Catalogue > List by artist

White Terror ("Terreur Blanche") est le dernier volet d´une trilogie sur les skinheads, la haine et le racisme. En 2 ans d´enquête sur le groupe extremiste le plus actif, leurs liens internationaux, de Stockholm à Dallas en passant par Moscou, ont été révélés. Daniel Schweitzer, qui a réalisé des documentaires acclamés sur l´attitude des skinheads, enquête sur la force qui se cache derrière le "White Power" (Pouvoir blanc") et les slogans du "nouveau racisme".

Né en 1959 à Genève, il y étudie à l´ESAV (Visual Arts School) et obtient un double diplôme dans les départements d´expression graphique et d´audiovisuel. Il étudie ensuite à l´ESEC (Cinema Studies, Paris). Il est assistant directeur indépendant au Service de diffusion Suisse-Romand (TSR) et producteur indépendant entre 1983 et 1993. Il vit à Genève et Paris.

Maya Schweizer (b.in Paris, France) lives and works in Berlin. She studied at the university, Aix-Marseille I, at the Academy of Visual Arts Leipzig and Berlin University of the Arts, where she graduated. Maya Schweizer exhibited at Kunstverein Leipzig (2017-2018), Drawing Room Hamburg (2017-2018), Irish Museum of Modern Art, Dublin (2016); Skulpturenmuseum Glaskasten Marl (2016); Nordstern Videokunstzentrum, Gelsenkirchen (2016); Staatliche Kunsthalle Baden-Baden (2015);GRASSI Museum für Angewandte Kunst Leipzig (2015); MWW Wroclaw Contemporary Museum (2015). She recently screened at Videoart at Midnight, Berlin (2018), Traverses Vidéo, Toulouse (2018), Vancouver International Film Festival, Canada (2017), Cinema in viennacontemporary, Vienna, Austria (2017), in Oberhausen 63. International Kurzfilmtage Oberhausen (2017) and at the 67. Berlinale, Forum Expanded, Berlin (2017). She received the Research stipends from the Berlin Senat (2017), Research grant from Goethe Institute Neapels and the Fundazione Morra-Museo Nitsch, Naples (2017), and the residency at the Watchtower, Flutgraben, Berlin (2016-2017).

The film begins with footage of a city of ruins, when the entire cityscape of Warsaw is covered with stones. It is 1945. Themed around stones as carriers of historical memory, the movie is so closely filmed that the viewer can never see the city`s memorials in their entirety. Special attention, though, is paid to the author of the Umschlagplatz Wall, a monument located in the former Ghetto. Hanna Szmalenberg is explaining the process of realization of the Umschlagplatz as the camera winds through a snow-covered sculpture garden.

Maya Schweizer, born in Paris studied art and art history at the university of Aix-en-Provence (1995-1998). She moved to Germany and studied at the School of Visual Arts in Leipzig (HGB) (1999-2002) and move in Berlin 2003 where she finished her studies at the Berlin University of the Arts (UdK) with Professor Lothar Baumgarten and graduated in 2006. She had solo shows in Westfalischen Kunstverein, Muenster (2010), Frankfurter Kunstverein, (2011) with Clemens von Wedemeyer, in the Kunstverein Langenhagen (2013), Kunsthalle Baden-Baden (2015), at the Irish Museum of Modern Art, Dublin (2016). Schweizer was also involved in many international exhibitions, such as “Of Mice and Men,” Berlin Biennale (2006), “Storylines,” Kunstraum Munich, (2006), “Um-Kehrungen, Interaktion I - Speaker”s Corner,” Kunstverein Braunschweig (2007), “Magellaneous Cloud,” Centre Georges Pompidou, Paris (2007), “Urban Stories,” The X Baltic Triennial of International Art, CAC Vilnius (2009), “Auto-Kino!,” Temporare Kunsthalle, Berlin (2010), “Ambigous Being,” exhibitions in Berlin, Tel Aviv, and Taipei, tamtamART, Berlin / Kav16 Community Gallery, Tel Aviv / Hong Gah Museum, Taipei (2012), “Die Stadt, die es nicht gibt,” Ludwig Forum, Aachen (2012), “Vot ken you mach!,” Kunsthaus Dresden (2013), efa (Elisabeth Foundation for the Arts, New York, USA (2013). At “Villa Romana 1905”2013 Das Künstlerhaus in Florenz,” Bundeskunsthalle, Bonn, (2013), “Gestern die Stadt von Morgen,” Kunstmuseum Mälheim an der Ruhr, (2014),. “Sammlungsalphabet,” Sammlungsausstellung, Museum of Contemporary Art (GfZK), Leipzig (2014), and the forthcoming “Im inneren der Stadt. Öffentlicher Raum und Frei-Raum,” Gesellschaft für Aktuelle Kunst (GAK), Bremen, (2015). At the Museum MWW Muzeum Wspó?czesne, Wroc?aw, Poland, (2015), Videokunstzentrum, Gelsenkirchen, (2016), in VOX, Montreal (2016), and at POLIN Museum, Warsaw (2016).

