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Les images vidéo de Lutz Gregor, dans un dialogue intime avec l'espace et le mouvement chorégraphique, proposent une approche au corps spirituel et politique, avec de fortes références à l'iconographie de l?école italienne (Duccio, Fra Angelico, Caravage, Signorelli), qui opèrent comme arrière-plan et parallèle à une vision émotionnelle.

Lutz Gregor est un cinéaste indépendant, un artiste média et un conférencier. Il est né à Berlin en 1952 et vit actuellement à Cologne. Depuis 1983, il a établi sa réputation dans le domaine des documentaires expérimentaux. Au cours des dernières années, il s?est tout particulièrement intéressé à la relation entre le cinéma et la danse, et a produit plusieurs films de danse, résultant de sa propre pratique de danseur. Parmi ses films, signalons notamment « Contact Triptychon » (1992), à qui a été décerné en 1992 le Grand Prix Vidéo Danse de Paris, « Königskinder » (2001), un long-métrage récompensé en 2003 au Festival International du Film Indépendant de Bruxelles pour la nouveauté de ses thèmes cinématographiques et de son langage, et « Francfort Dance Cuts » (2005), sélectionné pour ARTES 2005 Festival Temps d'Images. Il enseigne le « cinéma physique » dans des ateliers, des universités et des académies d'art de toute l'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.

Dans la capitale la plus secrète du monde la foule assiste à un spectacle alors qu`une catastrophe menace d`anéantir la ville...!

Mihai Grecu : plasticien et réalisateur de nationalité roumaine et hongroise; diplômé du Fresnoy, Studio National des Arts Contemporains, il vit et travaille à Paris. Oscillant entre art vidéo, cinéma et animation 3D, son imagerie singulière met en oeuvre, dans une atmosphère déshumanisée, des visions oniriques traversées par des objets parasitaires, architectures modifiées et personnagessymboles. Son travail est montré dans des nombreux festivals de film (Rotterdam, Festival du Nouveau Cinéma à Montréal, videobrasil) et expositions (“Dans la nuit, des images” au Grand Palais, “Labyrinth of my mind” au Cube, “Studio” à la Galerie Les filles du Calvaire, etc).!

Welshmen, la NASA et des champions de billard rentrent en collision avec des formes avancées d?intelligences extraterrestres. Produit pour « The Golden Record », une exposition contemporaine, « The Legend Of Pwdre Ser » est une réponse aux enregistrements sonores que Carl Sagan et des scientifiques de la NASA avaient placés dans deux vaisseaux spatiaux Voyager lancés en 1977. Contenant des sons, des salutations et des images choisies pour représenter la diversité de la vie et des cultures terrestres, le disque était « destiné à toute forme de vie intelligente extraterrestre, ou à cet homme du lointain futur, qui pourrait le trouver ».

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". Le titre du film fait référence au sonnet de Shelley sur la statue brisée du tyran Ramses II. Ozymandias déploie une base de données de repérages de films tirés d'émissions de télévision. Ces archives en cours de signaux de temps presque superflus fournissent une ressource archéologique rappelant la physicalité du cinéma, et une méthode de recherche sur la narration et les processus de perception.

Dave Griffith est un artiste anglais travaillant sur la vidéo, le cinéma et le son. Il a étudié l'art des média à la Manchester Metropolitan University, en Angleterre. Il est représenté par Bureau Gallery, Salford.

L?ouvrage est entièrement fabriqué à partir de morceaux de celluloïds et de marques de manipulations glanées minutieusement de "Birth of a Nation" de DW Griffiths. Alors que nous regardons la fusion lente de débris blancs contre la noirceur, la tension agitée de ce rien suggère une autre narration Américaine à travers l?histoire physique de la pellicule de film.

Né en 1967 à Liverpool, en Angleterre, Dane vis et travaille à Manschester comme artiste et professeur. En plus de ses participations dans des expositions communes au sein des festivals, des galeries et des projections avec plusieurs artistes en Angleterre et à l?international, Dave a conduit des projets comme conservateur dans la pratique vidéo et sonore, par exemple en 2003, en publiant le DVD codew d'un nouveau travail collectif de Manchester.

Dans « Gordon », Francesca Grilli met l'accent sur l'interaction entre l?héritage, l'identification secrète et la distance dans les relations humaines. L'artiste demande à son grand-père, Giordano Bruno, un homme de quatre-vingt-sept ans, de jouer avec elle à bocce (un sport de précision appartenant à la famille des jeux de boules, étroitement lié à la pétanque), une activité qu'il pratique tous les jours. Cette fois, ils jouent avec de nouvelles règles, tout en gardant inconnus le gagnant et la couleur du jeu, et en utilisant de nombreuses boules et de multiples possibilités.

