Catalogue > List by artist

In 1991 the Jeu de Paume National Gallery became a place of exhibition, a place of contemporary art, and a place of photography. It was not until 2004 that the Gallery fused with both the National Centre of Photography and the Photographic Patrimony, residing at the Sully Hotel in the Marais. Since then, the Gallery sites are exclusively dedicated to contemporary photography, as well as to video and cinema. It welcomes artists from all over the world, thus privileging a synchronic approach of historic moments of art's journey, notably, of photography and and its emotions since its creation up to its contemporary transformations. Image as an artistic expression is touched and revealed in the diversity of its modes of appearance. Anxious to attract its public, the Jeu de Paume National Gallery configures its exhibitions as sources of knowledge, and organizes educational projections, conferences, and symposiums. From the exhibition "Support/Surface" working with the functional across the folded canvases and paintings of Louis Cane, or the knotted ends of twine of André Valensi, to the Arman exhibition, pieces of daily newspapers melted into plexiglass, to the photography art of Joël Meyerowitz, images are discovered at the Gallery in all of their singularity. It gives something to think about.

Danièle Hibon is the head of cinema programming at the Jeu de Paume National Gallery in Paris. She studied classic art and philosophy, and specialized in art history. She has been the head of the 'bureau d'accompagnement de l'avance sur recettes' at the National Centre of Cinematography. Since 1995 she has co-organized a cycle of cine-conferences with Henri Foucault of l'Ensad and Jean-Claude Biette of l'Ensba destined for students at these two art schools. This unique initiative is animated by the constant anxiety to make known the figures of contemporary art and little known filmmakers, and to create events where, in their presence, a genuine dialogue about the questions and problems of art and cinema can be held. In 1995, during a retrospective at the Gallery, Danièle Hibon firmly pushed for the permission to make two filmmakers, Yervant Gianikian and Angela Ricci Lucchi, known to the French public.

The private atmosphere of a Dutch living room is breached by the disturbing presence of a large oak tree that slowly enters the room. Close-ups of different kinds of furniture, potted plants, souvenirs and other personal belongings are carefully depicted. No longer protected from the outside by the thin sheets of glass, the vacuum is cancelled when the large oak tree enters the room, confronting the viewer with the impact this has to both tree and home. Being both realistic and absurd, the confrontation between the tree and the home raises questions about the meaning and symbolism of the tree and the private domain, and its representational aspects towards the outside world.

Roderick Hietbrink (b. 1975, the Netherlands) is a visual artist. He received his BA in Fine Art from the Art Academy St. Joost in Breda in 1999 and his MA in Fine Art from the Piet Zwart Institute in Rotterdam in 2002. He is a current resident at the Rijksakademie van beeldende kunsten in Amsterdam. His work is shown internationally in solo and group exhibitions at Museum Boijmans van Beuningen Rotterdam, Künstlerhaus Bethanien Berlin, Artspace Visual Arts Centre in Sydney, SMART Project Space Amsterdam and Where Where Exhibition Space in Beijing. Roderick Hietbrink lives and works in Amsterdam and Rotterdam, the Netherlands.

A group of travellers of unknown origin arrive out of nowhere into an open landscape. Over the course of a day, they explore and scan the environment with their unique handmade triangular antennae. Through their sensual decoding of information and hypnotic choreography of sign language, a necessity of care for this strange and beautiful planet emerges.

Claudia Hill is a Berlin-based cross-disciplinary artist who makes objects that create possibilities for personal encounters and community. Hill’s work developed from a career in fashion presenting her collections between New York and Japan. As her designs expanded beyond the boundaries of the industry, she made costumes for choreographer William Forsythe, The Wooster Group, and became a frequent collaborator with choreographer Meg Stuart. Her interventions range from performative designs to constructing large scale, textile based sculptures, and conceiving participatory actions for art centers such as Centre Pompidou Paris, and ZKM Center for Art and Media, Karlsruhe. Hill’s own artist film Kon’voi’ has been presented in several international film festivals. She is currently developing new work for Supernova, an artist group formed around Damaged Goods´ Sketches/Notebook (extended version) for the HAU Berlin 2018 season.

