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?Furniture of Proportions? by Yves Netzhammer reveals the artist´s fascination with internal landscapes of the mind. Netzhammer presents a poetic world of pure invention. Premiering at SFMOMA, his new three-channel, site-specific installation Furniture of Proportions (2008) incorporates highly stylized wall drawings, animation, and sculptural objects to create an intricate spatial narrative. On invitation of Rudolf Frieling, SFMOMA?s curator of media arts, Netzhammer consciously developed a work in which the computer as a formal artistic tool and means of expression achieves priority. Netzhammer combine a variety of traditional media with computer techniques in order to articulate a deep concern with the histories of philosophy and art. The artist also has an interest in human thought processes and the interplay between external images in the world and internal images in the mind. Undertaken as an open-ended investigation, his art is concerned with transience and states of change, and deals in surrealistic effects, associative thinking, and temporal multiplicity. (from the Press-release of the San Francisco Museum of Modern Art - SF MoMA)

Yves Netzhammer Biografie / Biography 1970 Geboren in Schaffhausen, Schweiz / Born in Schaffhausen, Switzerland Aufgewachsen in Diessenhofen und Schaffhausen. Lebt und arbeitet in Zürich / Lives and works in Zurich Preise und Stipendien / Awards and Scholarships 2006 Eidgenössischer Preis für freie Kunst, Schweiz / Switzerland 2005 Atelierstipendium / Studio scholarship London, Kulturstiftung Landis & Gyr Vordemberge-Gildewart Anerkennungspreis 2003 Auszeichnung des ADC New York für das Buchmesseplakat Frankfurt / Award of the ADC New York for book fair Frankfurt poster 2002 Eidgenössischer Preis für freie Kunst, Schweiz / Switzerland Providentia-Preis YoungArt, Zürich / Zurich 2001 Atelierstipendium der Stadt Zürich für New York / Studio scholarship of the city of Zurich for New York Auszeichnung / Award »Schönste Bücher 2001« 2000 Auszeichnung / Award »Schweizer Plakat des Jahres« Eidgenössischer Preis für freie Kunst, Schweiz / Switzerland 1999 Manor-Kunstpreis, Schaffhausen 1998 Auszeichnung / Award »Schönste Bücher 1998« 1997 Preisträger des / Award Kunst aanmoedigingsprijs amstelveen, Amsterdam 1996 Förderpreis / Support prize Hochschule für Gestaltung und Kunst Zürich / Zurich Einzelausstellungen / Solo Exhibitions (Auswahl / ?..) 2009 PAN (Palazzo delle Arti Napoli), Neapel/ Naples (Kat. / cat.) Palazzo Strozzi, Florenz/ Florence (Kat. / cat.) Kunsthalle Winterthur Gallery Mendes/Rhys, Los Angeles 2008 Room for Thought, Museum of Modern Art, San Francisco (mit/with Alexander Hahn) 2007 Biennale Venedig, Schweizer Pavillon / Venice Biennial, Swiss Pavilion (mit/with Christine Streuli) (Kat. / cat.) Vision | Audition, Karlskirche, Kassel (Begleitausstellung zur / supporting program Documenta 12) (Kat. / cat.) 2006 Gefährdete Liebschaften. Museum Rietberg, Zürich / Zurich (Kat. / cat.) Yves Netzhammer Personale - Rauminstallation, Ar/ge, Galerie / Kunstraum, Bozen / Bozens Die ungenauen Körper, Galerie Anita Beckers, Frankfurt a. M. 2005 Die Anordnungsweise zweier Gegenteile bei der Erzeugung ihres Berührungsmaximums, Kunsthalle Bremen (Kat. / cat.) 2004 Gandy Gallery, Prag / Prague Video- und Bildarbeiten, Museum Chasa Jaura, Valchava / CH Süsser Wind im Gesicht, Kunsthalle Lophem 2003 Die überraschende Verschiebung der Sollbruchstelle eines in optimalen Verhältnissen aufgewachsenen Astes, Helmhaus Zürich (Kat. / cat.) Galerie ArsFutura, Zürich / Zurich Galerie Anita Beckers, Frankfurt a. M. Die umgekehrte Rüstung, Fruchthalle, Kaiserslautern (mit / with Bjørn Melhus) (Kat. / cat.) Die überraschende Verschiebung der Sollbruchstelle eines in optimalen Verhältnissen aufgewachsenen Astes, Württembergischer Kunstverein, Stuttgart Das Gefühl präziser Haltlosigkeit beim Festhalten der Dinge, Teil 1, Wilhelm Lehmbruck Museum, Duisburg (Kat. / cat.) Teil II, Kaiser Wilhelm Museum, Krefeld (Kat. / cat.) 2001 Übungen machen Meister, die sich nicht an ihre Anfänge erinnern, Galerie Sima, Nürnberg / Nuremberg (Kat. / cat.) Süßer Wind im Gesicht / Sweet wind in ones face, Kunsthalle Lophem / B 2000 Statements IV, ein Projekt von Dornbracht in den Kunstwerken, Berlin (Kat. / cat.) Aber Freunde, die Muskeln tauschen?, Kunstraum Aarau (Installationsarbeit mit / installation with Zuzana Ponicanova & Tim Zulauf) Galerie Anita Beckers, Frankfurt a. M. 1999 Wenn man etwas gegen seine Eigenschaften benützt, muß man dafür einen anderen Namen finden, Manor-Kunstpreis Museum zu Allerheiligen, Schaffhausen, (Kat. / cat.) Die begehbare Falle, Vebikus, Schaffhausen (mit / with Zuzana Ponicanova) Was man frisst, wird zum Inhalt, Galerie Stähli, Zürich / Zurich 1997 Galerie Haus Schneider, Karlsruhe Gruppenausstellungen / Group Exhibitions (Auswahl....) 2008 Synthetic times, China International New Media Arts Exhibition, National Art Museum of China, Beijing (Kat. / cat.) Multitasking, (Wanderausstellung/ travelling exhibition NGBK Berlin / Stedelijk Museum ?s-Hertogenbosch, ?s-Hertogenbosch, Overbeck-Gesellschaft, Lübeck) (Kat. / cat.) Animation in der Videokunst, Galerie Anita Beckers, Frankfurt narrative, RLB Kunstbrücke, Innsbruck Digitale Raumkunst, Wilhelm Lehmbruck Museum, Duisburg 2007 Artes Digitales, Kunstencentrum Buda, Kortijk / B Swiss Made, Kunstmuseum Wolfsburg (Kat. / cat.) Moving ? New Media Art, CB Collection, Tokyo Surrealités ? Aspekte des Surrealen in der zeitgenössischen Kunst, CentrePasquArt, Biel (Kat. / cat.) PLUs. Vordemberge-Gildewart Stipendiaten 1997?2007, Museum Wiesbaden; Nassauischer Kunstverein, Wiesbaden (Kat. / cat.) 2006 Flüchtiger Horizont, Kunsthalle Solothurn (mit Bernd Schurer), (Kat. / cat.) Vom Pferd erzählen, Kunsthalle Göppingen (Kat. / cat.) Satellite of Love, Witte de Whith & TENT, Rotterdam Zwischen Körper und Objekt, MARTa Herford 2005 Office World, Espace de l?Europe, Neuchatel IBCA ? International Biennale of Contemporary Art 2005, National Gallery, Prag / Prague (Kat. / cat.) Between Skin and Orgasm (mit / with Bjørn Melhus) Brügge / Bruges (Kat. / cat.) architektur mobil, Wilhelm-Hack-Museum, Ludwigshafen (Kat. / cat.) 100 Jahre moderne Skulptur in Duisburg, Wilhelm Lehmbruck Museum, Duisburg Dis-Appearance, Kunsthalle Friart, Fribourg Swiss Video Lobby, Contemporary Art Center, Vilnius strip ? Bilder in Folge, Kunstverein Hannover 2004 Medium Medien, Kunstverein Lingen Game Art. Kunst, Bildschirmspiel und Wirklichkeit, Weltkulturerbe Völklinger Hütte, Europäisches Zentrum für Kunst- und Industriekultur, Völklingen Wo Berge sich erheben?., Palazzo, Liestal / CH Die Wiedergeburt der Statuette, Europäische Triennale der Kleinplastik, Murska Sobota Galerija Murska Sobota / SI (Kat. / cat.) Animaux, Seedamm Kulturzentrum Pfäffikon (Kat. / cat.) 2003 Wohnträume, Wohnräume, Museum für Gestaltung Zürich (Kat. / cat.) glassafab. 9/empathy, Prague Biennale 1, Prag / Prague (Kat. / cat.) Mursollaici, Centre culturel suisse, Paris (Kat. / cat.) Babuschka, Museum zu Allerheiligen, Schaffhausen Lautloses irren, ways of worldmaking, too ..., Postbahnhof am Ostbahnhof, Podewil Kulturzentrum, Berlin (Kat. / cat.) 2002 Camouflage, Mudac, Lausanne (Kat. / cat.) Attachement+, Kunsthalle Lophem (Kat. / cat.) 2001 Body as bite: Technokörper, Neues Kunstmuseum Luzern (Kat. / cat.) Virtual Stories, Kunstpanorama Luzern Video ergo sum, Kunsthalle Göppingen natürlich künstlich, Kunsthalle Rostock; Kunsthalle Mannheim; Haus am Waldsee, Berlin (Kat. / cat.) EX 25, Hochschule für Gestaltung und Kunst, Zürich / Zurich (Kat. / cat.) Strange Attitudes, Galerie Anita Beckers, Frankfurt a. M. Analogue-Dialogue, Kunstmuseum Solothurn (Kat. / cat.) 2000 BIG Torino 2000. International Biennial of young Creativity, Turin (Kat. / cat.) Der anagrammatische Körper 2, ZKM Karlsruhe (Kat. / cat.) Version 2000, Centre pour l?image contemporaine, Saint-Gervais, Genf / Geneva (Kat. / cat.) Beyond Borders, Coninx Museum, Zürich / Zurich (Kat. / cat.) Digital Storis, Kunstpanorama Luzern 1999 Curator?s Digest, Helmhaus Zürich, Zürich Digital Sunshine, Three Statements, Kunsthallen Brandts, Odense (Kat. / cat.) Video Virtuale, Foto Fictionale, Museum Ludwig, Köln Der Anagrammatische Körper 1, Steirischer Herbst, Graz 1998 Europa auf den Stier!, Kunstverein Bad Salzdethfurth (Kat. / cat.) 1997 Gewebeprobe, Museum zu Allerheiligen, Schaffhausen (Kat. / cat.) 1996 Digitale, Kunsthochschule für Medien, Köln / Cologne Projekte / Projects 2007 Copyshop Europa, Theaterhaus Gessnerallee, Zürich / Zurich (mit / with Tim Zulauf) 2006 www.journalfuerkunstsexundmathematik.ch ein Blockprojekt von Nils Röller 2005 Soundcapes / Interaktive Soundinstallation, Kunst und Bau, Falletsche, Hirzenbach & Luchswiesen (mit / with Bernd Schurer) (Kat. / cat.) Die Geschwindigkeit der Orte, Kunst und Bau , Bern (Kat. / cat.) 2004 Glamour Eiland, Theaterhaus Gessnerallee, Zürich / Zurich (mit / with Tim Zulauf) 2003 In der Wochenendbeilage des Tages-Anzeigers wurde ein Jahr lang jede Woche im Magazin eine Zeichnung von Yves Netzhammer publiziert Theaterprojekt / Theatre project Migrantenstadl, Rote Fabrik, Zürich / Zurich (mit / with Tim Zulauf) 2002 Theaterproduktion / Theatre production Die Stelle im Park, Theater Neumarkt, Zürich / Zurich (mit / with Tim Zulauf) 2000 Bild- und Filmarbeit für / Image and film work for Visionaire, New York 1999 Schokoladenbriefmarken, Gestaltung für die Schweizer Post / Chocolate stamps, Design fort the Swiss post (mit / with Ralph Schraivogel) 1997 Thematische Bildarbeit im unimagazin, Zürich Das Magazin 47, (Wochenendbeilage des Tagesanzeigers Zürich / weekend insert Tagesanzeigers Zurich) Konzept- und Bildarbeit zum Thema Zukunft / Das Magazin 47, concept and image design on the topic future 1993?1995 Schaufensterarbeit mit / Window work with Olaf Breuning, Schaffhausen Werke in öffentlichen Sammlungen (Auswahl) / Works in Public Collections (Selection) Kunsthalle Bremen, Bremen Stiftung Wilhelm Lehmbruck Museum, Duisburg Museum für Kommunikation, Frankfurt a. M. Kunsthaus Zürich FRAC Marseille Kunstmuseum Heidenheim Museum Allerheiligen, Schaffhausen Collezione La Gaia, Busca Mori Collection, Tokyo CB Collection, Tokyo West Collection, Paoli, Pennsylvania Peter und Elisabeth Bosshard, Rapperswil / CH Museum of Old and New Art (Mona) Tasmania /AUS