L'artiste travaille essentiellement avec la photographie, la vidéo et, plus récemment, avec la performance. Sa pratique artistique s'inspire de la vie et la mémoire de sa famille, avec l'appropriation d'un espace-temps alternatif, différent de celui qui nous est offert dans la réalité ordinaire. Les ?uvres de Franscesca Grilli ont fait l?objet de nombreuses expositions tant collectives qu?individuelles, signalons notamment « Open 2007 » à la Rijksakademie van Beeldende Kunsten d?Amsterdam en 2007, « videoREPORT ITALIA 06-07 » à la Galleria d?Arte Contemporanea de Monfalcone (Italie) en 2008, « Manifesta 07 - The rest of now » à Bolzano (Italie) en 2008, « So Close, So Far » au Performance Lab d?Amsterdam en 2008, « Bellavita » au New Chinatown Barber Shop de Los Angeles, « Contemporary Passages » au TENT de Rotterdam (Pays-Bas), « Incontemporanea » à la Triennale de Milan , entre autres. Ses films ont été projetés dans de nombreux festivals, notamment en Allemagne et en Italie.

In the spring of 2011, during the Photomonth in Krakow, the artist collective Adam Broomberg and Oliver Chanarin invited me to be part of ALIAS, an exhibition with artists who inhabit alternative versions of themselves. An artist and a writer were teamed up with the aim to create a non-existent third persona. The outcome was that none of the artists in the exhibition existed, as those fictional characters took over the creative process. I was assigned to inhabit the Portuguese writer Fernando Pessoa. ?Him and his 240 heteronyms,? Broomberg and Chanarin laughed, ?an idea not unfamiliar to you!? And indeed, Fernando Pessoa wrote much of his oeuvre under multiple, alternative identities. Not so much pseudonyms or aliases but what he termed ?heteronyms,? invented personalities with detailed biographies and interweaving histories. More specifically Pessoa?s ?The Book of Disquiet? became then the point of departure for this film project. All the footage was shot on iPhone recapturing selected details from YouTube endless growing archive, a world where ?heteronyms? abound. Images of the earthquake and the tsunami that recently hit Japan in March that year dominating the net, resonated quietly with the world of disquiet I was envisioning. In addition, I imagined an added female voice to Pessoa?s many male heteronyms while also staying true to the original language of ?The Book of Disquiet?. So, I invited Portuguese writer Isabel Sobral Campos to narrate the selected passages.

Johan Grimonprez is an internationally acclaimed artist and filmmaker. His films include Dial H-I-S-T-O-R-Y (1997), and Double Take (2009). Acquisitioned by NBC UNIVERSAL, ARTE TV (Germany/France), and CHANNEL 4 (UK), his productions traveled the main festival circuit from SUNDANCE to BERLIN. They garnered several Best Director Awards, a ZKM International Media Award, a Spirit Award and the recent 2009 Black Pearl Award (Abu Dhabi). His curatorial projects were host at museums worldwide, such as the HAMMER MUSEUM (LA) and the PINAKOTHEK DER MODERNE (Munchen). His work resides at major museum collections, including CENTRE GEORGES POMPIDOU (Paris) and TATE MODERN (London). He is published with Hatje/Cantz (Germany), and in distribution with Soda Pictures and Kino International. He spends his time between Brussels and New York, where he lectures at the SCHOOL OF THE VISUAL ARTS.

A haunting collage of disaster and beauty, set to a shimmering track by Lights Out Asia, Johan Grimonprez in collaboration with acclaimed avant-garde novelist Tom McCarthy, based on an abstract from his latest book SATIN ISLAND.

Johan Grimonprez`s curatorial projects have been exhibited at museums worldwide, such as at the Hammer Museum (LA), the Pinakothek der Moderne (Munich) and, the MOMA (NY). His works are part of the permanent collections of major museums, including the Centre Georges Pompidou (Paris), the Kanazawa Art Museum (Japan) and Tate Modern (London). His award winning films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009). Traveling the main festival circuit from the Berlinale to Sundance, they have garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival. They have also been acquired by NBC Universal, ARTE, and FILM 4. In 2011 Hatje Cantz Verlag published a reader on his work entitled "It`s a poor sort of memory that only works backwards" with contributions by Jodi Dean, Thomas Elsaesser, Hans Ulrich Obrist and Slavoj Žižek. His distributors are Soda Pictures and Kino Lorber International. His artwork is represented by the Sean Kelly Gallery (New York) and the gallerie kamel mennour (Paris). His current film project The Shadow World: Inside the Global Arms Trade by author Andrew Feinstein, was awarded a development grant from the SUNDANCE INSTITUTE. His next film project How to Rewind your Dog is in development with the Flanders Audiovisual Fund and the European MEDIA Programme. Grimonprez divides his time between Brussels and New York, where he studied at the Whitney Museum Independent Study Program, and where he now lectures at the School of Visual Arts.

