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Synopsis : Un serpent guidé par une main parcourt différents espaces. Un serpent guide une main et regarde plusieurs espaces. Plusieurs espaces bougent lentement derrière une « main à la tête de serpent » : le grenier, l`étagère des livres, le studio de montages vidéo, la salle des machines-contrôle? Le nid de serpents (en réalité des câbles non coupés) se cache au c?ur des machines. Le serpent est libéré et chassé à tour de rôles. La vidéo laisse entendre doucement une chanson de sirènes: qué sera sera?

Fabriquant : Francisco RUIZ DE INFANTE enfante@club-internet.fr ? Quelques Links : www.ruizdeinfante.org ? Forme : Fragiles constructions à habiter- dispositifs - parcours expositifs - images fixes et mouvantes - sons - dessins - textes. Ruiz de Infante a exposé au MNCA Reina Sofía de Madrid, à la Kunst-halle de Bonn, au PAC de Milan, au Musée Guggenheim de Bilbao, à l?ARC Musée d?Art Moderne de la Ville de Paris, à la Biennal Site SANTA FE (USA), au Stedelijk Museum d?Amsterdam... Parmi les projets importants on peut signaler ?BlueSky / Laboratorio de laboratoiros? au EFT de Buenos Aires, ?Banquete? au ZKM de Karlshure, ?Zone 1 et 2? au festival Mirages et désirs de Izmir, ?3+4=8 mètres en tout? au CAC Le Plateau de Paris, un complexe parcours d?installations intitulé ?Trembling? au Musée de l?Université de Houston (Blaffer Gallery). L?installation ?Hymnes? (Art Statements / Foire Internationale de Bâle), ?L?âge des serpents? dans l?exposition Vidéo-Topiques au MAMC Strasbourg, ?Black Sky? (Salle La Gallera de Valencia), et les projets ?Tables amplifiées?, FRAC Champagne-Ardenne, ?+Insectes? La Panera de Lleida. Certains de ses films sont visibles dans la collection permanente du Centre Georges Pompidou. ? COMPOSITION Excipients Quelques états éphémères (présent/passé/futur), quelques espaces instables, quelques paradoxes (mammifères aquatiques/mauvaises graines), plusieurs dualités faussement ressemblantes (réel/imaginaire), plusieurs journaux télévisés (ou pas) et d?autres complexes accélérateurs de l?inconscient. Catalogation Artiste hors-format, Ruiz de Infante appartient à une génération dont la sensibilité est marquée par la rencontre et la confrontation des machines audiovisuelles avec les matériaux les plus simples, voire les plus quotidiens. Jongler sans complexes entre la haute technologie et le bricolage d`urgence. Il reconstruit la manière dont fonctionne la mémoire lorsqu?elle nourrit le présent : par saccades pleines d?erreurs d?information, ou comme un torrent d`images qui recommencent sans fin. Tâches de recherche (objectifs, obsessions et terrains d?observation) 1. Retrouver les modes de construction (sans hiérarchies) de l?enfance. 2. Rendre visibles (sans les trahir) quelques lieux cachés. 3. Inventer des situations avec un désordre hautement sophistiqué.... et dessiner leurs cartographies. 4. Regarder fixement la diversité des EAHCI (Espaces et Actes Humains, Complexes et Inefficaces) 5. Tester les limites du dicton : ?on dit ce qu?on fait... on fait ce qu?on dit? 6. Comprendre et relativiser la notion ?d?interdit?... par l?invention de règles pour d?étranges jeux. 7. Construire des écosystèmes (dans lesquels la notion d?intrus, de catastrophe, de transformation et/ou d?évolution sont prises en compte) 8. Montrer, parfois d?une manière très physique, que la vie est une affaire de risques et qu?il faut être en alerte. Tâches d?ordre alchimique 10. Creuser la problématique de l?échelle. 11. Problématiser ?la chose non-finie? 12. Fabriquer les bouillons de culture inflammables qui génèrent des symétries inexactes. 13.Nourrir l?aquarium des idées cancérigènes à polysémie vertigineuse. (Cf. Projet INDEX) ? Co-opérateurs: Ermeline Le Mézo / Pierre Mercier / Christian Sebille / Eléonore Hellio / les BlueSkyers. ? Références: Les beaux mensonges de la tradition orale (enfantine et adulte), les déraillements violents de Nietzsche, le froid/chaud de Bob Wilson et ses organisations sonores, les grimaces de Kantor, les enfants de Kanevski, les aventures contrastées de Courrier International... et aussi les voyages de Tarkovski, Deligny, Savitskaya et Daumal. ? Dans quel cas utiliser ce produit : Quand le désir d?un voyage vers la zone molle devient grand. ? Mises en gardes spéciales : La trajectoire parabolique de ce produit peut produire des vertiges et états métaphoriques délirants.