Netzhammer?s Venice project attempts to translate concerns of great impact into a visual idiom, thereby enlisting the emotional potential of pictorial means to allow the self to become receptive to the alien. In Netzhammer?s gauging/searching approach, the "world" does not appear as an available, negotiable mass, but as a complex other with a dignity of its own. This impression arises from the specific relationship between form and movement. The processes intimated in Netzhammer?s drawings and the gestures that appear in his video films generate a very specific impression of physicality. The picture experience transmits a sense of possible materiality, a heightened sensitivity to its significance. Insofar as Netzhammer?s works allow the paradoxical "possibility of an impossible touch" to be experienced, they also sharpen the senses to the phenomena of the material world whilst respecting their incomprehensibility ? wonders that can never be understood or described in their entirety. The artist implements this extension and conservation of a multiplicity of world phenomena through precise handling of recalcitrant signs and through subtle composition that informs his pictures with a sensitivity to the world. "Figuration" and "form" in Netzhammer?s oeuvre mean the exact demarcation and appreciation of impressions ? impressions of incomprehensible and alien circumstances ? that should be promised a place in our culture to help influence its boundaries.

Yves Netzhammer (*1970) studied visual design at Hochschule für Gestaltung und Kunst in Zurich. Solo exhibitions include an installation for Karlskirche in Kassel (supporting program documenta 2007), Endangered Amours at Museum Rietberg in Zurich in 2006, The Arrangement of two Opposites while their Maximum Contact is under Generation at Kunsthalle Bremen in 2005, The Surprising Displacement of the Predetermined Breaking Point of a Branch Grown under Optimal Conditions at Helmhaus Zurich and Das Gefühl präziser Haltlosigkeit beim Festhalten der Dinge at Krefelder Kunstmuseum/Kaiser Wilhelm Museum and Stiftung Wilhelm Lehmbruck Museum in Duisburg in 2003. Among other, he was awarded the Landis & Gyr-Grant for London in 2005, a studio scholarship of the city of Zurich for New York in 2001 and the Manor-Kunstpreis in 1999. Yves Netzhammer lives and works in Zurich.

A speculative and poetic exploration of the entanglements and overlaps of historical events in the Atacama Desert (Chile), the film, told from the perspective of the wind, takes us on a visual journey, floating freely through the many sites and histories of the Atacama. Exploring some of the largest lithium mines in the world; hovering above the remnants of colonial labour camps reactivated under the Pinochet regime, and slipping inside the international observatory of the ALMA large array facility; Ferreira da Silva and Neuman’s camera uncovers material trajectories whose planetary scope and historical depths remain invisible to the many. By pointing at how these trajectories mutated and expanded into aspects of modern geopolitical issues, Ancestral Clouds Ancestral Claims, exposes pillars of western thought that sustain colonial legacies of inequality, racial exclusion and human extractivism while simultaneously proposing another worldview, one that is carried and echoed by the wind.