A video work, in which the daily routine of Les Milles is caught up by its past - a former brickyard in the town`s center was used as internment camp for Germans during World War II and served as concentration camp later on. With the use of montage cutting techniques the artist succeeds in letting the past burst into present.

Maya Schweizer was born in 1976 in Paris, France and studied at the Academy of Visual Arts Leipzig, and Berlin University of the Arts (with Lothar Baumgarten). Maya Schweizer works with diverse media: the focus of her work lies in the making of short films based on documentary material. „Identity, biography, politics, history and memory are recurring themes in Maya Schweizer’s photographs and videos... In general, the artist generates an incomplete tableau of collective memory and questions the way history is produced and visually recorded. „(Cynthia Krell). The artist approaches the relation of montage editing techniques with the concept of film and memorial and film as memorial — a relation which traces back to the very beginnings of montage as it does to research findings by French historian Pierre Nora. Recurring moments in Schweizer’s multiform art practice revolve around the examination of subtly treated processes of memory regarding historic-political events in public space. In the places, structures and situations she investigates, historical threads intersect. She received international grants and most recently Project grant "Lieux de Mémoire and Desire",Kulturstiftung des Freistaates Sachsen (KdFS), 2015. The Exhibition sponsor from the Institut für Auslandsbeziehungen (ifa), TCG Nordica, Kunming, China, 2013. The Robert Bosh Foundation, in Slovakia 2011, also in the Villa Aurora, Artist Grant from the Goethe-Institute in Los Angeles 2008-2009. Together with Clemens von Wedemeyer, she won the Prize of the German Competition at the Oberhausen Film Festival Oberhausen 2006. She recently had solo shows, such as; Der sterbende Soldat von Les Milles, Kunsthalle Baden-Baden, Germany 2015. Edith Seeshow’s Notes at the Kunstverein Langenhagen, 2013. Metropolis. Report from China with Clemens von Wedemeyer at the Frankfurter Kunstverein, 2011. The Same Story Elsewhere at the Westfälisher Kunstverein, Münster, Germany, 2010. Schweizer was also involved in many international exhibitions, such as; Inside the City. Public Space and Free Space at the GAK, Bremen, Germany, 2015. Vot ken you mach ?, Muzeum Wspólczesne Wroclaw, Poland, 2015. Collection Alphabet at the Museum of Contemporary Art (GfZK), Leipzig, 2014. The city that doesn´t exist at Ludwig Forum, Aachen, 2012. Ambigous Being, Hong Gah Museum,Taipei 2012. Take me to your leader!, Kunstmuseum Bergen, Norway, 2011. Here and There, at the Wallace Gallery, New York and at the Oonagh Young Gallery, in Dublin, 2011. 15 Jahre Villa Aurora. Transatlantische Impulse, AdK - Akademie der Künste, Berlin, 2011. Of Other Spaces at the Bureau for Open Culture, Columbus, Ohio, USA 2011.

A young archaeologist working as a tourist guide is in a dark space with her light operator and an imaginary group. She would like to rehearse her tour in the Jewish catacombs of Rome. The scene becomes a monologue of the young woman, in which she mingles fragments of the history of the Jewish catacombs with thoughts on her appearance and instructions to the lighting engineer. The narration hovers between a stage play and the real historical site.