Reciting her own poetry, Jordanian-American poet Suheir Hammad’s voice carries the powerful force of dissent to find hope between the military parades and anti-aircraft guns. With what i will Johan Grimonprez provides glimpse of his upcoming feature documentary Shadow World based on Andrew Feinstein’s book The Shadow World: Inside the Global Arms Trade.

Johan Grimonprez`s curatorial projects have been exhibited at museums worldwide, such as at the Hammer Museum (LA), the Pinakothek der Moderne (Munich) and, the MOMA (NY). His works are part of the permanent collections of major museums, including the Centre Georges Pompidou (Paris), the Kanazawa Art Museum (Japan) and Tate Modern (London). His award winning films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009). Traveling the main festival circuit from the Berlinale to Sundance, they have garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival. They have also been acquired by NBC Universal, ARTE, and FILM 4. In 2011 Hatje Cantz Verlag published a reader on his work entitled "It`s a poor sort of memory that only works backwards" with contributions by Jodi Dean, Thomas Elsaesser, Hans Ulrich Obrist and Slavoj Žižek. His distributors are Soda Pictures and Kino Lorber International. His artwork is represented by the Sean Kelly Gallery (New York) and the gallerie kamel mennour (Paris). His current film project The Shadow World: Inside the Global Arms Trade by author Andrew Feinstein, was awarded a development grant from the SUNDANCE INSTITUTE. His next film project How to Rewind your Dog is in development with the Flanders Audiovisual Fund and the European MEDIA Programme. Grimonprez divides his time between Brussels and New York, where he studied at the Whitney Museum Independent Study Program, and where he now lectures at the School of Visual Arts.

In this short film by Johan Grimonprez, philosopher/neurologist Raymond Tallis argues that consciousness is not an internal construct, but rather relational. Through the intriguing notion that humans are physically unable to tickle themselves, Tallis explores the philosophical notion that we become ourselves only through dialogue with others.

Artiste multimédia, réalisateur, curateur, écrivain, Johan Grimonprez est né à Roeselare, en Belgique, en 1962. Il a étudié l’anthropologie culturelle puis la photographie et les nouveaux médias à l’Académie royale des Beaux-Arts de Gand, en Belgique. Membre de la School of Visual Arts de New York, il a également suivi l’Independent Study Program au Whitney Museum. Actuellement, il vit et travaille entre Bruxelles et New York. Johan Grimonprez travaille aux frontières de l’art et du cinéma, du documentaire et de la fiction. Son travail, acclamé par la critique, sollicite une double analyse de la part du spectateur. Opérant une archéologie des médias contemporains, son travail interroge les tensions de l’intime dans le cadre d’une société globalisée. Il questionne notre réalité, façonnée par l’industrie de la peur, peur qui a envahi le dialogue social et la politique. En proposant de nouvelles écritures à travers lesquelles un récit peut se déployer, son oeuvre met l’accent sur une multiplicité d’histoires et de réalités. Enfant de la première génération télé, l’artiste mélange d’une nouvelle manière fiction et réalité et présente l’histoire comme une dimension multi-perspectiviste ouverte à la manipulation. Il a conquis la critique internationale grâce à son premier film-essai « dial H-I-S-T-O-R-Y » (composez H-I-S-T-O-I-R-E) en 1997, félicité aux festivals de Toronto et de San Francisco. Ses longs métrages « Double Take » (2009) et « Shadow World » (2016) ont reçu de multiples prix dans des festivals internationaux. Grimonprez remporte en 2005 le ZKM International Media Award, le Spirit Award et le Black Pearl Award en 2009 lors de l’Abu Dhabi Film Festival. Son œuvre a également été acquise par NBC Universal, ARTE et BBC/FILM 4. En 2016, son film ‘‘Shadow World’’ (Monde d’ombres) a obtenu une bourse de la part du Sundance Institute et a été diffusé en avant-première au Tribeca International Filmfestival de New-York la même année. Ce film remporte le prix du meilleur long-métrage documentaire au Festival International du film d’Edimbourg ainsi qu’au 61ème Festival International du Film de Valladolid en Espagne. En 2017, il remporte le « Ensor Best Documentary 2017» au Ostend Film Festival, en Belgique. Le travail de Johan Grimonprez a été présenté dans les principales institutions du monde entier, notamment au Hammer Museum (Los Angeles), à la Pinakothek der Moderne (Munich), au MoMA (New York). Ses installations font également partie des collections du Centre Pompidou, du 21st Century Museum of Contemporary Art, à Kanazawa (Japon), ainsi que de celles de la Tate Modern (Londres).