Arjuna Neuman is an artist, filmmaker, and writer and he is the co-founder of archiveofbelonging.org – a resource database for migrants and refugees. Neuman works with the essay as a guiding, multi-perspectival and inherently future-oriented form that underpins his experimental research and creative approach. As a writer he has published essays in Relief Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings Journal, and e- flux. He studied at California Institute of the Arts. Denise Ferreira da Silva is an artist and philosopher. She currently is the Samuel Rudin Professor in the Humanities at the Department of Spanish and Portuguese Languages and Literatures, at NYU. Her artistic and academic work reflect and speculate on questions crucial to contemporary philosophy, political theory, black thought, feminist thought, and historical materialism. She is the author of Toward a Global Idea of Race (2007), Unpayable Debt (2022) amongst many other titles. Arjuna Neuman and Denise Ferreira da Silva’s collaboration includes the film Serpent Rain (2016), 4 Waters-Deep Implicancy (2018), Soot Breath//Corpus Infinitum (2020), Ancestral Clouds Ancestral Claims (2023). Their films have been exhibited at major art venues such as MACBA (Barcelona); Kunsthalle Wien (Vienna), the Pompidou Center (Paris), Whitechapel Gallery (London), The 56th Venice Biennale, The Haus Der Kulturen Der Welt (Berlin), Centre for Contemporary Art (Glasgow), and more. In Februrary 2024, they opened a retrospective of their work at the Munch Museum in Oslo; in May 2024 the Kunsthal Extra City in Antwerp opened a solo exhibition of their work. They have a forthcoming monograph published by Archive Books.

What is the possibility, barbarism or folly of making art, poetry, film while a genocide is happening in front of our eyes?

Arjuna Neuman is an artist and writer. He has presented solo mid-career surveys at MACBA in Barcelona, Munch Museum in Oslo, and Belkin Gallery in Vancouver and forthcoming at Kunsthalle Bern. He has presented solo exhibitions at Kunsthalle Vienna; CCA Glasgow; Showroom Gallery, London; TPW Gallery, Toronto; Whitechapel Gallery, London; Istanbul Modern, Turkey; MAAT, Portugal amongst many others. He has participated in the Berlin Biennial, Sharjah Biennial, Bergen Assembly, the 56th Venice Biennial, Qalandia Biennial, Ural Industrial Biennial, Hacer Noche in Mexico and many other large group exhibitions. He has been included in film festivals such as Berlinale, Images Festival, Docsliboa, Third Horizon. In 2024 he won the Artist Moving Image prize at Les Rencontre International Festival; in 2024 he was a fellow at Villa Aurora and in 2022 a fellow at the Flaherty Seminar. His work is kept in the Belkin Collection, Kunsthalle Bern Collectors Circle; IAC Lyon and Platform UK. He has a forthcoming monograph published with Archive Books. As a writer, he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings and e-flux. He is the founder of Archive of Belonging, a platform and resource list supporting migrants and refugees.

Soot Breath / Corpus Infinitum is a film dedicated to tenderness. It reproduces a radical sensibility learned from listening to the blues, from listening to skin, to heat, and from listening to echoes, listening itself. Soot Breath // Corpus Infinitum is a newly commissioned film and installation by Arjuna Neuman and Denise Ferreira da Silva. Against and instead of apprehension, it fosters an image of existence in which attention twins the gentleness of touch as recalled by haptic and sonic expressions.

Arjuna Neuman is an artist, filmmaker, and writer. As a writer he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings Journal, and e- flux. He studied at California Institute of the Arts. He works with the essay form with a multi-perspectival and mobile approach where ‘essay’ is an inherently future-oriented and experimental mode, becoming the guiding principle for research and production, which shifts between the bodily, haptic, and affective through to the geopolitical, planetary and cosmological. Denise Ferreira da Silva is a practicing artist and an academic - Director and Professor at the Social Justice Institute-GRSJ at the University of British Columbia. She is the author of Toward a Global Idea of Race (2007), A Dívida Impagavel (2019), and co-editor of Race, Empire, and the Crisis of the Subprime (2013). Her several articles have been published in leading interdisciplinary journals, such as Social Text, Theory, Culture & Society, Social Identities, PhiloSOPHIA, Griffith Law Review, Theory & Event, The Black Scholar, to name a few. Her work addresses the ethico- political challenges of the global present. She is a member of several boards including Haus de Kulturen de Welt (Berlin), International Consortium for Critical Theory Programs and the journals Postmodern Culture, Social Identities, and Dark Matter.

First Fugue is an experiment to find a way of putting documentary images together as if in a fugue like state. A fugue is a dissociative disorder like amnesia, although it also compels the subject to drift both in space and in identity. A fugue is caused by extremely traumatic events.

Arjuna Neuman was born on an airplane, that’s why he has two passports. He shows his work internationally with recent exhibitions in Germany at State of the Art and Haus Der Kunst der Welt; in Lebanon at Ashkal Alwan and Beirut Art Centre; in Canada at the Canadian Centre for Architecture and the Richmond Art Gallery; in France at Le Gaite Lyric; in Australia at Verge Gallery Sydney University; in Russia at the Moscow Museum; in USA at the Torrance Art Museum, Machine Projects and Human Resources amongst others. As a writer he has published articles in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Press, Concord Press, Art Voices, and he is currently working on a text for E-Flux.com on the profit of smiling. Arjuna Neuman is based in Beirut and Los Angeles, where he founded the artist-run gallery and collective Concord.

What is the possibility, barbarism or folly of making art, poetry, film while a genocide is happening in front of our eyes?

Arjuna Neuman is an artist and writer. He has presented solo mid-career surveys at MACBA in Barcelona, Munch Museum in Oslo, and Belkin Gallery in Vancouver and forthcoming at Kunsthalle Bern. He has presented solo exhibitions at Kunsthalle Vienna; CCA Glasgow; Showroom Gallery, London; TPW Gallery, Toronto; Whitechapel Gallery, London; Istanbul Modern, Turkey; MAAT, Portugal amongst many others. He has participated in the Berlin Biennial, Sharjah Biennial, Bergen Assembly, the 56th Venice Biennial, Qalandia Biennial, Ural Industrial Biennial, Hacer Noche in Mexico and many other large group exhibitions. He has been included in film festivals such as Berlinale, Images Festival, Docsliboa, Third Horizon. In 2024 he won the Artist Moving Image prize at Les Rencontre International Festival; in 2024 he was a fellow at Villa Aurora and in 2022 a fellow at the Flaherty Seminar. His work is kept in the Belkin Collection, Kunsthalle Bern Collectors Circle; IAC Lyon and Platform UK. He has a forthcoming monograph published with Archive Books. As a writer, he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings and e-flux. He is the founder of Archive of Belonging, a platform and resource list supporting migrants and refugees.

Soot Breath / Corpus Infinitum is a film dedicated to tenderness. It reproduces a radical sensibility learned from listening to the blues, from listening to skin, to heat, and from listening to echoes, listening itself. Soot Breath // Corpus Infinitum is a newly commissioned film and installation by Arjuna Neuman and Denise Ferreira da Silva. Against and instead of apprehension, it fosters an image of existence in which attention twins the gentleness of touch as recalled by haptic and sonic expressions.