MAYA SCHWEIZER Born in 1976 in Maisons-Alfort/ France the artist lives and works in Berlin. She has studied Fine Arts and Arts History at the University in Aix-en-Provence, at the Hochschule für Grafik undBuchkunst in Leipzig and at the University of Arts Berlin with Lother Baumgarten. Her works are based on documentary materials which she weaves into (hi)stories by means of excerpts, images, sound samples and texts. She has been part of residency programs as KAIR- Kosice by the Robert-Bosch-Foundation, the Künstlerinnenprogramm Senat Berlin, the residency program of the Goethe-Institute in Villa Aurora Los Angeles. Her works have been internationally shown in solo exhibitions as very recently, DIE MINIATUREN AUS RAVENSBRÜCK UND DER STERBENDE SOLDAT VON LES MILLES, (2014) together with Antje Majewski at after the butcher, Berlin. EDITH SEESHOW´S NOTES, (2013) at the Kunstverein Langenhagen, Germany, IT’S NOT ABOUT NOTHING (2012) at the gallery Katharina Bittel in Hamburg, METROPOLIS, REPORT FROM CHINA (2011) at Frankfurter Kunstverein and THE SAME STORY ELSEWHERE   (2010) at  Westfälischer Kunstverein in Münster. Also she contributed to group shows as GESTERN DIE STADT VON MORGEN (2014), Kunstmuseum Mülheim an der Ruhr, LAST YEAR AT MARIENBAD, REDUX, (2014) at the Elisabeth Foundation for the Arts, New York, VOT KEN YOU MACH ! (2013) at Kunsthaus Dresden, DIE STADT, DIE ES NICHT GIBT, at the Ludwig Forum Aachen
AI WEI WEI IS IN CHINA at Fichtebunker, Berlin, TRANSATLANTISCHE IMPULSE at Akademie der Künste, Berlin, NEL PALAZZO DI CRISTALLO in CA`ASI/ Venezia, HERE AND THERE Wallace Gallery New York, and URBAN STORIES at The X Baltic Triennial of International Art, CAC, Vilnius in Lituania.

« From the Classroom » est une projection sur un écran divisé en deux, formée d?images trouvées sur YouTube. L'image de gauche montre des jeunes filles de la salle de classe en train de danser, apparemment filmées par leurs amis pendant la pause. Sur l?image de droite, on voit un tableau noir sur lequel est écrit un texte, rédigé dans un style de journal intime. Le texte décrit le trajet qu?une femme prend tous les jours pour se rendre au travail.

http://www.mayaschweizer.com/site/DOWNLOADS/Mschweizerbio.pdf Born 10 january 1976 in Maisons-Alfort, France Lives in Berlin ----- February 2007 Universität der Künste, Berlin, Germany Master Degree January 2005 Universität der Künste, Berlin, Germany Diploma April 2003 Universität der Künste, Berlin, Germany Fine art School, Berlin In the class of Lothar Baumgarten and Katharina Sieverding. 2000-2002 Hochschule für Grafik und Buchkunst, Leipzig, Germany School of visual arts, Leipzig June 1998 Licence, Degree of Visual arts 1998-1995 Université d ́Aix-en-Provence Visual arts. June 1995 Bachelor ́s degree, option Visual arts, Aix-en-Provence, France Residency Programm, Prizes : 2008 Villa Aurora, Artits Grant from the Goethe-Institut Los Angeles 2008-2010 Karl-Hofer Stipendium, Grant from the Karl-Hofer Gesellschaft, Berlin 2006 First Prize of the German Programm Kurzfilmtage Oberhausen 2006 Grant from the DAP, (Department of the visual arts), Paris, France 2005-2006 Residency and Film Project with Clemens von Wedemeyer at the Contemporary Art Center of in Bretigny, France Realisation and Production of the film Rien du tout (nothing at all) with Clemens von Wedemeyer.

2004, 80 ans après la visite de Fritz Lang à New York et dans le même temps estimé des projections futuristes de son film « Metropolis »... Nous sommes venus en Chine pour trouver des lieux de tournages, pour parler à des travailleurs et des architectes, des scénaristes et des romanciers à Shanghai et Beijing pour rechercher si le film entier pouvait être remis en scène ici. Mais voulons nous que ce film ce répète, pour qu'il devienne réel? Peut être en chine avons nous vu une variante de « Metropolis », qui est déjà devenue réalité...