In 1515 Machiavelli stated that it would be better for the Prince to be feared, than loved. Some 500 years later, Michael Hardt, political philosopher and co-author of Empire, Multitude and Commonwealth, asks what it would mean to base a political system on love, rather than on fear. How can we transform a society that is increasingly defined by a permanent state of war and cultivated by an industry of fear? How can we realize the paradigm shift necessary to move away from a reality that depends on the exploitation of people and the cult of privatising public resources? Hardt looks for an answer in what he calls `the commons’, by which he refers not only to natural resources, but also to the languages we create- and the relationships we conceive together. In the dystopian city-state Alphaville, of Godard`s eponymous film, all words and concepts relating to the idea of love and affection have been banned. When actress Anna Karina tries to express her feelings, she has to reinvent the words, for the concept of love is foreign to her. Like the protagonist in Alphaville, Hardt suggests that we need to redefine the tools to act politically together. Hardt embarks on a journey to identify the transformative powers of the ongoing struggle to re-invent democracy. Within this struggle he understands `the commons` as an antidote against a society run by fear; an inspiration for a paradigm that is based on dialogue and cooperation.

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of theviewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of histories and realties.

« Je pensais que j?étais en sécurité, jusqu?à ce que vos gars s?amènent, après avoir dégoté tous ces sosies d?Hitchcock. Nous allons maintenant devoir trouver des moyens de nous en défaire » Ron Burrage, sosie professionnel d?Alfred Hitchcock? Intitulée « LOOKING FOR ALFRED» (à la recherche d?Alfred), cette vidéo est en grande partie un hommage à Alfred Hitchcock. La vidéo se centre sur la silhouette de Hitchcock, qui apparaît régulièrement dans ses films, célèbre camée du cinéaste. « LOOKING FOR ALFRED» met au premier plan ces rôles de figuration, avec l?aide des sosies d?Hitchcock. Ces derniers mois, la recherche de l?artiste a été de trouver le doppelganger, le double idéal, à New York, Los Angeles, Londres. La vidéo a été tournée dans l?atmosphère particulière du Centre des Beaux-Arts de Bruxelles, immeuble art nouveau construit par Victor Horta. Cet espace captivant convient parfaitement à cette mise en scène troublante. Le choix de cet arrière-plan, avec le motif récurent de l?homme en costume au chapeau melon, font venir à l?esprit un autre grand auteur moderne ? le peintre surréaliste René Magritte.

Johan Grimonprez est né à Roeselaere, en Belgique, en 1962. Il vit et travaille en Belgique et à New York. En 2005, son travail a été exposé à la Kunsthalle de Cassel, au Hammer Museum de Los Angeles, au Kunst-Werke à Berlin. Il a également participé à des expositions à la Photographers Gallery, Londres, au Palais des Beaux-Arts de Bruxelles, au Stedelijk Museum d?Amsterdam, au Louisiana Museum of Modern Art, Deste Foundation, Centre for Contemporary Art, Athènes, au ZKM | Museum für Neue Kunst, à Karlsruhe, au S.M.A.K. à Gand, Belgique, au Musée d?art moderne de la ville de Paris.

In Three Thoughts on Terror, investigative journalists Robert Fisk, Jeremy Scahill and Vijay Prashad approach the concept of terror from their respective angles. Fisk dismantles terror as a term that is rendered meaningless to alienate political movement from its origins: justice and injustice. Scahill points out that terror is a relative term, as its interpretation depends on which side of the bombing you’re on. Using the absurd example of the ‘The Hague Invasion Act’, he shows how the US sticks its thumb in the eye of international law: “Some republicans in the US Congress were discussing putting forward legislation that they referred to as “The Hague Invasion Act”, the idea that if US personnel were ever to be brought to The Hague on war crimes charges, the US could deploy military forces to The Hague to snatch those personnel and liberate them from the evil clutches of international law.” Vijay Prashad takes rather a philosophical approach, reciting Pakistani poet Faiz Ahmad Faiz: “what you see around you, leaves you with no obligation but to feel something. And if that feeling cannot be controlled, you have to do something about it. You can’t refuse this world.”