Arjuna Neuman is an artist, filmmaker, and writer. As a writer he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings Journal, and e- flux. He studied at California Institute of the Arts. He works with the essay form with a multi-perspectival and mobile approach where ‘essay’ is an inherently future-oriented and experimental mode, becoming the guiding principle for research and production, which shifts between the bodily, haptic, and affective through to the geopolitical, planetary and cosmological. Denise Ferreira da Silva is a practicing artist and an academic - Director and Professor at the Social Justice Institute-GRSJ at the University of British Columbia. She is the author of Toward a Global Idea of Race (2007), A Dívida Impagavel (2019), and co-editor of Race, Empire, and the Crisis of the Subprime (2013). Her several articles have been published in leading interdisciplinary journals, such as Social Text, Theory, Culture & Society, Social Identities, PhiloSOPHIA, Griffith Law Review, Theory & Event, The Black Scholar, to name a few. Her work addresses the ethico- political challenges of the global present. She is a member of several boards including Haus de Kulturen de Welt (Berlin), International Consortium for Critical Theory Programs and the journals Postmodern Culture, Social Identities, and Dark Matter.

First Fugue is an experiment to find a way of putting documentary images together as if in a fugue like state. A fugue is a dissociative disorder like amnesia, although it also compels the subject to drift both in space and in identity. A fugue is caused by extremely traumatic events.

Arjuna Neuman was born on an airplane, that’s why he has two passports. He shows his work internationally with recent exhibitions in Germany at State of the Art and Haus Der Kunst der Welt; in Lebanon at Ashkal Alwan and Beirut Art Centre; in Canada at the Canadian Centre for Architecture and the Richmond Art Gallery; in France at Le Gaite Lyric; in Australia at Verge Gallery Sydney University; in Russia at the Moscow Museum; in USA at the Torrance Art Museum, Machine Projects and Human Resources amongst others. As a writer he has published articles in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Press, Concord Press, Art Voices, and he is currently working on a text for E-Flux.com on the profit of smiling. Arjuna Neuman is based in Beirut and Los Angeles, where he founded the artist-run gallery and collective Concord.

Thuy-Han Nguyen-Chi's film Into the Violet Belly is a striking work blending family lore, mythology, science fiction, and digital abstraction. The film captures the experimental collaboration between the artist and her mother, Thuyen Hoa, who survived a perilous sea journey while fleeing Vietnam after the end of the American War. The film oscillates seamlessly between multiple voices, visual registers, and timescales,—was it seven months or seven thousand years?—creating an image of multitudes: migrating bodies swimming in an infinite blue, depicted as both a massive digital swarm and tiny avatars.

Thuy-Han Nguyen-Chi is a Milky Way-based artist whose practice mutates in and out of film, sculpture, installation, performance, and interdisciplinary research. Her work explores the epistemological, aesthetic, and political possibilities of the moving image at the intersections of art and science, documentary and fiction, personal/prosthetic memory and individual/collective histories. Having studied Fine Arts at the Städelschule and Film at the School of the Art Institute of Chicago, she is currently pursuing PhD research in Film at the University of Westminster. Thuy-Han’s work has been presented in both the art and cinema context, including Akademie der Künste, Berlin; Atletika, Vilnius; Belvedere 21, Vienna; Centro di Musica Contemporanea di Milano, Milan; De Appel, Amsterdam; Gene Siskel Film Center, Chicago; Kunsthal Charlottenborg, Copenhagen; Kunsthall Trondheim, Trondheim; Museum für Moderne Kunst, Frankfurt; Museum of Contemporary Art and Design, Manila; Nottingham Contemporary, Nottingham; Sàn Art, Saigon; Villa Medici, Rome; Whitechapel Gallery, London; the 12th Berlin Biennale, Berlin; the 12th BlackStar Film Festival, Philadelphia; the 20th Copenhagen International Documentary Film Festival, Copenhagen; the 19th 25FPS International Experimental Film and Video Festival, Zagreb; the 60th New York Film Festival, New York; Rencontres Internationales, Paris; the 20th Reykjavík International Film Festival, Reykjavík; the 33rd Singapore International Film Festival, Singapore; among other spaces. She is working on her first feature-length film.

Nhà Sàn Collective presents a new moving image work filmed at the residence of Mr. Manh Duc, a home in close proximity to the collective and their community of artist friends for many years. In this playground, a mystical world emerges; a cinema is reenacted. As the film unfolds, a river, a garden, spirits, wooden structures, people and objects appear, dissolve and reappear, as if they were characters morphing into one another. The film draws attention to cinematic transformation of physical and immaterial beings as a process of experiencing diverse forms of archives.

Nhà Sàn Collective (NSC) began operating as an independent artist collective in Hanoi in 2013, when a group of friends set up their publicly accessible space. With or without a physical base, NSC has worked with fellow companions and collaborators to organise exhibitions, workshops, film screenings, talks and other activities as a supporting platform for artists in the community. An initiative for exchanges, expansions and connections. A place that’s also open toward works-in- progress and the unexpected, a just-do-it attitude which doesn’t always yield answers. Some of the Collective's main projects, which have been held on numerous occasions, are Skylines With Flying People, IN:ACT Performance Art Festival, Queer Forever!, Emerging Artists programme, amongst others. The collective board consists of Tr??ng Qu? Chi, Nguy?n Ph??ng Linh, Nguy?n Qu?c Thành, V? ??c Toàn, and Tu?n Mami. In 2022, they participated in Documenta 15 curated by Ruangrupa with their invited artist friends. The name ‘Nhà Sàn’ signifies the Collective’s foundation which is rooted in the spirit of Nhà Sàn Studio, an artist-run space founded in 1998 in Hanoi. The original Nhà Sàn, a house on stilts, was taken apart in 2020. In the Ng?c Th?y area by the bank of the Red River, the artists imagine this house to become the new Nhà Sàn Collective space, rebuilt, and transformed.

Phill Niblock travaille entre autres avec la musique et le son, le cinéma, la photographie, la vidéo et les technologies informatiques. Il crée un bourdonnement dense, intense, dans lequel vibrent des microtons de timbres instrumentaux, qui induisent à leur tour un série d'autres sons sur le lieu de la performance. Il présente simultanément des films et des vidéos qui fixent le déroulement des gestes de personnes au travail, ou bien des images flottantes, dirigées par ordinateur et abstraites en noir et blanc. Phill Niblock est né en 1933dans l'Indiana, depuis le milieu des années 60 il fait de la musique et des performances intermédiaires qui ont été internationalement présentées et réalisées dans différents lieux et institutions, entre autres: The Museum of Modern Art; The Wadsworth Atheneum; the Kitchen; the Paris Autumn Festival; Palais des Beaux Arts, Bruxelles; Institute of Contemporary Art, London; Akademie der Künste, Berlin; ZKM; Carpenter Center for the Visual Arts at Harvard; World Music Institute at Merkin Hall NYC. Depuis 1985 il est directeur de la Experimental Intermedia Foundation à New York (www.experimentalintermedia.org), dont il est membre depuis 1968 comme artiste . Depuis 1973 il est producteur/organisateur de musique et de présentations intermédiales à l'EI (env. 1000 performances)et administrateur du label de l'EI XI. En 1993 il a été co-fondateur de l'Experimental Intermedia Organization à Gent, Belgique- EI v.z.w. Gent - qui offre à des artistes dans le cadre de résidences la possibilité de séjours de travail, mais apporte aussi son soutien à des installations intermédiaires. Des enregistrements de Phill Niblock sont sortis aux labels XI, Moikai und Touch. Un DVD de ses films et de sa musique est disponible chez Extreme. www.kunstradio.at

As everything stopped and the lockdown extended all over the planet, I dedicated myself to create new original music and review some historical works, with material that had been left out of the initial postproduction of the videos. In this way I approached again to the expedition in the Patagonian Ice Fields, a project that I made in collaboration with members of a rescue mountain team. Patagonia is dramatically affected by climate change and global warming. The glaciers are disappearing in front of our eyes. In this context, a group of persons find themselves lost in a labyrinth of ice. United and in solitude, they contemplate the collapse of their universe.