Maya Schweizer, née à Maisons-Alfort, en 1976. Débute ses études d´arts Plastiques à Aix-en-Provence à l´université, en 1998 obtient sa Licence. S´inscrit à l´école des beaux-arts de Leipzig, (HGB) puis entre en équivalence à l´école des beaux-arts de Berlin, (UdK) dans la classe de Lothar Baumgarten où elle est diplomée en janvier 2005. Residences, Bourses & Prix : 2006,Mai, Allemagne, Oberhausen Premier Prix du festival de film d´Oberhausen. en avril,Bourse du DAP (Délégation aux arts plastiques). 2005-2006, en Nov-mars, au Centre d´Art Contemporain de Brétigny (CAC de Bretigny /Orge, Bretigny). Réalisation et production avec Clemens von Wedemeyer du Film Rien du tout. Co-production; Galerie Jocelyn Wolff, CAC Bretigny, (Pierre Bal-Blanc), Château Rouge production(Gaelle Jones), Collection Giovanni Springmeier. Postproduction: bourse du NRW de Cologne

De retour à Berlin, j´essaie de reconstruire,à partir d´enregistrements que j´ai fait d´elle, une partie de l´histoire de ma grand-mère lorsqu´elle vivait à Lyon, pendant la seconde guerre mondiale.

Née à paris, Licence d´arts plastiques à L´université d´aix-en-provence. Études à l´école des beaux.arts de Leipzig (HGB), en photographie et vidéo puis Diplôme et post-diplôme à l´école des beaux-arts de Berlin(UdK). Vit à Berlin

Tout commence dans l‘obscurité, on entend de l‘eau couler dans un tunnel ... Des voix résonnent dans ces égouts, on se croirait dans le gouffre de Munich sous l‘Isar. Ces voix racontent des fragments d‘histoires : sur des personnes disparues, la violence, la perte de mémoire ... Puis la caméra refait surface et scrute les façades de la ville, y compris celles du « Troisième Reich » . La ville est comme un corps qui serpente à travers le temps, le passé et le présent. En guise de leitmotiv, une spirale traverse les souvenirs: un escargot, un vortex, un escalier en colimaçon, les voix du passé qui se répètent à l’infini... Le film est un collage qui superpose les traces de l‘histoire et les formes de la nature, en réunissant sur un même plan des images et des sons de sources différentes.

Born in Paris, she studied art and art history in Aix-en-Provence (1995-1998), moved to Berlin in 1998 and worked for a year as an assistant for artistic projects in Küntlerhaus Bethanien. From 1999 to 2002, begins art studies at the Academy of Visual Arts in Leipzig and continues in early 2003 in the class of Lothar Baumgarten at the Berlin University of the Arts, where she received her postgraduate studies degree (Meisterschülerin Abschluss) in 2007. Schweizer works with different media, with a particular focus on experimental video works. She has had numerous solo exhibitions (including Westfälischer Kunstverein Münster 2010, Frankfurter Kunstverein 2011, Kunsthalle Baden-Baden 2014, Irish Museum of Modern Art, Dublin 2016, Kunstverein Leipzig 2018, Museum Villa Stuck, Munich, 2020/21, Double Feature, Schirn Kunsthalle Frankfurt 2021) and has shown her work in group exhibitions and at biennials (including Berlin Biennale, 2006, Centre Georges Pompidou, 2007, The Elizabeth Foundation for the Arts, New York, 2013, Kunsthaus Dresden, 2016, Anren Biennale 2017, China, Manifesta 13, 2020, Neuen Berliner Kunstverein e.V., Berlin 2020, Heidelberger Kunstverein, 2022, Forum expanded exhibition, Silent Green, Berlin 2022). Her videos have already been selected for numerous festivals and events, including Forum expanded during the 67th (2017) and the 72.nd (2022) Berlin International Film Festival, the Vancouver International Film Festival (2017, 2020), Gli Incontri Internazionali del Cinema, Sorrento, Italy (2019), at the 36. Kasseler Dokfest, (2019) and at the International Short Film Festival Oberhausen (2016, 2017, 2018, 2019, 2020, 2022), where L’étoile de mer was awarded the e-flux prize in 2019. Examples of grants, and artist residencies she has received include a grant from the Villa Aurora, Los Angeles (2008), Studio grant, Karl Hofer Gesellschaft, Berlin (2008–2010), Toni and Albrecht Kumm Prize for the Promotion of Fine Arts, (2009), Artist in Residence, Lieu d’arts contemporains 3bisf, Aix-en-Provence, France (2010), Košice Artist in Residence (K.A.I.R.), Košice, Slovakia (2011), Artist in Residence, Museum POLIN, Warsaw, Poland (2016),work grant from the Berlin Senate (2019), the Funding programme for women artists in film/video, (2021), the Research Grant from the Berlin Senate as well (2017, 2021). So far, four monographs on her work have been published: Voices, Stimmen (Walther and Franz König, Köln 2121), Where Ivy Cracks The Wall (Naima, Paris / Berlin 2019), Lieux de Mémoire and Desire (Archive Books, Berlin 2015), Maya Schweizer?The Same Story Elsewhere (Spector Books, Leipzig 2010)