?Dansent le désert? Some landscapes of body are overlapping in images. Such dances are possible in such an environment. This is the challenge that take the dancers. Created by Pat Hillaire. Dansed by Rolf Meesters and Pat Hillaire. Length: 2 minutes and 50 sec.

1998 initiated a work in video performance in presence of the dancer Claudia Flammin then of Rof Meesters with who I started in 2000 experimental dance. The last performance is in October 2005 Da LI LI DA DA. Falls Festival of Barcelona, 6 performers are gathering to experiment a performance where the important will be that each position on the stage has the same intensity that another. Dance, poetry, video, japans flute are melting. In 2005, this is especially street performances: bar opening exhibitions, Bcn street festival, Museo Mares? 2003 in Berlin: KNOWHERE, 10 street performances, 3 performers, dances Rolf Meesters, Pat Hillaire, musician without instrument Joahnnes Gergmark. He challenged to perform with no object or instruments.

Remembering my last visit with Mary in her garden of light, trees, glass and stone.

Baba Hillman grew up in Japan, Venezuela and Panama and works between France and the U.S.. She received a B.A. in French Literature from Duke University and an M.F.A. in Film and Performance from the University of California, San Diego. Her films and performance works explore memory, history, perception and the poetics and politics of place, language, and the body. She was co-director of Teatro Movimento in Florence, studied with Etienne Decroux and Jean-Pierre Gorin, and is Professor Emerita of Film at Hampshire College in Amherst, Massachusetts. Her films have screened widely at festivals and museums including the Museum of Contemporary Art, Los Angeles, FIDMarseille, Edinburgh Film Festival, Rencontres Internationales Paris/Berlin, Ann Arbor Film Festival, National Gallery of Art, Washington D.C., Anthology Film Archives, ICAIC Havana, Africa World Documentary Festival, Yaounde, MIX Brazil, and European Media Art Festival, Osnabruck, among others. She has received awards and grants from the French Ministry of Culture, the Whiting Foundation, the California Arts Council, and the Italian city governments of Florence, Lecce and Certaldo. In 2020, Hillman’s film Kitâb al-Isfâr: Book of the Journey, a feature-length film about near-death and mystical experiences in Andalucia, premiered at the FIDMarseille film festival and was selected for the Athens Avant Garde Film Festival. Earlier films by Hillman include Decroux’s Garden, and 5 Cité de la Roquette, part of a series of films connected to return, place and disappearance.

Agnès: a very sensitive young woman. Her best friend: Camille. The latter?s companion: Marianne. The latter?s sister: Astrid. They were to meet again, the four of them, for the first time in a long time. But, Marianne does not show up. Agnès drifts away with her sentiments. For one day and two nights, old stories buried away and new desires will re-emerge, and they will all completely question their relationships with one another.

Julien Hilmoine was born in Fécamp in 1979. Having spent his childhood and teen-age years in Rouen in an upper-middle class, non-religious, and republican family, Hilmoine persued his studies in Litterature, Audio-Visual (Assiciate's Degree with emphasis in Image), and at the Fémis [Ecole Nationale Supérieure des Métiers de l?Image et du Son] in the department of Directing. He lived a typical French youth: love stories, friendships, passions, break-ups, and deaths. He became a Parisian by force of circumstances and tried directing films. He loves actors with a passion. He is always looking for new images, faces, and voices.

This short video film criticizes, parodies, but also reinforces a Public Warning. Someone has taken the law into their own hands and promised a prosecution. The artist, who could be anyone, is seen challenging and breaking 'the law' while also re-enforcing it. Careful planning and attention is used to prepare for the action by replicating the warning, while stealth and humour is engaged for presentation and execution.

Steve Hines has been exhibiting on a regular basis for ten years now. He has shown his work nationally and internationally, having participated in several international art festivals. With a background in Photography, Steve Hines' practice is now firmly rooted within a conceptual framework and as such he works in various mediums. This provides a great deal of liberty and constantly brings forth new challenges. Steve Hines is interested in making minimal conceptual work that is often combined with the opposing, yet complimentary, nature of extremes. Personal experiences and the everyday provide inspiration and material for his creation of work that combines narratives and elements that can affect us all.