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities. Grimonprez’s curatorial projects have been exhibited at museums worldwide, including the Hammer Museum, Los Angeles; the Pinakothek der Moderne, Munich; and MoMA. His works are in the collections of Centre Georges Pompidou, Paris; the 21st Century Museum of Contemporary Art, Kanazawa; and Tate Modern, London. His feature films include dial H-I-S-T-O-R-Y (1997, in collaboration with novelist Don DeLillo) and Double Take (2009, in collaboration with writer Tom McCarthy) and Shadow World (2016, in combination with journalist Andrew Feinstein). Traveling the main festival circuit from the Berlinale, Tribeca to Sundance, they garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival, and were also acquired by NBC Universal, ARTE, and BBC/FILM 4. He published several books, including Inflight (2000), Looking for Alfred (2007) and a reader titled It’s a Poor Sort of Memory that Only Works Backwards (2011) with contributions by Jodi Dean, Thomas Elsaesser, Tom McCarthy, Hans Ulrich Obrist, and Slavoj Žižek. He lectured widely, among others at the University de Saint-Denis (Paris 8), Kennedy School of Government at Harvard University’s Institute of Politics; Tate Modern; MoMA (New York); Columbia University; Massachusetts Institute of Technology (MIT); the Parliament of Bodies of Documenta 14, and he participated in the Whitney Museum Independent Study Program, and is now on a research grant at HOGENT/KASK , Ghent. His recent film project (with investigative journalist Andrew Feinstein), Shadow World: Inside the Global Arms Trade, was awarded a production grant from the Sundance Institute, premiered at the 2016 Tribeca IFF (New York). It went on to win the Best Documentary Feature Award at the 2016 Edinburgh International Film Festival, and premiered its US broadcast on Independent Lens on PBS in 2017. Currently Grimonprez is developing a feature film based on David van Reybrouck’s play The Soul of the White Ant. With Belgian actor Josse de Pauw in the lead, and also featuring Prime-Minister Patrice Lumumba, shuttle diplomat Dag Hammarskjold and Jazz Ambassadors Louis Armstrong, Dizzy Gillespie & Duke Ellington, in a harrowing tale of cold war intrigue and termite poop, that is about to run off-script. His artwork is represented by the Sean Kelly Gallery (New York), and gallerie kamel mennour (Paris). See johangrimonprez.be for more info.

When asked a question on politics, late Palestinian poet Mahmoud Darwish once answered: “I write about love to expose the conditions that don’t allow me to write about love.” In Two Travellers to a River Palestinian actress Manal Khader recites such a poem by Mahmoud Darwish: a concise reflection on how things could have been.

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities. Grimonprez’s curatorial projects have been exhibited at museums worldwide, including the Hammer Museum, Los Angeles; the Pinakothek der Moderne, Munich; and MoMA. His works are in the collections of Centre Georges Pompidou, Paris; the 21st Century Museum of Contemporary Art, Kanazawa; and Tate Modern, London. His feature films include dial H-I-S-T-O-R-Y (1997, in collaboration with novelist Don DeLillo) and Double Take (2009, in collaboration with writer Tom McCarthy) and Shadow World (2016, in combination with journalist Andrew Feinstein). Traveling the main festival circuit from the Berlinale, Tribeca to Sundance, they garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival, and were also acquired by NBC Universal, ARTE, and BBC/FILM 4. He published several books, including Inflight (2000), Looking for Alfred (2007) and a reader titled It’s a Poor Sort of Memory that Only Works Backwards (2011) with contributions by Jodi Dean, Thomas Elsaesser, Tom McCarthy, Hans Ulrich Obrist, and Slavoj Žižek. He lectured widely, among others at the University de Saint-Denis (Paris 8), Kennedy School of Government at Harvard University’s Institute of Politics; Tate Modern; MoMA (New York); Columbia University; Massachusetts Institute of Technology (MIT); the Parliament of Bodies of Documenta 14, and he participated in the Whitney Museum Independent Study Program, and is now on a research grant at HOGENT/KASK , Ghent. His recent film project (with investigative journalist Andrew Feinstein), Shadow World: Inside the Global Arms Trade, was awarded a production grant from the Sundance Institute, premiered at the 2016 Tribeca IFF (New York). It went on to win the Best Documentary Feature Award at the 2016 Edinburgh International Film Festival, and premiered its US broadcast on Independent Lens on PBS in 2017. Currently Grimonprez is developing a feature film based on David van Reybrouck’s play The Soul of the White Ant. With Belgian actor Josse de Pauw in the lead, and also featuring Prime-Minister Patrice Lumumba, shuttle diplomat Dag Hammarskjold and Jazz Ambassadors Louis Armstrong, Dizzy Gillespie & Duke Ellington, in a harrowing tale of cold war intrigue and termite poop, that is about to run off-script. His artwork is represented by the Sean Kelly Gallery (New York), and gallerie kamel mennour (Paris). See johangrimonprez.be for more info.