PENELOPE / IN THE SCENERY / REFLECTING / RELATIONS is an essayistic short film about love and storytelling, focussing on possible structures and forms of storytelling. The film is an experimental arrangement, a study of unconventional forms. Fragments of personal history, stories are woven together and reconstructed. An image within an image is shifted and repositioned. The cinematic narration of an experienced love is the starting point of PENELOPE / IN THE SCENERY / REFLECTING / RELATIONS. But this narration is arranged in manifold ways and on several layers: the staging is arranged as a mise en abyme. The figure speak to a a friend of hers and sometimes also towards the audience; she talks about a desired subject which is absent throughout the whole film — it`s merely a blank. In his analysis of Marcel Prousts "À la Recherche du Temps perdu" Walter Benjamin speaks of "Penelope work". By this, he means not remembrance per se, but the interweave of memories. PENELOPE / IN THE SCENERY / REFLECTING / RELATIONS is about the way how these memories could be interwoven by the means of narration. But unlike the ancient Penelope it`s not a carpet that is woven together with yarn, she’s weaving individual threads of narration together to one whole image of souvenirs, of memories.

*1970 in Linz, living and working in Vienna. Conceptual video artist mainly working with time-based media (film, video, sound). Studies of philosophy, history, history of the arts, dramatics and film theory in Vienna. Lecturer at Institute of Art and Design, Technical University of Vienna and at Film Academy Vienna. Cooperations with musicians on audiovisual projects and live performances in Austria and abroad. International screenings and exhibitions.

Dans le documentaire "Protocoles de rêves", Hanna Schygulla, figure emblématique du cinéma allemand et de l`?uvre de Rainer Maria Fassbinder, s`autofilme depuis 1977, expérimente, déconstruit et reconstruit sa propre image.

« Jeune comédienne, Hanna SCHYGULLA a provoqué l`impérieuse passion et les larmes amères de Petra von Kant dans le film de Fassbinder. Ensuite, elle a été sa Lili Marlène, sa Maria Braun, sa "femme allemande"... Héroïne d`une vingtaine de films phares de Fassbinder, emblème du renouveau du cinéma allemand, Hanna SCHYGULLA a tourné avec Schlöndorf, Wenders, von Trotta, puis Ferreri, Saura, Godard, Wajda, Scola, Deville... Elle vit aujourd`hui à Paris.»

In meteorology, the aureole is an atmospheric, optical phenomenon; the visible inner disc of a corona, produced by the diffraction of light from the sun or the moon, bright starlight or planet-light. Aureole brings together unused celestial images from Scott’s earlier film, Diviner (2017), with vocoder-readings from Ursula K. Le Guin’s novel The Left Hand of Darkness (1969), scored by Chu-Li Shewring’s remix of the House track Brighter Days (1992) by Cajmere featuring Dajae. Aureole is a transition between a ‘lost’ chapter from Diviner and Wendy (2022, forthcoming), a film fan-letter to composer Wendy Carlos, whose many interests include solar eclipse photography. Accelerating to a euphoric end, the film is the duration of the longest total solar eclipse, when the moon completely covers the sun.