Charly Nijensohn (Buenos Aires, 1966) ist ein multidisziplinärer Künstler der in Berlin lebt und arbeitet. Seine künstlerische Arbeit ist vielschichtig. Nijensohn arbeitet an der Idee einer Konfrontation zwischen dem Menschsein und den natürlichen Kräften des Universums, die uns umgeben. Die Beziehung zwischen der menschlichen Figur und dem sie umgebenden Raum stellt einen Konflikt dar, der real und existenziell zugleich ist. Er vertrat Argentinien mit einer Einzelausstellung auf der 50. Biennale in Venedig. Nijensohns Arbeit wurde auf der BienalSur in Buenos Aires (2017) und der Mediations Biennale in Polen (2012) präsentiert. Er stellte auf der Valencia Biennale (2001) kuratiert von Peter Greenaway, der Singapur Biennale (2008) kuratiert von Fumio Nanjo und der Dojima River Biennale in Osaka (2009) aus. Er stellte auch auf vielen Festivals aus, darunter die Transmediale, Videobrasil in Sao Paulo, Rencontres Internationales im Haus der Kulturen der Welt (Berlin), Museo Nacional Centro de Arte Reina Sofia (Madrid) und Centre George Pompidou (Paris), Monitoring in Kassel, Visions of Nature, Kunst Haus Wien (2017/2018), Video Art in Latin America, States of Crisis, LAXART in Kalifornien (2017). Des Weiteren stellte er im Kröller-Müller Museum (Windflower, Perceptions of Nature, 2011) in Otterlo, Museum Morsbroich (Radical Shift) in Leverkusen, der Akademie der Künste (Realidad y Utopía, Argentiniens künstlerischer Weg in die Gegenwart, 2011) in Berlin, Whitechapel Gallery (2010) in London, Políticas de la diferencia im Museo de Arte Latinoamericano (MALBA) und Latin America: Video Views - Latin American Artist of the Twentieth Century, Museum of Modern Art (MOMA) in New York aus.

Regions that remain inaccessible and deserts of ice that extend beyond sight. Geographies that have attracted the thought of explorers and navigators fascinated by the end of the world. Situated in the southern region of the Andes mountain range, the Patagonian Ice Fields represent the largest mass of ice in South America. The exodus of the forgotten explores the impulse that drives humans to leave everything behind to immerse themselves in an unknown territory. In their fascination for the abyss and the search for the unreachable, they are united in a strange act of intensity.

Panic Book is both a set of drawings and an animated video. The drawings are made on book pages. The books often come from the family library, and deal with the political and philosophical thought of Yugoslav socialism. The pages then become part of a reconstruction of cult sequences of Hitchcock movies: scenes of fear, panic or flight. This rereading of the legacy of Tito`s socialism that ended in a “cul de sac” is close to power-up mechanisms and disaster announcements used by the master of suspense

Born in 1987, Nikolic lives and works in Belgrade, Serbia. Graduated from the Faculty of Fine Arts (painting department) , currently in PhD, he received several prizes for drawing and a special prize for his mural installations. Initiator of U10 Art Space, a self-managed artist space, he was exhibited since 2007 in numerous solo and group shows in Serbia and abroad. In 2015 he was invited to Basel (List), Vienna (Parallel) and Paris (Cultural Center of Serbia). He is currently on show at Caixa Forum in Barcelona, Spain and Kunslerhaus in Vienna, Austria

Au coeur de Saint-Désir l'Exil se trouve une piscine. Au coeur de la piscine se trouvent les corps nocifs. A côté de la piscine, ma maman vit ses derniers instants sous le soleil.

OSORESAN Natacha Nisic & Daimaru Ken 3 channels installation, stereo sound, 17’, 2018 The Itako are women who train to become spiritual mediums in Northeast region of Japan and to evoke departed spirits for the living seeking to communicate with the dead. Most of them have visual disabilities and learn language and rites to describe a rich spiritual world entirely through oral communication. Our first meeting wit Nakamura Take took place in Hachinohe city in Jully 2015. Fiming a blind person is a challenge, in one hand, we would see what she would never share with us, and on the other hand, it seems that she « sees » things that we aslo don’t see. We met her two times in 2015 and in 2017. Each sequence was very short between clients who were regularely knocking at her door. Those fragments of her life, moments of remembering songs, rites and legends were too short to build up a large portrait. They became elements of a constellation we wanted to draw : balancing her humility and modesty versus the huge scale of the desaster which happened not so far fom a living region. Her way to travel in unknown countries of dead and spirits, using a treasure of words, notes, incantation, has been guiding own journey into the landscapes revealing the traces of the post catastrophy. (imprégnant par ses paroles chacune de nos visions des paysages que nous traversions). She told us the legend of «Oshirasama», the founding tail for Itakos, a cruel story of a father, a beloved daughter and a horse. As we crossed the city of Soma, we remembered the Horse Festival organized by the city just one year after the disaster. The horses are still there, waiting. The desire to make peace with the dead motivates each one visiting an Itako. What could help us to make our own peace with the heritage of the post catastrophy ? What kind of political individual gestures could face the large scale of political environmental decisons ? We still have to deal wih nuclear threat. As a symbol of fear, the mount Osoresan, a lansdcape of ashes, smoke and dark water, responds to the hyptnotic beauty of the fragmentation of alpha an beta rays displayed at the Rokkasho PR Center. Fear, to be acclimated must show a fascinating face, as Itakos used to be represented ; stranges, unreachable and dangerous figures of women. Witches. We discovered a touching, smily, opened woman. We realized that Take Nakamura is a monument of Japan history. Very precious, rare and fragile. With participation of Take Nakamura and Itakos of Osorezan Cast: Satoko Abe, Fumie Kubota, Yohei Kobayashi, Kyoko Takenaka, Mika Shigemori

Bio Natacha: The work of Natacha Nisic explores the invisible, even magical relationship between images, words, ritual and memory. She interweaves links between stories, past and the present, to reveal the complexities of the relationship of what is shown and what is hidden, the spoken and the unspoken. Her work questions the nature of the image through various media: Super 8, 16MM, video, photography and drawing. In 2014, her highly acclaimed solo exhibition, Echo at the Jeu de Paume in Paris presented several installations created since 1995 and new works produced specifically for this show. She exhibits extensively around the world : recent shows include the Media City Biennale in Seoul (2016), Bienal de la Imagen en movement in Buenos Aires, Munfret in Buenos Aires (2016), Hermès Foundation in Seoul (2012), K21 in Düsseldorf (2011), Metropolitan Museum of Photography in Tokyo (2010), British Film Institute, London (2010), and the Centre Georges Pompidou, Paris (2009). Nisic has been awarded numerous grants and residencies including the Villa Kujoyama, Tokyo in 2001 and 2016 Gyeonngi Creation Center, South Korea (2010) and the Villa Medici, Rome in 2007. Education: Ecole Nationale Supérieure des Arts Décoratifs, Paris; Deutsche Film und Fernseh Akademie, Berlin; La Femis, Paris. Born Grenoble, France, 1967. Bio Ken: Ken Daimaru is a history researcher at the Ecole des hautes études en sciences sociales (Paris, France), and is the author of Between War Wounds and a War of Wounds (Mouvement social). Over the years, his researches have ranged from the social and cultural history of Japan in the late nineteenth and early twentieth centuries, to medical histories of military conflict between the Russo-Japanese war and the Second World war, focusing on the understanding of subjects “violence, the body, the suffering, the emotions” central to human experience. During 2011-2012, he wrote prolifically on question of health, emotional responses in the aftermath of 2011 Tohoku earthquake and tsunami. Daimaru was born in the city of Fukuoka. As a young child, he lived in Hiroshima, before moving to Brussels for high school. Since 2003, he lives in Paris.