Johan Grimonprez transposes an extract from Meg Stuart`s compelling choreography ?No Longer Ready-Made? to the anonymous waiting room of a railway station. This colourless space along with nameless travellers provides the excellent setting for Stuart`s hectic and intense convulsions. A train ride along the nightly Brussels northern area supports the vitriolic New York City prose of David Wojnarowicz on the soundtrack.

Johan Grimonprez (°1962) studied photography and Mixed Media at the Academie in Ghent, after which he spent several years in New York at the School of Visual Arts through the Whitney Museum Independent Study Program and he obtained his postgraduate degree from the Jan van Eyck Academie in Maastricht. He lives and works both in Ghent and New York, where he is a lecturer at the School of Visual Arts. Grimonprez is best-known for his video work DIAL H-I-S-T-O-R-Y, which became an international success after screenings at the Centre Georges Pompidou (Paris) and during Documenta X in Kassel (1997), transcending the established delineations between visual arts, cinema and television, between fiction, documentary and ?art video?. In this and other work Grimonprez mainly investigates the use of mass media as a political instrument and the construction of realities in an era of infotainment and media saturation. `Zaptitude` is the central idea ? the surreal poetry of `channel hopping`, which enables the spectator to write his/her own story. His work has been shown and awarded, among other places, at the San Francisco Film Festival and Images Toronto, on ARTE TV (Germany/France) and Channel 4 (VK), in the Whitney Museum (New York) and Tate Modern (London).

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

« Je pensais que j?étais en sécurité, jusqu?à ce que vos gars s?amènent, après avoir dégoté tous ces sosies d?Hitchcock. Nous allons maintenant devoir trouver des moyens de nous en défaire » Ron Burrage, sosie professionnel d?Alfred Hitchcock? Intitulée « LOOKING FOR ALFRED» (à la recherche d?Alfred), cette vidéo est en grande partie un hommage à Alfred Hitchcock. La vidéo se centre sur la silhouette de Hitchcock, qui apparaît régulièrement dans ses films, célèbre camée du cinéaste. « LOOKING FOR ALFRED» met au premier plan ces rôles de figuration, avec l?aide des sosies d?Hitchcock. Ces derniers mois, la recherche de l?artiste a été de trouver le doppelganger, le double idéal, à New York, Los Angeles, Londres. La vidéo a été tournée dans l?atmosphère particulière du Centre des Beaux-Arts de Bruxelles, immeuble art nouveau construit par Victor Horta. Cet espace captivant convient parfaitement à cette mise en scène troublante. Le choix de cet arrière-plan, avec le motif récurent de l?homme en costume au chapeau melon, font venir à l?esprit un autre grand auteur moderne ? le peintre surréaliste René Magritte.

Johan Grimonprez est né à Roeselaere, en Belgique, en 1962. Il vit et travaille en Belgique et à New York. En 2005, son travail a été exposé à la Kunsthalle de Cassel, au Hammer Museum de Los Angeles, au Kunst-Werke à Berlin. Il a également participé à des expositions à la Photographers Gallery, Londres, au Palais des Beaux-Arts de Bruxelles, au Stedelijk Museum d?Amsterdam, au Louisiana Museum of Modern Art, Deste Foundation, Centre for Contemporary Art, Athènes, au ZKM | Museum für Neue Kunst, à Karlsruhe, au S.M.A.K. à Gand, Belgique, au Musée d?art moderne de la ville de Paris.

In 1980 an extraordinary demonstration hit the streets of the Brazilian city of Sorocaba. Under the military dictatorship, a court had outlawed kisses that undermined public morals. The ruling by Judge Manuel Moralles, which punished such kisses with jail terms, described them this way: Some kisses are libidinous and therefore obscene, like a kiss on the neck, on the private parts, etc., and like the cinematographic kiss in which the labial mucosa come together in an unsophismable expansion of sensuality. The city responded by becoming one huge kissodrome. Never had people kissed so much. Prohibition sparked desire and many were those who out of simple curiosity wanted a taste of the unsophismable kiss. "February 8. GENERAL SMOOCH" by Eduardo Galeano. From: "Children of the Days," first edition published in Mexico by Siglo XXI Editores Mexico, 2012.Translation copyright Mark Fried, Pinguin Books, London 2013.