"speakers" represents the notion of a confused, competitive world where the numerous factions, groups, religions, and cultures are all trying to communicate and persuade the rest of the world that their way or belief is superior. The film is a colourful kaleidoscopic, impressionistic image with a matching chaotic audio message. "speakers" is a short digital video film composed from footage shot at Speakers Corner, Hyde Park, London. The finished work represents the notion of a confused world where there are numerous factions, groups, religions, and cultures, of which many are minorities, who are all trying to communicate and persuade the rest of the world that their way or belief is superior. The Speakers are: a black male Muslim, three different white male speakers talking about the ideals of Socialism, a black male Christian; one female and five separate white male Christians, two black males talking about their personal experiences, and an American preacher. All are individuals expressing their ideas, hopes, fears, and concerns about issues affecting us all. The footage of all the "participants" is layered directly on top of each other and what results is a montage and a confused chaos of moving images and words. This effect and action mirrors issues around the world and draws comparisons with arguments and disagreements about borders, territories, religions, governments, and regimes, etc. Presented in its finished state, "speakers" inverts the original audience/speaker role in a particular way. Initially it was the speakers who were struggling, shouting, and vying to get their message across to a varied audience consisting of doubting, interested, or even mocking individuals. Now, in a gallery space, it is the audience who stand there intrigued by what is before them and who then begin to listen more carefully, trying to catch or hear a legible word here or there, or to try and visualise an individual face in the crowd. The image brings to mind a kind of moving, impressionist painting of kaleidoscopic nature whilst the sound reminds one of a civilised world in confusion, rather like that of The Stock Exchange in full flow for example. © steve hines 2005

steve hines has been exhibiting on a regular basis for almost ten years now. He has shown his work nationally and more recently internationally, having participated in several international art festivals. With a background in photography, steve hines` practice is now firmly rooted within a conceptual framework, and as such he works in various mediums. He is interested in making minimal, conceptual work that is often combined with the opposing yet complimentary nature of extremes. Personal experiences and the everyday provide inspiration and material for the creation of work that combines narratives and elements that can affect us all.

Recorded at night with a humble camcorder over multiple excursions through indigenous and exotic flora, rhythmic observational studies chart real and imaginary wildernesses. Revisiting Thoreau’s Walden ideal, the sentimental appeal of taking an axe to the woods in white-settler colonies encounters postcolonial unease.

Gavin Hipkins (born 1968, Auckland, Aotearoa New Zealand) holds a Bachelor of Fine Arts from the University of Auckland and a Master of Fine Arts from the University of British Columbia, Vancouver. He is an Associate Professor of Fine Arts at Elam School of Fine Arts, the University of Auckland. His photography and moving image works interrogate how images create meaning through fragmentation and circulation. His work explores the nation state, particularly in colonised countries in an era of re-imagined communities and ideas of social and political utopia. His practice engages film as a cinematic art that blurs conventional genres of essay film, documentary and experimental narrative structures. Hipkins has exhibited widely in international exhibitions and film festivals including: CROSSROADS 2022, San Francisco Cinematheque (2022); Internationale Kurzfilmtage Winterthur, Switzerland (2021); 25FPS Festival, Zagreb (2020); Rencontres Internationales Paris/Berlin (2020); Videoex, Zurich (2019); The 9th Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art, Brisbane (2018); International Film Festival Rotterdam (2018, 2015); International Short Film Festival Oberhausen (2017, 2016); The Jewish Museum, New York (2015); Edinburgh Art Festival (2014); Armory Film, New York (2012); Centre Pompidou, Paris (2011); Austrian Museum of Applied Art and Contemporary Art (MAK), Vienna, (2011).

Devon’s moors are the backdrop for this hybrid film that constructs an imaginary community and frames sentiments of belonging at a time when parochialism and nationalism are globally prevailing. Inspired by Arthur Conan Doyle’s The Hound of the Baskervilles, Hipkins grafts portraits of his forebears across Devon?s uncanny landscapes. A subtext of Doyle’s classic novel negotiates yearnings for a homecoming and a mythical ancestral land.