Peter Pan, in the novel by J.M. Barrie, taught us that to be able to fly we only have to think of wonderful things. Some know (do we know ?) that we learned to fly a long time ago and we are now flying very fast. But in this world we live in, what we have forgotten - or perhaps never learned - is how to descend slowly, look at the landscape and, after a gentle glide, turn off the engines. Potential Fields is not an audiovisual essay, nor is it a linear science fiction project with a retro aesthetic, nor an epic poem, but it presents characteristics of these three genres to get us into the adventure. Divided into a series of "flights" and "flight simulators", the movie is a metaphor of a society (ours) that is launched at exponential speeds and has no idea where to land, or if it really wants to. The video travels along (and inside) several narrative lines where the real and the unreal are confused. The flight started a long time ago, and to enjoy it we will have to let ourselves be carried away by the currents.

Francisco RUIZ DE INFANTE Vitoria-Gasteiz (Spain), 1966. Lives and works between Strasburg and Auberive (Fr) Since 1999, he has been coordinator of the research group Art Hors-Format –Time Arts- at the Haute École des Arts du Rhin (Strasburg). As an artist, he has shown major projects with institutions like the Musée d’Art Moderne de la Ville de Paris, Museo Nacional Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum Bilbao, the Maison de l’Image in Geneva, the Blaffer Gallery, Houston, the ZKM in Karlsruhe, the Kunsthalle in Bonn, the Museo Carrillo Gil in Mexico City, Centro de Arte La Panera in Lleida, and the Metronom gallery in Barcelona. In 2008 he started a cycle titled « Ecosistemas BlueSky », which has given birth to exhibitions, films and publications in diverse contexts : Argentina (Espacio Fundacion Telefonica, Buenos Aires), France (Atheneum de Dijon; Galerie Fernand Léger in Ivry-sur-Seine/Grand Paris), Spain (Artium, Alava; Galeria Elba Benitez Madrid; Fundacion Botin, Santander) … Video works produced over the course of the cycle include « HolyBilis » (2013), « B.S.o.D ». (Training attitude) (2009), and his latest piece, « Potential Field »s (2019-20). From his extensive film catalogue, we can cite the feature-length « The Wolves » (1995) and the short film « Les choses simples » (winner of a Prix Découverte at the Festival du Nouveau Cinéma de Montréal, 1993). He is currently working closely with choreographer Olga Mesa in their joint theatrical, plastic and audiovisual arts project “Carmen // Shakespeare” (2013?21), as well as in the "Never-Never" project.

An African legend: It has been a few years since a stranger brought a stone to the village. The stone was found among the debris of a vertical city. The stone was introduced in the aquarium of a tribe, an aquarium that suppressed all the secrets of generations. Since that time, the animals seem less familiar, and accelerations in time have not stopped being produced. Structured as a schizophrenic experience, the video succeeds in evoking an apocalyptic landscape of a drowned earth. The soundtrack creates a feeling of anxiety that three months later begins to produce its fruit: a mud of shapeless little organisms. The inherent domestic reality is interpreted as other realities, other landscapes, and other cultures. An imaginary journey where we ask ourselves about the displacement, about the encounter with other cultures and other customs. Searching for the enigma of the other in an introspective reflection aroused by the powers of displacement. A place explored without mediation through signs, symbols, the traces of time, and its conditions. Francisco Ruiz de Infante works with the tension of the constant menace exploring the natural behaviours and the unconscious in all their destructive and transformative effects, a genuine interior agitation. A structure that reacts in a fashion unhoped for in the face of the other, an agitation that contributes to the progress of the natural system.