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archaeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of histories and realties.

A car with a big sound system broadcasts a text of Eduardo Affonso Reidy on his modern architecture precepts. It drives around the Conjunto Habitacional Pedregulho, a social housing complex build from 1946 by the same architect and also called Minhocão (the big worm) by his inhabitants. The ballet of the driving car, combined with interviews, sound extracts from the fiction film « Lucio Flávio, the passenger of agony » (shot partly in the site) and other scenes, produce a portrait of a major modernist Brazilian building and of the popular northern zone´s context of Rio de Janeiro. The film raises issues about patrimony and memory of social housings in a place which is about to be renovated after 50 years of state´s abandonment and autonomous management.

Raphael Grisey (1979, lives in Paris and Berlin) Raphaël Grisey, artist in the time-based arts, realized experimental films, video installations, video-essays, and documentaries. His work gathers or produces narratives around collective memories, migrations or architecture. www.raphaelgrisey.net

Le film s?est construit autour de l?actualité d?un procès à Belgrade, premier du genre en Serbie où des Serbes étaient accusés de crimes de guerre pour leur participation au massacre d?Ovcara près de Vukovar en 1991, premier grand massacre des guerres en Yougoslavie dans les années 90. Dans un hôtel belgradois, les familles des victimes croates évoquent leurs observations relatives au procès, racontent les événements et discutent de leur situation. À Vukovar, dans une voiture roulant de nuit dans la ville, une voix parle de traces invisibles. Dans le tribunal, les familles et les avocats parlent des pièces à conviction et des enjeux du procès. Deux scènes dans la salle des disparus à Zagreb et sur le lieu du crime rendent l?événement passé concret.

A car with a big sound system broadcasts a text of Eduardo Affonso Reidy on his modern architecture precepts. It drives around the Conjunto Habitacional Pedregulho, a social housing complex build from 1946 by the same architect and also called Minhocão (the big worm) by his inhabitants. The ballet of the driving car, combined with interviews, sound extracts from the fiction film « Lucio Flávio, the passenger of agony » (shot partly in the site) and other scenes, produce a portrait of a major modernist Brazilian building and of the popular northern zone´s context of Rio de Janeiro. The film raises issues about patrimony and memory of social housings in a place which is about to be renovated after 50 years of state´s abandonment and autonomous management.

Raphael Grisey (1979, lives in Paris and Berlin) Raphaël Grisey, artist in the time-based arts, realized experimental films, video installations, video-essays, and documentaries. His work gathers or produces narratives around collective memories, migrations or architecture. www.raphaelgrisey.net

Le film s?est construit autour de l?actualité d?un procès à Belgrade, premier du genre en Serbie où des Serbes étaient accusés de crimes de guerre pour leur participation au massacre d?Ovcara près de Vukovar en 1991, premier grand massacre des guerres en Yougoslavie dans les années 90. Dans un hôtel belgradois, les familles des victimes croates évoquent leurs observations relatives au procès, racontent les événements et discutent de leur situation. À Vukovar, dans une voiture roulant de nuit dans la ville, une voix parle de traces invisibles. Dans le tribunal, les familles et les avocats parlent des pièces à conviction et des enjeux du procès. Deux scènes dans la salle des disparus à Zagreb et sur le lieu du crime rendent l?événement passé concret.

Une déconstruction personnelle d'un document de guerre. Une expérience de guerre en exil à travers les images des informations, une correspondance avec la maison, et des interviews avec les anciens patriotes. Un stock d'images intuitivement collectées, a été compilé quelques années plus tard, pour refléter la mémoire des médias.

Né en Israel, 1971. Vit et travaille à Amsterdam depuis 1996.

Based on the artist’s poetic reconfiguration of Susan Sontag’s 1969 text The Aesthetics of Silence and drawing on his studio practice, this work is comprised of a series of artistic gestures, observations and small performances that explore the erotics of philosophy, the uselessness of poetry, and dumb yearning.

Troy Gronsdahl is an artist and cultural worker from Saskatoon. Gronsdahl studied at the University of Saskatchewan and holds a master’s degree from Emily Carr University of Art and Design where he was the recipient of the Governor General’s Academic Medal. Gronsdahl has received a number of awards including grants from the Canada Council for the Arts and Saskatchewan Arts Board. In addition to his visual art practice, he also creates distinctive, genre-bending hip hop music under the moniker soso, touring extensively both nationally and internationally. His artwork has been presented at screenings and exhibitions across Canada.