Gavin Hipkins (b. 1968) is a New Zealand-based artist. He holds a Master of Fine Arts from the University of British Columbia. He is currently Associate Professor at Elam School of Fine Arts at the University of Auckland. His work explores the nation state, particularly in colonised countries in an era of re-imagined communities and ideas of social and political utopia. His recent moving image works engage film as a cinematic art that blurs conventional genres of essay film, documentary and experimental narrative structures. His work has been exhibited widely over the last two decades. His solo exhibition The Homely will open at the Museum of Contemporary Art Australia, Sydney in July 2020. Recent exhibitions and screenings include: Videoex, Switzerland (2019); 9th Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art, Brisbane, Australia (2018); International Film Festival Rotterdam (2018, 2015); International Short Film Festival Oberhausen (2017, 2016); The Jewish Museum, New York (2015); Museum of Arts and Design (MAD), New York (2014); City Art Centre, Edinburgh Art Festival (2014); Armory Film, New York (2012); Centre Pompidou, Paris (2011); Austrian Museum of Applied Art and Contemporary Art (MAK), Vienna, (2011).

The Soft Epic or: Savages of the Pacific West is a monumental video and audio installation examining historical and contemporary representations of cultural anxiety, and the fluid relationship between History and Cinema--where fact and fiction collapse into each other like the folds of a drawn theater curtain. Comprised of multiple projections and a newly commissioned surround soundtrack by Bird Show (Ben Vida), the work synthesizes images and effects from historical panoramas, epic sci-fi and disaster films, and the paintings of Hieronymus Bosch in a fractured, dystopic cityscape dotted with eternal flames and chimeras. Across the expansive, 100-foot-long video projection, Hollywood splendor usurps mythological and historical narrative in service of political authority and social order.

Nadia Hironaka received her Masters of Fine Art from The Art Institute of Chicago and her Bachelors of Fine Art from The University of the Arts. Currently she resides in Philadelphia and is a professor at The Maryland Institute College of Art. She is a 2008 Pennsylvania Council on the Arts fellow and received a Pew Fellowship in the Arts in 2006, other awards include: The Leeway Foundation, Peter Stuyvessant Fish Award in Media Arts, prog:me video artist award, The Black Maria Film Festival, and The New York Short Exposition Film Festival. Her films and video installations have been exhibited internationally in: PULSAR (Venezuela), Rencontres Internationals (Paris/Berlin), The Den Haag Film and Video Festival (The Netherlands), The Center for Contemporary Arts (Kitakyushu, Japan), The Pennsylvania Academy of Fine Arts, Morris Gallery, The Black Maria Film Festival, The Donnell Library (NYC), The Fabric Workshop and Museum (Philadelphia), The Institute of Contemporary Art (Philadelphia), The Galleries at Moore College of Art (Philadelphia), and Vox Populi, (Philadelphia). Philadelphia-based artist Matthew Suib has exhibited installations, video and audio works and photographs internationally at venues including the Philadelphia Museum of Art, Kunstwerke Berlin, Mercer Union (Toronto), The Corcoran Gallery of Art (D.C.) and PS1 Contemporary Art Center (NYC). Recent exhibitions include Locally Localized Gravity at the Institute of Contemporary Art (Philadelphia), and the 2007 Moscow Biennale. In 2007, Suib co-founded Screening, along with artist Nadia Hironaka. Screening is Philadelphia?s first gallery dedicated to the presentation of innovative and challenging works on video and film. Screening is a project devoted to expanding access to these media and exploring ways that moving image culture influences our understanding and experience of the world. Suib is also a Pennsylvania Council on the Arts fellow, and a former member of the Philadelphia artist collective Vox Populi.