− e est le récit d`un voyage dans le nord du Japon à la recherche d`un territoire inaccessible : un territoire transformé, meurtri par un tremblement de terre d`intensité 6,7 sur l`échelle de Richter en juin 2008. La montagne déplacée, ouverte en quelques minutes par le choc violent des éléments, est une cicatrice ouverte d`une étrange beauté dont le sort reste indéterminé Cette cicatrice qui ne peut se refermer, reste un paysage d`une grande beauté, un grand canyon qui pourrait devenir un parc d`attraction, un « ecopark » qui attirerait les touristes, faisant de la catastrophe un argument de vente, .. − Nous survolons ce territoire, tentons d`y accéder malgré les barrages qui le clôturent. Ne peuvent y accéder que les camions des travailleurs à la reconstructions et les résidents reclus. Ceux qui ont vécu le tremblement de terre racontent et rejouent ces instants violents. Apprivoiser la catastrophe est une attitude culturelle japonaise. Si on ne peut apprivoiser le futur, on peut le prévenir.

Née en 1967 à Grenoble, Natacha Nisic poursuit des études d`art à l`ENSAD de Paris, et de cinéma à DFFB de Berlin et à la Femis. Son travail se situe à la frontière des différents supports de l`image en mouvement, Super 8, film et vidéo, mais aussi par la photographie et l`installation. Elle réalise de nombreuses expositions en France, Printemps de Cahors, Centre National de la Photographie, Le plateau-Frac Ile-de-France. Ses films ont été récemment présentés au Centre Georges Pompidou à Paris, K21, Düsseldorf, Metropolitan Museum of Photography, Tokyo, British Film Institute, Londres.

L`usine Desurmond à Tourcoing a fermé en 2004. C`était la dernière usine de filature de cette région. Les ouvriers se sont regroupés en association afin de faire valoir leurs droits et créer une communauté, au delà de la perte du travail. Les hommes puis les femmes ont reproduits la chaine et les gestes du travail à la chaine dans cette filature. Certains y ont travaillés en équipe de nuit pendant 35 ans.

Née en 1967. Ecole Nationale Supérieure des Arts Décoratifs de Paris, poursuit des études à la Deutsche Film und Fernseh Akademie de Berlin et à la Femis à Paris pour l`écriture de scénario. Elle réalise de nombreuses expositions et films où la question de l`image est mise en jeu. Elle utilise pour cela différents médiums : super 8, 16 mm, vidéo, photographie. Images fixes ou en mouvement fonctionnent comme substrat de la mémoire, mémoire tendue entre sa valeur de preuve et sa perte. Les différentes expositions personnelles comme au Plateau, Frac île de France, puis au musée Zadkine à Paris, sont des autant de prises de positions sur le statut des images et les possibles de la représentation.Ces oeuvres ont été montrées dans de nombreux pays, Allemagne, Espagne, Japon, Corée, canada, Argentine... Ses films sont diffusés sur Arte et au Centre Georges Pompidou à Paris. Pensionnaire de la Villa Kujoyama (2001) et Villa médicis (2007).

voir ouvrier 1

Voir ouvrier 1

Dans la tour de la ville de Malakoff "Et n’être que brume » met en place le cadre expérimental d’une improvisation.Plongés dans les brumes, les êtres se révèlent. L’écran de la fumée permet une libération des affects car au sein du brouillard se logent les souvenirs, les torpeurs et les désirs. Le film est en hommage à la Crimée annexée depuis 2014 par la Russie.

Au coeur de Saint-Désir l'Exil se trouve une piscine. Au coeur de la piscine se trouvent les corps nocifs. A côté de la piscine, ma maman vit ses derniers instants sous le soleil.

OSORESAN Natacha Nisic & Daimaru Ken 3 channels installation, stereo sound, 17’, 2018 The Itako are women who train to become spiritual mediums in Northeast region of Japan and to evoke departed spirits for the living seeking to communicate with the dead. Most of them have visual disabilities and learn language and rites to describe a rich spiritual world entirely through oral communication. Our first meeting wit Nakamura Take took place in Hachinohe city in Jully 2015. Fiming a blind person is a challenge, in one hand, we would see what she would never share with us, and on the other hand, it seems that she « sees » things that we aslo don’t see. We met her two times in 2015 and in 2017. Each sequence was very short between clients who were regularely knocking at her door. Those fragments of her life, moments of remembering songs, rites and legends were too short to build up a large portrait. They became elements of a constellation we wanted to draw : balancing her humility and modesty versus the huge scale of the desaster which happened not so far fom a living region. Her way to travel in unknown countries of dead and spirits, using a treasure of words, notes, incantation, has been guiding own journey into the landscapes revealing the traces of the post catastrophy. (imprégnant par ses paroles chacune de nos visions des paysages que nous traversions). She told us the legend of «Oshirasama», the founding tail for Itakos, a cruel story of a father, a beloved daughter and a horse. As we crossed the city of Soma, we remembered the Horse Festival organized by the city just one year after the disaster. The horses are still there, waiting. The desire to make peace with the dead motivates each one visiting an Itako. What could help us to make our own peace with the heritage of the post catastrophy ? What kind of political individual gestures could face the large scale of political environmental decisons ? We still have to deal wih nuclear threat. As a symbol of fear, the mount Osoresan, a lansdcape of ashes, smoke and dark water, responds to the hyptnotic beauty of the fragmentation of alpha an beta rays displayed at the Rokkasho PR Center. Fear, to be acclimated must show a fascinating face, as Itakos used to be represented ; stranges, unreachable and dangerous figures of women. Witches. We discovered a touching, smily, opened woman. We realized that Take Nakamura is a monument of Japan history. Very precious, rare and fragile. With participation of Take Nakamura and Itakos of Osorezan Cast: Satoko Abe, Fumie Kubota, Yohei Kobayashi, Kyoko Takenaka, Mika Shigemori

Bio Natacha: The work of Natacha Nisic explores the invisible, even magical relationship between images, words, ritual and memory. She interweaves links between stories, past and the present, to reveal the complexities of the relationship of what is shown and what is hidden, the spoken and the unspoken. Her work questions the nature of the image through various media: Super 8, 16MM, video, photography and drawing. In 2014, her highly acclaimed solo exhibition, Echo at the Jeu de Paume in Paris presented several installations created since 1995 and new works produced specifically for this show. She exhibits extensively around the world : recent shows include the Media City Biennale in Seoul (2016), Bienal de la Imagen en movement in Buenos Aires, Munfret in Buenos Aires (2016), Hermès Foundation in Seoul (2012), K21 in Düsseldorf (2011), Metropolitan Museum of Photography in Tokyo (2010), British Film Institute, London (2010), and the Centre Georges Pompidou, Paris (2009). Nisic has been awarded numerous grants and residencies including the Villa Kujoyama, Tokyo in 2001 and 2016 Gyeonngi Creation Center, South Korea (2010) and the Villa Medici, Rome in 2007. Education: Ecole Nationale Supérieure des Arts Décoratifs, Paris; Deutsche Film und Fernseh Akademie, Berlin; La Femis, Paris. Born Grenoble, France, 1967. Bio Ken: Ken Daimaru is a history researcher at the Ecole des hautes études en sciences sociales (Paris, France), and is the author of Between War Wounds and a War of Wounds (Mouvement social). Over the years, his researches have ranged from the social and cultural history of Japan in the late nineteenth and early twentieth centuries, to medical histories of military conflict between the Russo-Japanese war and the Second World war, focusing on the understanding of subjects “violence, the body, the suffering, the emotions” central to human experience. During 2011-2012, he wrote prolifically on question of health, emotional responses in the aftermath of 2011 Tohoku earthquake and tsunami. Daimaru was born in the city of Fukuoka. As a young child, he lived in Hiroshima, before moving to Brussels for high school. Since 2003, he lives in Paris.