Francesco Ruy was born in 1966 in the city of Vitoria-Gasteiz in Holland. He currently lives and works in Paris, Auberive, and Strasbourg, where he has been teaching at the Ecole Nationale Supérieure des Arts since 1999. He received his master in fine arts from the Ecole Nationale Supérieure des Beaux-Arts of Paris in 1992, and a diploma in painting and audiovisual studies from the Faculté des Beaux-Arts du Pays Basque in 1991. A varied artist, he has taken courses in cinema, video, photography, theatre, dance, and plastic arts. He has produced individual exhibitions in Europe and the United States; installations and collective exhibitions in the European capitals, as well as in Mexico and Brazil; and has realized shows, performances, and public interventions. His film work has been exhibited at festivals around the world. Since 2002 he has been the co-director at the "Centre des Rives", a contemporary art and documentation centre in the rural medium in Haute-Marne, and since 2001 he has been the co-director of the Transmedia and Chaufferie Festivals (ESAD of Strasbourg).

One man dipped into a pool made him recall his childhood memory and feel that moment.

“TEUN” is my final year project that I`m graduated from King`s Mongkut Institute of Technology Ladkrabang in film and digital media in Thailand.(2016)

Simo RUOHIAINEN nous offre dans son court métrage d`une minute un fantastique spectacle d`une nature déchainé d`eclairs dans le ciel. Cette compilation d`images fortes dans les couleurs sombres de la nuit est accentuée par un montage réussi, ce qui donne l`impréssion d`assister à une danse.

Words shape our impressions and form our history. In ?Scene Shifts, in six movements? a journey through historical layers of various locations on several continents unfolds. However, it is primarily an intellectual journey. The locations, images, texts and music hold references to a long history of cross-cultural misinterpretations.

Jani Ruscica (b.1978) is an artist working with film, video, photography and other media. Ruscica works collaboratively, his interest lies in how one defines one?s location, one?s placement in the world, and how this definition changes ? continuously, if necessary ? according to personal, cultural, representational or even scientific factors. Ruscicas works explore the intersection between cinema, video art, theatre and performance. His recent exhibitions include 6th Liverpool Biennial, 2010, 5th Momentum Biennial, Moss, Norway 2009, ?Life Forms? Bonniers Konsthall, Stockholm, 2009, ?Tracking Traces...? Kiasma, Helsinki as well as screenings in institutions such as Centre Pompidou, Paris, TATE Modern, London and MoMA, New York. His film Evolutions was awarded the main prize at at the prestigious KunstFilm Biennale in Cologne in 2009, in 2010 Ruscica was awarded the AVEK prize for important achievements in audio visual culture. Ruscica is based in Helsinki and was educated at Chelsea College of Art and Design in London and at the Academy of Fine Arts in Helsinki.

Not a valley, just a hole beside a dump. No path leading to the house, only mud on the way to a miserable shed. Lacking everything, but not a lack of kids. This is where Mrs. Sonia lives - In the middle of this Roma reality - strong and intelligent. But also helpless. Documentary film by Daniela Rusnokova is an intimate portrait of a family from Romany settlement in Eastern Slovakia made during the period 2004-2006.

Daniela Rusnokova was born 1980 in Bratislava (Slovakia). She studies Documentary at the Academy of Music and Performing Arts in Bratislava. Now she is in 2nd year of the post-graduate programme. Her films were awarded in many European festivals (Austria, Finland, Italy, Germany). Her last film ´Soňa and her Family´ has won many prizes last year. Daniela´s films mainly focus on social issues.