With a script based entirely on the lyrics of the song Bohemian Rhapsody by Queen, and set entirely in the Singapore Supreme Courtroom. A boy is on trial, and his heart is broken at the sight of his crying ?mama?. Short Synopsis for The Bohemian Rhapsody Project "Over the months of June and July 2006, four rounds of auditions were held for the role of the protagonist in a film based on the lyrics of Queen`s 1975 hit Bohemian Rhapsody, a song that replaces the formulaic verse-chorus-verse structure of the average pop song with multiple role-playing and an almost schizophrenic mesh of multiple musical styles. Of the many professional and non-professional auditionees who turned up, 22 of them were invited to a final round of auditions that was held in a former courtroom at the City Hall. This audition was held in the presence of specially invited spectators, 18 other specially rehearsed cast members, as well as a film crew. Of these 22 auditionees, 21 were selected for the final `film`, which is composed solely of these `audition` footages. The resulting film, cut to the original duration of Bohemian Rhapsody (5 mins 52 secs), simultaneously functions as a record of this `audition`. Just as importantly, the film, which oscillates between spoken text and occasional musical cues, is a vehicle that solicits the viewers` recollection of the song and encourages their participation in an exercise of mental karaoke." By Ho Tzu Nyen

Born in Singapore, Ho Tzu Nyen is a visual artist and filmmaker. His first project was Utama - Every Name in History is I (2003), a film and installation that has been shown in art exhibitions and film festivals such as the 26th Sao Paulo Biennale (2004); the 3rd Fukuoka Asian Art Triennale (2005), before being presented as a performance lecture at KunstenFESTIVALdesArts (2006). In 2005, he scripted and directed 4 x 4 ? Episodes of Singapore Art, a unique hybrid of the art documentary, video essay and drama that was broadcasted over 4 weeks on a public television channel in Singapore. It was last shown at ZKM, Germany (2007). In 2006, he was commissioned by the inaugural Singapore Biennale to produce The Bohemian Rhapsody Project, a film that has since been shown in film festivals such as the 53rd International Short Film Festival Oberhausen, and the 30th Clermont-Ferrand Film Festival. In 2007, he completed a short film called Reflections, based on a 19th Century parable by Lafcadio Hearn, which was exhibited in Zendai Shanghai Museum of Modern Art and the National Gallery of Poznan. Reflections will be shown in 2008 at the 54th International Short Film Festival Oberhausen and the 8th Jeonju International Short Film Festival. He is now making his first feature film, Here. In 2006/2007, he conceptualized and wrote the first and second parts of King Lear ? The Avoidance of Love, a live audition / film shoot / lecture / theatre performance, which he co-directed with Fran Borgia.

In Exit Strategies an endless sequence of industrial fire escapes is shown. While somebody tells us how his life would change in case of a disaster, we see more and more examples of architecture that prepares us for the worst.

Jan Hoeft (b. 1981) is a visual artist based in Cologne. He was a researcher at the Jan Van Eyck Academy Maastricht in 2013/14. He is a graduate of the Academy of Media Arts Cologne and the Karlsruhe Institute of Technology.

Preface is a film about seeing. What do we see in a face, and how do we decode what we see. Introduction to Careless Reef, 6 films about the world under the surface.

gerard holthuis is independent filmmaker

Silo 5, once the largest granary in the world, was celebrated by architect Le Corbusier in 1927 as a glimpse towards a utopian modernity and an aesthetic future of architecture. Since the 1990’s Montreals gigantic silo complex has been an industrial ruin, far too big to be demolished. The abandoned granary, now an unintended monument to colonial global extractionism, marks as a place of storage the starting point for the video piece [?zi:lo]5. The work approaches different gestures and technologies of preservation and collection and therefore – simultaneously and inseparably – also questions of overwrite, delete or rewrite. Seen from the perspective of a near (queering) future, collections expose themselves as accumulations of gaps and omissions. These voids become resonating bodies, having the potential to open up spaces for other practices of intermediate storage.