Frances Scott (b. 1981) is a London-based artist working with moving image. Her work considers the narratives and histories at the periphery of cinematic production and its apparatus, to produce films composed of their metonymic fragments. Her projects are often made in exchange with other specialists, groups and publics, and developed through research using online and physical archives and collections. She associates and composites diverse materials, analogue and digital film media, to create intricate scenarios that are both scripted and improvised. Her film work, informed by this collaborative and research-led process, takes multiple forms, through exhibitions to installations, screenings, events, broadcasts and publications, including recent presentations at: transmediale x CTM, Berlin; 57th New York Film Festival, Lincoln Center, New York; Edge of Frame & Close Up Film Centre, London; Het Bos, Antwerp; The Bower, London; Tate St Ives, Cornwall; Annely Juda Fine Art & The Russian Club, London; Whitechapel Gallery, London; Yorkshire Sculpture Park & Art Licks; South West Film & Television Archive, Plymouth; and Focal Point Gallery, Southend. Frances Scott was recipient of the Stuart Croft Foundation Moving Image Award (2017), and is currently working on a new film commissioned by TACO!, London for a solo exhibition and publication in 2022.

"Valentina" est un prélude à "Wendy", à la fois portrait spéculatif de la compositrice et musicienne Wendy Carlos et message de fan adressée à celle qui se décrit elle-même comme "The Original Synth". Dans "Valentina", une bobine de 30 mètres de film 16mm, traitée à la main, tournée-montée lors de répétitions, sert de partition silencieuse à une lecture. La performeuse et danseuse Valentina Formenti se rappelle une partie de la retranscription d’une interview de Wendy Carlos, plus tard remontée pour être publiée dans le magazine "Playboy" en 1979. Alors que l'interview du magazine était considérée comme la première annonce publique de la transition de genre de Wendy Carlos, les passages absents, exclus du montage final, incluent ses intérêts connexes pour la cartographie, la physique, les transformations mathématiques, l'astronomie et sa pratique de la photographie des éclipses solaires. Les multiples voix de Valentina sont traduites par le Vocoder et collées avec la performance du musicien Tom Richards sur le "Mini-Oramics", projet inachevé de Daphne Oram, afin de suggérer une naissance par synthèse sonore. "... imaginer un monde sans genre, qui est peut-être un monde sans genèse, mais peut-être aussi un monde sans fin." (Donna Haraway, ’A Manifesto for Cyborgs’, Socialist Review, no.80, 1985)

Frances Scott (née en 1981) habite à Londres. Elle est artiste et travaille avec les images en mouvement. Son travail s’intéresse aux récits et aux histoires à la limite de la production filmique et de ses dispositifs, pour produire des films composés de leurs fragments métonymiques. Ses projets sont souvent réalisés dans le cadre d'échanges avec d'autres spécialistes, groupes et publics, et développés par le biais de recherches dans des archives et collections aussi bien physiques qu’en ligne. Elle associe et allie divers matériaux, des supports filmiques analogiques et numériques, pour créer des scénarios complexes, à la fois scénarisés et improvisés. Son travail de réalisation, qui s'inspire de ce processus de collaboration et de recherche, prend de multiples formes: expositions, installations, projections, événements, diffusions radiophoniques et publications. Des présentations récentes ont eu lieu notamment à la transmediale x CTM, Berlin (Allemagne); au 57e NYFF – New York Film Festival (USA); au Edge of Frame & Close Up Film Centre, Londres (Royaume-Uni); au Het Bos, Anvers (Belgique); à The Bower, Londres (Royaume-Uni); à Tate St Ives, Saint Ives (Royaume-Uni); au Annely Juda Fine Art & The Russian Club, Londres (Royaume-Uni); à la Whitechapel Gallery, Londres (Royaume-Uni); au Yorkshire Sculpture Park & Art Licks, Wakefield (Royaume-Uni); à la South West Film & Television Archive, Plymouth (Royaume-Uni); et à la Focal Point Gallery, Southend-on-Sea (Royaume-Uni). Frances Scott a reçu le prix Stuart Croft Foundation Moving Image Award (2017), et travaille actuellement sur un nouveau film commissionné par TACO!, Londres (Royaume-Uni), en vue d’une exposition solo et d’une publication prévue en 2022.