A tone-poem in blue and red by US artist and experimental filmmaker Ben Russell, Against Time is a visually staggering kind of cine diary, shot on various locations between 2019 and 2022. Trying to find a way through the fog of recent years, the piece plays with dissolving images, non-linear montage, modular synthesis, and a variety of looping techniques to reflect on how we experience time as a fragmented phenomenon. It results in hypnotic and beautiful experimental cinema that seems to mirror life in all of its interpersonal intricacies. (Rewire Festival 2023)

Ben Russell (1976) is an American artist, filmmaker and curator whose work lies at the intersection of ethnography and psychedelia. Russell was an exhibiting artist at documenta 14 (2017) and his work has been presented at the Centre Georges Pompidou, the Museum of Modern Art, the Tate Modern, the Museum of Modern Art Chicago, the Venice Film Festival and the Berlinale, among others. He is a recipient of a Guggenheim Fellowship (2008), a FIPRESCI International Critics Prize (IFFR 2010, Gijón 2017), and premiered his second and third feature films at the Locarno Film Festival (2013, 2017). Curatorial projects include Magic Lantern (Providence, USA, 2005-2007), BEN RUSSELL (Chicago, USA, 2009-2011), and Hallucinations (Athens, Greece, 2017). He is currently based in Marseille, France.

“ Modern Props ” joins a pair of actors as they shop for furnishings and objects to decorate their character’s new home. The department store, in which they shop, is in fact a TV and Film props warehouse; the objects are devoid of their original function, existing only to be photographed. As the couple traverses a multitude of environments; ancient Greek, British colonial, medieval, they begin to experience aesthetic disharmony. Conflicts around etymology, authenticity and concepts of perfection abrade at the relationship until eventually our couple breakup.

Approaching film from an art background, Ruaidhri entertains a distinctly humorous view on hyper-real, self-aware constructs, perpetually chasing a notion of authenticity that does not exist. Often disclosing methods of production and combining the sincere with the ironic, Ruaidhri continues to develop conceptually driven, narrative films for gallery and film festival exhibition.

Circle A departs from a heavily edited conversation between five strangers in an art bookshop. Their discussion circulates around the term 'Anarchy', including its abstraction and how the word functions in both an imaginary and a real way. It is cut alongside footage from the Las Fallas festival, Valencia, a five-day celebration of fire and pyrotechnics as well as interjections from the late author, social theorist and orator Murray Bookchin, who coined the term ‘Lifestyle Anarchism’. Threaded throughout the film are hundreds of newspaper clippings from an open archive. The soundtrack of drums, pops and explosions fall in and out of syncopation, providing driving rhythm and moments of rupture. Circle A inserts Anarchy as an aspirational conceit both on micro and macro level into the language of the everyday spectator. If Anarchy is affirmed as a response to order, the film puts full emphasis on the word ‘response’. In other words, the work is a thought experiment on how to begin to undo a system.

Eoghan Ryan (b. 1987, Dublin, IRE) is based between Brussels, Amsterdam and Dublin. He works across moving image, installation, performance, puppetry and collage. His process engages collective and personal trauma, power dynamics, double speak, acting and reacting to play out disintegrations of mediated language. This often involves confusing and dismantling notions of ‘European’ states of identity, ranging from nation states and states of being to the cultivation of provisional culture, in art as much as bacteria. Recent and selected shows, performances and screenings have taken place at The Complex (IE), Edith Russ Haus(DE), Centrale Fies (IT), ICA London (UK), Busan Biennale (KR) IFFR, Rotterdam (NL), Visio (IT) Foundation Pernot Ricard (FR) Kunstervein Freiburg (DE) South London Gallery (UK) Serralves Museum (PR) and IMMA (IE). He is currently developing a new project for EVA biennale 2025(IE)

ANTIDATAMINING is based on the recovery and the viewing/visualization of web-extracted data. It aims at creating audiovisual environments written, fed and updated in realtime. The goal of this project is to make emerge and to identify, using the Data Mining processing, several social and economic imbalance ?phenomenas?. ADM seeks to visualize these phenomenas, and to tries to establish a global imbalance cartography. www.antidatamining.net

RYbN : A multi-field artistic collective based in Paris (2000) and specialized in realisation of installations, performances and interfaces by refering as well to the codified systems of the artistic representation (painting, architecture, counter-cultures) as to the human and physic phenomenas (geopolitics, socio-economy, sensory perception, cognitive systems). Their axe of research : the construction of a « semantics of the convergence », via the coupling, the diversion and the perversion of writing and formalization tools connected to the technologies of communication, information and sensory ? webs, data flows, smell, surveillance, audiovisual, interaction, real time. www.rybn.org