Kerstin Honeit studied fine arts and stage design at the Berlin-Weissensee Art Academy. She lives in Berlin and is teaching media art at the Academy of Fine Arts in Leipzig. In her practice as an artist and filmmaker, she works at the interface of different forms of staging. Her artistic research focuses on the investigation of representation mechanisms in the production of hegemonic image worlds, especially in connection with cultural and linguistic modes of translation in the context of the moving image. Since 2006 she has been showing her work in exhibitions and at festivals. Exhibitions / Screenings (Selection): La Centrale Powerhouse, Montreal / HMKV, Dortmund / International Short Film Festival São Paulo, São Paulo / Ruhrtriennale, Bochum / Kunsthalle Rostock, Rostock / Neuer Berliner Kunstverein, Berlin / Off Biennale Cairo, Cairo / Videoart at Midnight, Berlin / MMOMA Moscow Museum of Modern Art, Moscow / Schwules Museum, Berlin / Fajr International Film Festival, Tehran / HKW, Berlin / Internationale Kurzfilmtage, Oberhausen / SixtyEight Art Institute, Copenhagen / Berlinische Galerie, Berlin / Les Complices*, Zurich / Videonale, Bonn / Gallery 400, Chicago / CCNY, New York / Arsenal – Institut für Film und Videokunst, Berlin

my castle your castle Set up as a somewhat retro TV talk show my castle your castle operates from within the skeleton of the Prussian castle that is currently being re-built in the center of Berlin. Erected on the foundations of the dismantled GDR parliament building called Palace of the Republic, the castle is not only an imperialist architectural remake, in its future function as exhibition space for the “ Ethnographic Collections ” of Berlins National Museums it literally embodies Germany’s legacies of colonial violence. The video engages with the building site as a stage for the material and social construction “ as well as the queer contestation ” of “ nation ” and (white) “ masculinity”: Interviewed by a talk show host over a piece of cake from porcelain dishes with reproductions of the castle and its disappeared counterpart, two construction workers evoke an opaque third in a language of structural matter. Peter Friedrich had supervised the construction (1973-76) of the Palast der Republik, and Gunter Teichert worked as the head of its deconstruction (2006-08). In the matter of fact conversation between the “ makers of the palace ”, their body of work “ in other words architecture, political representation, memory ” disintegrates in the builder’s jargon. However, the material and machinic vocabulary of construction site itself resonates the massive urban reconstructions, redistributions of properties and redefinitions of political meaning through architecture that have followed the disappearance of state socialisms in Europe. This vocabulary is emphasized and queered in short interludes to the talk show in which the talk show host, who is performed by the artist Kerstin Honeit herself incorporating elements of drag, appears sitting on a huge excavating machine or between metal poles that stabilize casts for concrete. (Text by Suza Husse)

Kerstin Honeit was born in Berlin, where she still lives and works. She studied Fine Art and Theatre Design at the Kunsthochschule Weissensee in Berlin. Since 2014 Honeit has been teaching at the Kunsthochschule Kassel (künstlerische Mitarbeiterin, class of Bjørn Melhus). Using video works, performance and installations in her artistic research, Honeit examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms. Her recent work has been shown at Berlinische Galerie - Museum of Modern Art, Haohaus Taipei, Stuttgarter Filmwinter - Festival for Expanded Media, Bärenzwinger Berlin, SixtyEight Art Institute Copenhagen, Kunstverein Leipzig, International Short Film Festival Oberhausen, Arsenal - Institut für Film u. Videokunst Berlin, Monitoring Dokumentarfilm- u. Videofest Kassel, Neuer Berliner Kunstverein, Videonale.15 Kunstmuseum Bonn, Les Complices* Zurich, Gallery 400 Chicago, CCNY New York, Site Gallery Sheffield.

In a suite of 15 scenes, most arriving in a single master shot, the Russian heroine renegotiates her pact with Russian capitalism, and the new bodies and relationships it made possible. Shot in Saint Petersberg during a sunny autumn, when our faces could still bear the old light.

Alena Koroleva is a multidisciplinary Russian artist and curator. Co-founder of Kinodot EFF, author of few short films and sound releases. Mike Hoolboom makes movies and writes.

Eva Marie Rodbro’s embedded ethnographic maestro short, originally made in Brownsville, Texas in 2010, is given a fan remake. Night vision animal life and teen hangouts conjure a temporary and fragile collective, while conversation fragments, alternately performed and raw, shouted and whispered, collide.