− e est le récit d`un voyage dans le nord du Japon à la recherche d`un territoire inaccessible : un territoire transformé, meurtri par un tremblement de terre d`intensité 6,7 sur l`échelle de Richter en juin 2008. La montagne déplacée, ouverte en quelques minutes par le choc violent des éléments, est une cicatrice ouverte d`une étrange beauté dont le sort reste indéterminé Cette cicatrice qui ne peut se refermer, reste un paysage d`une grande beauté, un grand canyon qui pourrait devenir un parc d`attraction, un « ecopark » qui attirerait les touristes, faisant de la catastrophe un argument de vente, .. − Nous survolons ce territoire, tentons d`y accéder malgré les barrages qui le clôturent. Ne peuvent y accéder que les camions des travailleurs à la reconstructions et les résidents reclus. Ceux qui ont vécu le tremblement de terre racontent et rejouent ces instants violents. Apprivoiser la catastrophe est une attitude culturelle japonaise. Si on ne peut apprivoiser le futur, on peut le prévenir.

Née en 1967 à Grenoble, Natacha Nisic poursuit des études d`art à l`ENSAD de Paris, et de cinéma à DFFB de Berlin et à la Femis. Son travail se situe à la frontière des différents supports de l`image en mouvement, Super 8, film et vidéo, mais aussi par la photographie et l`installation. Elle réalise de nombreuses expositions en France, Printemps de Cahors, Centre National de la Photographie, Le plateau-Frac Ile-de-France. Ses films ont été récemment présentés au Centre Georges Pompidou à Paris, K21, Düsseldorf, Metropolitan Museum of Photography, Tokyo, British Film Institute, Londres.

L`usine Desurmond à Tourcoing a fermé en 2004. C`était la dernière usine de filature de cette région. Les ouvriers se sont regroupés en association afin de faire valoir leurs droits et créer une communauté, au delà de la perte du travail. Les hommes puis les femmes ont reproduits la chaine et les gestes du travail à la chaine dans cette filature. Certains y ont travaillés en équipe de nuit pendant 35 ans.

Née en 1967. Ecole Nationale Supérieure des Arts Décoratifs de Paris, poursuit des études à la Deutsche Film und Fernseh Akademie de Berlin et à la Femis à Paris pour l`écriture de scénario. Elle réalise de nombreuses expositions et films où la question de l`image est mise en jeu. Elle utilise pour cela différents médiums : super 8, 16 mm, vidéo, photographie. Images fixes ou en mouvement fonctionnent comme substrat de la mémoire, mémoire tendue entre sa valeur de preuve et sa perte. Les différentes expositions personnelles comme au Plateau, Frac île de France, puis au musée Zadkine à Paris, sont des autant de prises de positions sur le statut des images et les possibles de la représentation.Ces oeuvres ont été montrées dans de nombreux pays, Allemagne, Espagne, Japon, Corée, canada, Argentine... Ses films sont diffusés sur Arte et au Centre Georges Pompidou à Paris. Pensionnaire de la Villa Kujoyama (2001) et Villa médicis (2007).

voir ouvrier 1

Voir ouvrier 1

The man’s presence lingers in the room that for years served as his study. Present and past intertwine as he follows threads of his memory and recalls events from the time of his participation in the colonial war against Ethiopia in 1935-36.

Rossella Nisio [IT] is a visual artist based in Rotterdam whose work has a strong focus on notions of memory, imagination and space. She has a background in the theory of cinema and performing arts; she pursued her practical training first within the field of documentary photography, eventually moving towards a more autonomous approach to still and moving image-making. She completed the advanced photography studies in Ar.Co in Lisbon in 2017 and earned an MA in Fine Art and Design at the Piet Zwart Institute in Rotterdam in 2019.

This video is the result of a performance carried out by patients and caregivers during lunch at the restaurant of the Institut Marcel Rivière in Verrière psychiatric hospital. It was made in collaboration with Régis Bouchet-Merelli and Dominique Larcher from the contemporary dance company K-Denza. The performance lasted 25 minutes but only 2'32'' have been kept to create this video, based on the body movements in connection with the architecture. The rhythm in this video is created by the surrounding noise of the meal (plates, cutlery, discussions...). This performance was conceived in relation with the restaurant's historical and architectural context: the hall in which the performance is set was reserved to the caregivers in the 1960's. This room is separated by large bay windows from another larger room where the patients have dinner. At the time, these bay windows allowed for the observation and diagnosis of the patients during lunch. This practice is no longer in use today, but the caregivers continue to dine in one room while the patients dine in the other. The aim of the performance was for everyone to dine together in the same space, and for the space, both open and closed because of the windows, to become a performance space, where objects lose their functionality: The tables are assembled and disassambled to form a dance stage, and the chairs no longer serve as seats. An attempt to disrupt the meal space and everyone's habits by creating a mental architecture.

Barbara Noiret was born in 1976. She currently lives and works in Paris. The Frédéric Giroux Gallery, where in 2005 she produced a personal exhibition, has been promoting her work since 2004. Thanks to the gallery, she took part in several collective exhibitions and contemporary art fairs - Artissima, Turin, and FIAC 2004, 2005 and 2006, in Paris. She has carried out exhibition and residency projects in two contemporary art centres, and the departmental estate of Chamarande invited her to produce a work of photography and video based on her final project on the domain's castle. Le Fonds National d?art contemporain acquired two photographic works produced on this estate in 2006. Some of her work was shown during the days of patrimony in September 2005, and was further displayed in the exhibition "L'esprit des lieux" from November 2006 to February 2007. At the end of her three month residence in 2000, the estate of Kerguéhennec, Bignan allowed her to present a personal project, "l'espace de l'image", on the abandonned floors of the castle. Barbara has exhibited her work at the Music and Art School in Brême, Germany. The school invited her to participate in the presentation of the student's works. She produced an installation video especially for the occasion. As for other projects, the Marcel Rivière Institute, a psychiatric hospital in Verrière, put a disused pavilion at her disposal two years ago and she continues to make use of it. She works in different spaces of the hospital in relation to the patients and the caregivers. In 2005, in the framework of this project, Barbara received individual creation aid and an installation allowance (material aid) from DRAC Ile-de-France. In 2001 she completed a short residency at La Casa de Vélasquez in Madrid, working on the directorial project "Sin Escenario1 Identité et Image" by David Ferré as a photographer screenwriter.

?Time of each session, something happens to the almost still things that are represented by these images. Someone comes, moves, upsets, or modifies a very precise point of the frame in order to do a precise use of the place ? fastidious exploration or just by standing. In that precise point of these minimalist narrations, the video is a photography that last long.? Eléonore Espargillière

I?m born in 1976 and I live and work in Paris. The Gallery Frédéric Giroux exhibits my work since the group exhibition ?Le Corps en Perspective? where I was invited in 2004. The gallery permitted me to do a solo exhibition in May and June 2005 and made take part in many contemporary art venues: Artissma, Turin, Italia, FIAC 2004 and 2005, Paris. I realized exhibitions and residence projects in two contemporary art centre: the Domaine Kerguéhennec, Bigan, France, where I presented at the end of the 3 month residence a personal project, the space of the image in he disused places of the caste (2000). The Domaine Départemental de Chamarande invited me this year to realize and photographic and video work around the memory of the castle in the estate. Some works, especially videos, where shown in the framework of the ?Journées du Patrimoine? in September 2005. The Fond National d?Art Contemporain just bought two pictures done in the Domaine de Chamarande. I exposed in Germany, in Bremen, at the Music School, Hochschule für Künste Bremen. The school invited me to take part in the presentation of students? works. I realized there a video in situ especially for the occasion. Regarding other venues, the Institut Marcel Rivière, a psychiatric hospital located in the Verrière, France, let for my use currently a disused pavilion for two years. My project is to work in the different spaces of the hospital in relation with patients and doctors. In this project framework I just received the individual creation scholarship form the DRAC Ile-de-France. I did a short residence in La Casa de Velasquez, Madrid, Spain, in the framework of a project of in Escenario staging ?Identité et Image de David Ferré?. I tool part as photographer director of the project in 2001. I obtained my Diplôme National Supérieur d?Expression Plastique with jury honours at the Beaux-Art of Anger in 2000 and my Diplôme National d?Art Plastique with honours at the Ecole Superieure des Beaux-Arts of Le Man in 1998.