The End is unreadable titles created by a neural network and endlessly running on a black screen. The project is part of a series of works in which the authors experiment with symbols generated by StyleGAN and other networks. The artists train neural networks on letters of different alphabets, and the language they create is immersed in the context of familiar forms: manifestos, posters, and now titles. These projects continue the tradition of experiments in text and visual media started by Russian Futurists who used abstruse language in poetry (Alexei Kruchenykh, Velimir Khlebnikov, etc.) and Moscow Conceptualists with their interest in poetic experiences (Lev Rubinstein, Dmitry Prigov, Andrei Monastyrsky, etc.). In The End it is impossible to read the text created by the neural network, but the appearance of symbols, their sequence and general layout allow us to perceive a set of meaningless signs as the closing credits of a movie. It is important that in movies we rather recognize titles by their appearance than by their content. The credits are the final part of any movie, but usually no one reads them. The irony is that in The End project there are only credits, here they are a work in their own right, impossible to read. Nor is it possible to wait for it to end.

Andrey Rylov is a new media artist who works in a field of sound sculptures and installations using materials from hardware stores and DIY electronics. He performs with experimental music, creates video works using neural networks, as well. Andrey Rylov is a graduate of the New Media Laboratory, participant of multiple collective exhibitions and festivals: NUR festival (Kazan, 2021), Prepared Surroundings festival (Moscow, 2020 and 2021), Blazar fair (Moscow, 2021), Morpho festival (St. Petersburg, 2021), Adaf.gr (Greece, 2019), Ars Electronica (Austria, 2019), Pixels festival (Yekaterinburg, 2019). Maxim Mezentsev is a graphic designer, visual artist and VJ from Izhevsk, Russia. He works with interfaces, fonts, animation and makes video for experimental theater. He constantly collaborates with the Center for Contemporary Dramaturgy and Directing in Izhevsk, Russia. Maxim Mezentsev participated at the Pixels festival (Yekaterinburg, 2019), Intervals festival (Nizhny Novgorod, 2019 and 2021), Night of Light festival (Gatchina, 2019), Adaf (Athens, 2020), METAXIS festival (St. Petersburg, Nizhny Novgorod, Yerevan, 2022).

Yoshiro Ishihara (1915–1977), who burst upon the scene of Japanese modern poetry in the mid-1950s, is now remembered as a “poet of silence.” He said “A poem is an impulse to resist writing.” This film is an attempt to seek out the landscape from his poem.

Animator. Born in Ibaraki, Japan, 1986. Graduated from Ibaraki University, College of Education, 2009. Tokyo University of the Arts, Graduate school of Film and New Media, Department of Animation, 2011. Awarded the Fellowship of Overseas Study Program for Artists by the Agency for Cultural Affairs, Japanese Government, 2015.

À l'approche de son 35e anniversaire, un cinéaste se rend à Louxor, où les échos de son passé tourmenté se mêlent aux dures réalités du monde présent. Au cœur de la beauté intemporelle de la ville antique, il affronte les murmures implacables de ses démons, cherchant un éclat d'espoir.

