and exacting in attitude, in a quest to find the most accurate specimen. The extent of such an endeavour is matched only by its fiendish yet stylish plot ? recording them both in and out of character ? whilst the would-be dopplegangers replay a selection of the trademark cameo appearances that Hitch made in his own flicks. The result could be seen as a dethroning of the Master of Suspense or as a celebration of iconography. Just don?t take a shower before you see it!

Praised by the London and the New York Times as ?an eccentric rollercoaster ride through history,? JOHAN GRIMONPREZ? film Dial H-I-S-T-O-R-Y (1997), ?an exploration into the annals of airplane hijacking, garnered ?best director? awards at the SAN FRANSISCO Film Festival and IMAGES TORONTO. Since its acclaimed premiere at CENTRE GEORGES POMPIDOU (Paris) and DOCUMENTA X (Kassel), the film has toured worldwide. The DVD, accompanied by contributions from DON DELILLO and SLAVOJ ZIZEK, is released by OTHER CINEMA (San Francisco), and in distribution with FACETS/MULTIMEDIA (Chicago) and IMAGEFORUM (Tokyo). Johan Grimonprez is currently a faculty member at the SCHOOL OF VISUAL ARTS (New York). Acquisitioned by Trio NBC Universal (New York), ARTE TV (Germany/France), and Channel 4 (UK), his productions traveled the main festival circuit from TELLURIDE, TOKYO to BERLIN. Curatorial projects were host at major exhibitions and museums worldwide such as the WHITNEY MUSEUM (New York) and TATE MODERN (London); and amongst numerous collections they reside at the CENTRE GEORGES POMPIDOU (Paris), the KANAZAWA ART MUSEUM (Japan), and the NATIONALGALLERIE (Berlin). He is published with Hatje/Cantz (Germany) and spends his time between New York and Brussels. In collaboration with ANNA SANDERS FILMS, (Paris), his production company ZAP-O-MATIK, is currently launching ?LOOKING FOR ALFRED? (2006), a journey into the world of doppelgangers, starring Ron Burrage, professional Hitchcock look-alike. A first chapter premiered at the PHOTOGRAPHER?S GALLERY (London) and the PALAIS DES BEAUX-ARTS (Brussels). Acclaimed by the London Times, a.o., it won first price for the INTERNATIONAL MEDIA AWARD 2005 (SWR / ZKM). A forthcoming project ?ZUNK®? retraces the history of HAPPY ENDINGS. Selected for the Rotterdam Cinemart 2003, ?ZUNK®? is now being developed at the MAURITS BINGER FILM INSTITUTE (Amsterdam) with support of the FLEMISH FILMFUND (VAF, Brussels).

What?s your favorite Hitchcock film? Obsessed with de/reconstructing our corrupted visions of media, celebrity and appearance, Johan Grimonprez assembled a bewildering gaggle of Hitchcock lookalikes, staggering in girth and exacting in attitude, in a quest to find the most accurate specimen. The extent of such an endeavour is matched only by its fiendish yet stylish plot ? recording them both in and out of character ? whilst the would-be dopplegangers replay a selection of the trademark cameo appearances that Hitch made in his own flicks. The result could be seen as a dethroning of the Master of Suspense or as a celebration of iconography. Just don?t take a shower before you see it!

Praised by the London and the New York Times as ?an eccentric rollercoaster ride through history,? JOHAN GRIMONPREZ? film Dial H-I-S-T-O-R-Y (1997), ?an exploration into the annals of airplane hijacking, garnered ?best director? awards at the SAN FRANSISCO Film Festival and IMAGES TORONTO. Since its acclaimed premiere at CENTRE GEORGES POMPIDOU (Paris) and DOCUMENTA X (Kassel), the film has toured worldwide. The DVD, accompanied by contributions from DON DELILLO and SLAVOJ ZIZEK, is released by OTHER CINEMA (San Francisco), and in distribution with FACETS/MULTIMEDIA (Chicago) and IMAGEFORUM (Tokyo). Johan Grimonprez is currently a faculty member at the SCHOOL OF VISUAL ARTS (New York). Acquisitioned by Trio NBC Universal (New York), ARTE TV (Germany/France), and Channel 4 (UK), his productions traveled the main festival circuit from TELLURIDE, TOKYO to BERLIN. Curatorial projects were host at major exhibitions and museums worldwide such as the WHITNEY MUSEUM (New York) and TATE MODERN (London); and amongst numerous collections they reside at the CENTRE GEORGES POMPIDOU (Paris), the KANAZAWA ART MUSEUM (Japan), and the NATIONALGALLERIE (Berlin). He is published with Hatje/Cantz (Germany) and spends his time between New York and Brussels. In collaboration with ANNA SANDERS FILMS, (Paris), his production company ZAP-O-MATIK, is currently launching ?LOOKING FOR ALFRED? (2006), a journey into the world of doppelgangers, starring Ron Burrage, professional Hitchcock look-alike. A first chapter premiered at the PHOTOGRAPHER?S GALLERY (London) and the PALAIS DES BEAUX-ARTS (Brussels). Acclaimed by the London Times, a.o., it won first price for the INTERNATIONAL MEDIA AWARD 2005 (SWR / ZKM). A forthcoming project ?ZUNK®? retraces the history of HAPPY ENDINGS. Selected for the Rotterdam Cinemart 2003, ?ZUNK®? is now being developed at the MAURITS BINGER FILM INSTITUTE (Amsterdam) with support of the FLEMISH FILMFUND (VAF, Brussels).