In October 2010, Simon Norfolk began a series of new photographs in Afghanistan, which takes its cue from the work of nineteenth-century British photographer John Burke. Norfolk?s photographs reimagine or respond to Burke?s Afghan war scenes in the context of the contemporary conflict. Conceived as a collaborative project with Burke across time, this new body of work is presented alongside Burke?s original portfolios. The exhibition takes place in conjunction with an earlier complementary exhibition in March 2011 at the Queen?s Palace in the Baghe Babur garden in Kabul, supported by The World Collections Programme and the Aga Khan Trust for Culture, which resulted from a series of workshops with Afghan photographers, featuring work by Fardin Waezi and Burke alongside Norfolk?s own work.

Simon Norfolk was born in Lagos, Nigeria, in 1963 and educated in England, finishing at Oxford and Bristol Universities with a degree in philosophy and sociology. After leaving a documentary photography course in Newport, South Wales, Norfolk worked for far-left publications specializing in work on anti-racist activities and fascist groups, in particular the British National Party. In 1994 he gave up photojournalism in favor of landscape photography. His book For Most of It I Have No Words: Genocide, Landscape, Memory, about the places that have witnessed genocide, was published in 1998. The work was exhibited at many venues, including the Imperial War Museum in London, the Nederlands Foto Instituut, and the Holocaust Museum in Houston, Texas. Photographs of the war in Afghanistan in 2001, published as Afghanistan: Chronotopia, won the European Publishers` Award for Photography and an award from the Foreign Press Club of America and was nominated for the Citibank Prize. In 2004, Norfolk won the Infinity Award from the International Center of Photography in New York and in 2005 Le Prix Dialogue in Arles. His most recent book, Bleed, about the aftermath of war in Bosnia, was published in 2005. His work appears regularly in the New York Times Magazine and the Guardian Weekend.

The film Thirst is a post-human choreography of machines and displaced plants. Millions of tons of Estonian peat end up in greenhouses in the Netherlands, where it is used as a soil substrate for tropical Phalaenopsis orchids. Meanwhile, local communities in Estonia are left with dry wells and a lack of drinking water as their fragile wetlands are drained for peat extraction. The orchids from the Netherlands then find their way back to supermarkets and homes in Estonia. It is a thirst for luxury and abundance that keeps the capitalist machinery running. Thirst is one episode from Kristina Norman’s Orchidelirium film trilogy. Commissioned for the Estonian Pavilion at the 59th International Art Exhibition – La Biennale di Venezia. Author and director: Kristina Norman Cinematographer: Erik Norkroos Composer: Märt-Matis Lill Choreographer and cast: Mari Mägi Produced by Rühm Pluss Null in collaboration with CCA Estonia

Kristina Norman (b.1979, lives and works in Tallinn) is an artist whose interdisciplinary work includes video installations, sculpture, and projects in the city space, as well as documentaries and performance. She is interested in the issues of collective memory, the memorial uses of the public space, but also the subtle sphere of the body politic that transgresses the boundaries between the public and the private. In 2009 she represented Estonia at the 53rd International Art Exhibition – La Biennale di Venezia, with a solo project; a multilayered mixed media installation entitled After-War. The project was a study of a conflict around the relocation of a Soviet monument in Tallinn. In 2022 at the 59th edition, the artist again represented Estonia with an ecocritical exhibition “Orchidelirium. An Appetite For Abundance”, a duo show with Bita Razavi, curated by Corina Apostol. Norman’s experimental film trilogy commissioned for the Estonian Pavilion, offers multiple ways to reflect on the legacies of colonialism from a specifically Eastern European perspective.

Réalisée lors des Ateliers Sahm (Rencontre Internationale d’Art Contemporain, qui se sont tenus du 15 novembre au 15 octobre 2012 à Brazzaville, « Bimbanbukila », première vidéo de Jussie Nsana pose le problème de mémoire. Cette première réalisation de l’artiste nous emmène au cœur de Brazzaville où l’artiste magnifie le mur sous toutes ses coutures. Des murs qui deviennent des espaces témoins, de ponts entre le passé et le présent.

Jussie Nsana Banimba est née à Brazzaville en 1984 et elle vit et travaille actuellement à Pointe-Noire. Elle est diplômée de l`École Nationale des Beaux Arts de Brazzaville, en arts plastiques. Elle se considère comme une artiste à part entière et crée des peintures, des bandes dessinées, et des vidéos. Jussie à participé octobre 2015 au Festival International de la Bande Dessiné d’Alger en Algérie. Elle a exposée ses œuvres en novembre 2015 à l`exposition «Soul Power» au Musée-Galerie du Bassin du Congo à Brazzaville, en 2014 à l`exposition "Butselé" au Centre Culturel Basango à Pointe-Noire; en 2013 à l`Institut Français du Congo (IFC) à Pointe-Noire; en 2012 et 2013et 2015 elle a participé à la 1ère, 2e et 4e édition de la "Rencontre d`Art contemporain de Brazzaville" aux Ateliers SAHM. Comme elle-même le dit, Jussie transporte dans son « sac à arts », ses passions les plus artistiques, la BD, la peinture et la vidéo. Engagée avec la jeunesse, Jussie, avec une générosité hors du commun, transmet son savoir-faire et son amour pour l’art aux enfants et aux jeunes dans son espace Nsana – Arts’ Butsilé.

Masked forms sing a hymn, Quivering figures celebrate friendship, Young girls sing about love and sex, A three-headed dog and its master make rhymes, A group of kids in the forest sing a mysterious melody and two hanged people mutually help each other to present a song.

Monika Nuber is a Stuttgart based plastic artist and musician. She studied at Stuttgart's Arts Academy with Joseph Kosuth and Joan Jonas, and at the Academy of Fine Arts in Prague with Milan Knizak. Successive scholarships led her to Mongolia, China, and Pakistan.

Zooming into two books containing mug shots from around 1880–1935, Under the Skin, draws lines from historical events to contemporary developments of control and surveillance. While describing what she sees in the books, the narrator intertwines subject areas like; how time changes perspectives on historical events, the role of archives as foundations for power and control, the possible brutality of bureaucracy, the current state of facial recognition and personal experience with the law enforcement. Under the Skin questions given structures of power and asks how we can take back the sovereignty of information.

Christof Nüssli (*1986, Zurich) is a visual artist, whose interdisciplinary approach involves moving images, photography, sculpture, installation, text and artist books. His work has been exhibited in various institutions and off-spaces. In 2019 his work was shown at Photoforum Pasquart (CH), Swiss Institute New York (US), Glue Factory (UK) and VideoEx (CH). Nüssli authored three artist books (Miklos Klaus Rozsa, Withheld due to:, googly eyes) which won international prizes. Since 2014 Christoph Oeschger and Christof Nüssli run the publishing project cpress, focusing on artist books. In 2018, Nüssli was an artist in residence at the Swiss Institute New York, the Andreas Zuest Library and in 2016 at the Istituto Svizzero di Roma. In 2013, Nüssli received a Master of Design from Werkplaats Typografie. Since 2018 he attends the Master of Fine Arts program at the Glasgow School of Arts.