Mike Hoolboom began making movies in 1980. Making as practice, a daily application. Ongoing remixology. Since 2000 there has been a steady drip of found footage bio docs. The animating question of community: how can I help you? Interviews with media artists for 3 decades. Monographs and books, written, edited, co-edited. Local ecologies. Volunteerism. Opening the door.

Film is made out of gelatin that comes from horses. They’re waiting to be slaughtered, so that pictures can be made.

Mike Hoolboom is a Canadian media artist and writer.

Is it the oldest dream? Giving birth to my father. Shot on a single starry afternoon.

Mike Hoolboom is a Canadian media artist living in Toronto.

And there we were, staying up too late in the endless Geneva night, long after the buses had stopped running. His perfect face, and hers, and mine of course, the three of us caught in a slow motion dance of yes we can. Is every movie a menage a trois? Some pictures stab you in the heart, as Mr. Barthes liked to remind us, while others kiss you full on the lips.

Mike Hoolboom is a Canadian artist working in film and video. He has made over eighty films and videos, though most have been withdrawn from circulation, approximately a dozen remain on view. His work has appeared in over four hundred festivals, garnering thirty awards. He has been granted the Tom Berner Award for community service and two lifetime achievement awards, the first from the city of Toronto, and the second from the Mediawave Festival in Hungary. He has enjoyed retrospectives of his work at the Images Festival (Toronto), Visions du Reel (Switzerland), Xenix (Switzerland), Cork International Festival (Ireland), Cinema de Balie (Amsterdam), Mediawave Festival (Hungary), Impakt Festival (Holland), Vila do Conde Festival (Portugal), Jihlava Documentary Festival (Czech Republic), Stuttgarter Filmwinter (Germany), Musée des Beaux-Arts de Caen (France), Sixpack Film (Vienna), the Buenos Aires International Festival (Argentina), Pacific Cinematheque (Canada) and A Million Different Loves Festival in Poland.

Lensed in Ohio’s Broadview Developmental Center in 1967 by secret camera genius and audio visual healer Jeffrey Paull, Scrapbook tells the story of audacious autistic Donna Washington in her own words, as she encounters pictures of one of her former selves fifty years later.

Born: Korean War, the pill, hydrogen bomb, playboy mansion. 1980s: Film emulsion fetish and diary salvos. Schooling at the Funnel: collective avant-geek cine utopia. 1990s: experimentalist features, transgressive psychodramas, questions of nationalism. 2000s: Seroconversion cyborg (life after death), film-to-video transcode: feature-length-found-footage bios. Fringe media archaeologist: copyleft author 7 books, co/editor 12 books. Curator: 30 programs + www.fringeonline.ca Occasional employments: artistic director Images Fest, fringe distribution Canadian Filmmakers. 80 film/vids, most redacted. 10 features. 70 awards, 15 international retrospectives. 3 lifetime achievement awards. www.mikehoolboom.com

Public Lighting is a meditation on photography and the creation of images that can capture, replace and outlive our experiences. It`s a videofilm in seven parts.... Each chapter is a case study of the different types of personality that have been identified by the young author who guides us through the prologue. The first, a gay man, takes us on a tour of the bars and restaurants where his affairs have ended, recounting ironic stories of his many lovers. An homage to composer Philip Glass is incongruously followed by Hey Madonna, a confessional letter to the singer from a fan who is HIV positive. Amy celebrates another birthday, but concedes that she has lost her memory to television. At least she has a camera: `I take pictures not to help me remember, but to record my forgetting.` Hiro lives life at a distance, rarely venturing out beyond the lens, and an anxious young model recounts poignant events from her past. Few film-makers use re-appropriated footage in such an emotive way: at once humorous and incisive, these chains of images inevitably lead us back to parts of ourselves. Hoolboom`s recent work is in such profound sympathy with the human condition that it speaks directly to our hearts. -Mark Webber London Film Festival

Mike Hoolboom is a Toronto-based artist working in film and video. He is the author of several books, including Plague Years (1998) and Fringe Film in Canada (2001). He is a founding member of the Pleasure Dome screening collective, and has worked as the artistic director of the Images Festival and the experimental film officer at Canadian Filmmakers Distribution Centre. He has exhibited his work in major festivals including Berlin, Rotterdam, Locarno and Lyon. He has enjoyed retrospectives in eight European cities.