Remy Ryumugabe est un cinéaste, producteur et artiste visuel rwandais primé, dont le travail audiovisuel et photographique a été présenté dans des festivals et galeries internationaux prestigieux, notamment Internationale Kurzfilmtage Winterthur, Uppsala International Short Film Festival, Fribourg International Film Festival, Oberhausen International Short Film Festival, Galerie Imane Farès, Museum Hilversum, Goethe-Institut Kigali, Indiba Arts Gallery, Kigali Center for Photography, et Het Nieuwe Instituut, entre autres. Ses œuvres ont reçu de nombreuses distinctions, dont la mention spéciale à la 41e édition de l’Uppsala International Short Film Festival, le Prix du Meilleur Film Expérimental à la 15e édition du Festival Internacional de Cine Africano de Argentina, le Prix du Meilleur Réalisateur d’un Court Métrage Documentaire à la 8e édition de l’Urusaro International Women Film Festival, ainsi que le Young African Filmmakers’ Award lors de la 29e édition de l’Afrika Filmfestival de Louvain. En tant que producteur, il a travaillé sur des films salués par la critique, tels que Imuhira (sélectionné à Locarno et au BFI London Film Festival), ainsi que le long métrage Minimals in the Titanic World, qu’il a produit et présenté en première mondiale au Forum de la 75e Berlinale. Il développe également plusieurs projets photographiques, installations artistiques et longs métrages, soutenus par des plateformes de développement de renom telles que Ouaga Producers Lab, Takmil, Yaoundé Film Lab et le Moulin d’Andé. Il est cofondateur de KIRURI MFN, une société de production indépendante basée à Kigali. Il est également le co-initiateur et curateur du 250 Film Experiment Cine-Club, un ciné-club basé à Kigali, au Rwanda.

An old and wise woman sitting by the lake, reflecting on existence.

Remy Ryumugabe is an award-winning Rwandan filmmaker/ visual artist. His works, including /???RI/, Melpomene, Mnemosyne, From Here to There among others, have been selected and screened/ exhibited around the world like the Internationale Kurzfilmtage Winterthur, Uppsala international short film festival, Fribourg international film festival, International Kansk Video Festival, WNDX festival of the moving image, BIDEODROMO International Experimental Film and Video Festival, Africa in Motion Film Festival, Short Short Story Film Festival, Galerie Imane Farés, Museum Hilversum, Het Nieuwe Instituut among others and his two short films (“From Here to There” one that he wrote and directed and “Muzunga” that he produced) had their world-premieres in the International Competition of the 68th International Short Film Festival Oberhausen and From Here to There went on to be screened at more international film festivals like 41st Uppsala international short film festival where It received the Jury Special Mention, 15th Festival Internacional de Cine Africano de Argentina where It won Best Experimental film. His recent short documentary film “Each of her scars has a story” has been selected for the international short documentary of 26th edition of the Film Festival ÉCRANS NOIRS, 15th Festival Internacional de Cine Africano de Argentina and 8th Mashariki African Film festival. As a producer, he’s attached to different projects (in development or post-production) that have been participating in different labs or workshops around the world like Ouaga Producers Lab, Takmil the post-production workshop of Carthage International Film Festival, Yaounde Film Lab, Résidence d'écriture de Moulin d’Andé among others. He’s the co-founder of KIRURI MFN, an independent production company based in Kigali. He is also the co-initiator and curator of 250 Film Experiment Cine-Club, a cine-club based in Kigali, Rwanda.

The video project "And can you do it like this?", arose as the continuation of the ideas included in the artist's series of paintings with the same title. It concerns the theme of rhythmic gymnastics and its aesthetic and psychological aspects, seen as an expression of the human spirit emanation and phenomenon of being. The film consists of two parts, both having the form of expressive collage. In the first part we see the girls during individual competitions, in front of an audience and the umpires. The second part exhibits the preparations behind the scenes, arduous repetitions of exercises and drastic stretches. There is an impact of glare, sequins, effective movements and smiles, blended with hard work and pain, and aesthetic contrasts mixing in the large pot of kitsch; Is it a fable or just the truth of life? The photographs were taken during the Second International Krystyna Gieorgiew Gymnastics Tournament in Krakow, 2005.

Malwina Rzonca is a Polish independent artist of visual and performing arts. She lives and works in Krakow. She graduated from the Painting Department of the Fine Arts Academy in Krakow (1994-1999) and studied dance at the Experimental Dance Studio "EST" in Krakow (1991-1998). She makes paintings, videos, photographs, actions, and stage and site specific performances. All her works are founded on clear concepts and strong visual expression. Prizes: 2006 - Distinction at the Biennial of Young Art "The Fish Eye 4" (Słupsk, Poland). 2003 ? 3rd Prize at the International Original Dance Project Competition, Jarmila Jerabkova Award 2003 (Prague, Czech Republic). 1999 ? The Prize at the International Presentations of Contemporary Dance Forms Kalisz?99 (Kalisz, Poland).