Jouant sur la limite entre documentaire et œuvre vidéo, Strike a pose suit Ariane V., body-buildeuse et Docteur en science de la Vie d’origine belge vivant en Suisse. Durant 9 mois, Maëlle Gross a côtoyé Ariane. Cet investissement dans la durée avait pour but de créer une intimité entre l’artiste et son sujet, afin que ce dernier puisse entrer dans un processus de lâcher prise, gage de confiance. Au moyen d’interviews, de la danse et d’immersion dans le monde du bodybuilding, peu à peu nous nous rendons compte d’un état d’ambïguité du corps. Pousser les limites physiques, se détacher de sa propre enveloppe pour la traiter comme une sculpture. Arrivé au paroxysme de sa métamorphose, la protagoniste devient alors, hors-norme. Hors-norme des critères de beauté stéréotypée du corps genré auxquelles elle est associée. Une invitation à l’introspection subjective dans l’imagerie contrôlée du corps où la limite entre le raisonnable et l’excessif se fait de plus en plus petite au fur et à mesure de la transformation radical qu’Ariane a entrepris sur son corps.

Née le 20 novembre 1988 à Lausanne en Suisse, Maëlle Gross montre très jeune un intérêt particulier pour la photographie et la vidéo. Diplômée en 2013 de la Haute Ecole d’Art et Design de Genève, elle déménage ensuite à Londres et intègre la Goldsmiths University où elle obtient en 2015 son Master of Fine Art avec mention. Son travail a notamment été présenté lors du festival vidéo R4 à Paris, a participé à une performance collective à l’Institute of Contemporary Arts (ICA) de Londres ainsi qu`à la galerie Large Glass à Londres sous le collectif Almosthere. Aujourd’hui, Maëlle Gross vit et travaille entre Londres et Genève.

"The woodland threshold" takes us on an introspective journey into the heart of the Laotian forest. The film follows Dao's journey, letting her thoughts wander to the rhythm of her footsteps, venturing into the depths of her memory. Between the parks of Rennes, where she lives, and the jungles of northern Laos, we wander with her on an inner journey, where the boundary between past and present becomes porous.

Giulia Grossmann was born in Paris in 1984, she studied visual arts and anthropology. In her work she explores the interactions between humans and their environment. Her films play with the permeable border between fiction and documentary. Since her first short film Native American, rewarded with the Inrocks lab video creation prize in 2012, her work has been exhibited in art centers, galleries and museums as well as in festivals in France and abroad.

What happens when a family revisit a house they abandoned sixteen years ago? It wasn’t a decision where Saira & Salim had a choice. Would you be able to relive those delightful memories & conversations without the traumatic ones overpowering your emotions?

Eshwarya is a post graduate film student at National Institute of Design, India. She has studied architecture and believes that film is all about capturing the emotion of a space or creating a subconscious space and how people interact with it.

Inspired by the children’s book About Two Squares created by El Lisstzky exactly 100 years ago, Transient Witness simultaneously merges and obscures the intimate from the public, in a story where the actions of collecting and stealing function as synonyms and inheritance and loss immerse. It is a fictional story of the transfer of the objects from the private house of avant-garde collector Egidio Marzona in Berlin to their new domicile – the Japanisches Palais, a Rococo building that belongs to the Staatliche Kunstsammlungen Dresden (SKD). The plot is told through the eyes of three main characters: Christina, the manager of the collection; Maurizio, the art mover; and Präsens the collector’s dog. Fiction meets reality: the film takes place on 25 November 2019. On that day, priceless jewelry of immense cultural value was stolen from the Green Vault in Dresden in one of the biggest art heists in history, causing a national shock in Germany. The film unfolds a complex story, navigating between historical facts about the Baroque and the Avant-garde; art and its politics.

Assaf Gruber (b. Jerusalem, 1980) is a sculptor and filmmaker who lives and works in Berlin. The dialectical relationship between the individual and the establishment is at the centre of his work, which explores how political orientations of institutions impact the lives of individuals and how institutions choose to represent and communicate facts and artefacts. Gruber studied at the Cooper Union in New York and is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris and of the Higher Institute of Fine Arts (HISK) in Ghent. His solo exhibitions include the Muzeum Sztuki, ?ód? (2015), the Berlinische Galerie, Berlin (2018), Ujazdowski Castle Center for Contemporary Art, Warsaw (2018), among others. His films have been featured in festivals including the Berlinale Film Festival, FID Marseille (2019), and the International Short Film Festival Oberhausen (2016).