In a suite of 15 scenes, most arriving in a single master shot, the Russian heroine renegotiates her pact with Russian capitalism, and the new bodies and relationships it made possible. Shot in Saint Petersberg during a sunny autumn, when our faces could still bear the old light.

Alena Koroleva is a multidisciplinary Russian artist and curator. Co-founder of Kinodot EFF, author of few short films and sound releases. Mike Hoolboom makes movies and writes.

Eva Marie Rodbro’s embedded ethnographic maestro short, originally made in Brownsville, Texas in 2010, is given a fan remake. Night vision animal life and teen hangouts conjure a temporary and fragile collective, while conversation fragments, alternately performed and raw, shouted and whispered, collide.

Mike Hoolboom began making movies in 1980. Making as practice, a daily application. Ongoing remixology. Since 2000 there has been a steady drip of found footage bio docs. The animating question of community: how can I help you? Interviews with media artists for 3 decades. Monographs and books, written, edited, co-edited. Local ecologies. Volunteerism. Opening the door.

Film is made out of gelatin that comes from horses. They’re waiting to be slaughtered, so that pictures can be made.

Mike Hoolboom is a Canadian media artist and writer.

Artiste majeur de la scène canadienne des années 70, Collin Campbell, maître du "drag" dans ses vidéos, était un provocateur du genre. Bien plus qu`un simple portrait d`un artiste et de son époque, le film est une réflexion captivante sur le désir d`images et sur l`emprise qu`exercent celles-ci. Mike Hoolboom cinéaste expérimental prolifique et passionnant nous livre ici un film à la narration innovante et d`une exceptionnelle beauté. Mais "Fascination" est avant tout un film sur vous...

Mike Hoolboom is a Canadian artist working in film and video. He is often considered to be one of the finest experimental filmmakers of his generation. He is the author of two books: Plague Years (1998) and Fringe Film in Canada (2001). He is a founding member of the Pleasure Dome screening collective, and has worked as the artistic director of the Images Festival and the experimental film co-ordinator at Canadian Filmmakers Distribution Centre. He has won more than thirty international prizes and exhibited his work at the Museum of Modern Art, the Centre Georges Pompidou, and major festivals around the world. He has enjoyed nine retrospectives of his work, most recently in Buenos Aires.

Dark north. Beneath an expanse of sky, a night of flesh absorbed in fever.

Devin Horan was born 1982 in the United States. He got his diploma in Art History from Columbia University in New York City. He also worked for Lithuanian film-maker Sharunas Bartas on the film Eastern Drift as a camera assistant. ?Boundary? is his first film.

Set among an isolated community in a remote landscape near the Russian border, BOUNDARY evokes a space of ambiguity, a psychogeography, an absence of personal histories. It is the first installment in a tetralogy of films based on a statement by Sadeq Hedayat: ?In life it is possible to become angelic, human, or animal. I have become none of these things.?

Born 1982 in the United States. Graduated in Art History from Columbia University in New York City. Worked for Lithuanian film-maker Sharunas Bartas on the film Eastern Drift (Indigene d`Eurasie) as a camera assistant. BOUNDARY is his first film.

This film captures the concrete manifestation of worship that is translated into ritualized practices and performances, a mass jubilation and a consumerist mass. It brings up questions: can we still live a spiritual experience in these new consumerist sanctuaries? Do spectators succeed in creating their own subversive experience as so many individuals constituting a mass? These questions animated (LA)HORDE throughout the filming; and as they scanned the crowd with their cameras, they captured the gathering as a form of grace. And unexpected suspended moments oscillated the subject between disenchanted paganism and animal spirituality, between vice and grace, jubilation and anxiety, ecstasy and descent, disenchantment and light. The party body, its excitement and celebration are they the ultimate bulwark for mass consumption? Does this state succeed in transcending the uncritical space in which it develops?