In ‘PHX [X is for Xylonite]’, the first semi-synthetic plastics are considered through their relationship to the chemical and industrial development of photography and film, where cellulose nitrate was used as the base for film-stock until the mid-20th century and in props’ production. Against a collage of digital animation and hand-processed 16mm film, the soundtrack proposes a warped love song between the organic and synthetic, where human voices and recordings in shellac - lacquer obtained from the secretion of the Coccus Lacca insect - are transformed through a Vocoder. Scientist and laboratory technician, Dr. Miriam Wright, reads extracts from Roland Barthes? essay ?Plastics? (1957), colour experiments from a British Xylonite Company laboratory formula book (1888) and symptoms of plastics degradation; ?crazing?, ?yellowing? and ‘bloom’. Although Barthes suggests that plastic “embodies none of the genuine produce of the mineral world: foam, fibres, strata”, in ‘PHX’ plastics are proposed as strata; so that the layers that make up the film - its emulsion and plastic substrate - are made evident; like its material seams that will, in future sedimentary rock layers, signal our Anthropocene era and its flawed capitalist productions.

Frances Scott works with moving image, presented through screenings, installations, events and publications. Her work often considers material that exists around the periphery of the cinematic production and its apparatus, proposing films composed of their metonymic fragments. Recent exhibitions and screenings include: 'Projections', 57th New York Film Festival; New York (2019); Institute of Making, University College London (2019); Edge of Frame / London International Animation Festival, Close-Up Film Centre (2019); Nunnery Gallery, London (2019); Het Bos, Antwerp, Belgium (2018); The Bower, London (2018); Tate St Ives (2018); Annely Juda Fine Art / The Russian Club, London (2018); Yorkshire Sculpture Park / Art Licks (2017); Whitechapel Gallery (2015 /2017); Peninsula Arts / South West Film & Television Archive, Plymouth (2017); Focal Point Gallery, Southend (2016); and ‘Selected III’ videoclub FLAMIN screenings in the UK (2013) and USA (2014) including Anthology Film Archives, New York, Seattle International Film Festival, and LA Film Forum. Frances was recipient of the Stuart Croft Foundation Moving Image Award (2017) and associate artist at the Moving Image Research Centre (MIRC), University of East London (2018-2019). She is currently working on research towards her first long-form film, ‘Wendy’, a new film commissioned by TACO! (Thamesmead Arts and Culture Office), London.

Des fragments des plus grands discours de cinéma (sélectionnés par le site American Rhetoric) sont montés de façon à créer un morceau d'éloquence qui fait passer des messages mêlés sur la "condition humaine" et sur les dirigeants (réels et fictifs) qui essaient de la façonner. La bande-son originale du film est remplacée par une voix générée par ordinateur, ôtant ainsi aux discours leur pouvoir émotionnel en applanissant les différentes perspectives des orateurs pour qu'il ne reste qu'une seule voix. Le travail d'Erica porte souvent sur les clichés du langage dans la culture populaire et tente de leur redonner vie en les remixant et en les plaçant dans un nouveau contexte. Cette oeuvre poursuit ce projet en étudiant le langage utilisé dans les prises de paroles publiques, et le culte de la personnalité que cela implique souvent.

Erica Scourti est née à Athènes, en Grèce, en 1980. Elle vit à Londres depuis 1998, où elle a fait des études de chimie. Elle a également étudié les beaux-arts à la Middlesex University, où elle a obtenu son BA. Son oeuvre a été montrée au niveau international, par exemple à Videonale 11, Purescreen Artists Film & Video à Bureau gallery et aux Recontres Internationales 2006 à Berlin et Paris. Récemment, elle a effectué une résidence au premier festival d'art contemporain d'Anso, dans les Pyrénées. Elle montrera son oeuvre au musée Reine Sofia à Madrid et au Wewerka Pavilion pendant le Munster Sculpture Project 2007.

"Trailer Truths III" est le troisème épisode d'une trilogie de court-métrages faits de textes découpés de bandes annonces de films. Des mots et des phrases sont collées pour créer un nouveau texte qui coordonne l'avancée d'une critique de société à une action directe fatidique, dans un film qui parodie la notion du style Hollywoodien et appelle aux armes. En utilisant souvent le langage réductif et émotif propre au divertissement, incarné par des bandes annonces, pour aborder des problèmes sensibles et complexes, ce film reflète la partialité des superproductions et des divisions manichéennes.

Erica Scourti est née à Athènes en 1980 mais vit à Londres depuis 1998 où elle vint pour étudier la Chimie. Après avoir obtenu sa Licence d'Art aux Beaux-Arts à l'Université de Middlesex, son travail a été projeté internationalement et surtout en Grande-Bretagne, et a été choisi comme démonstration itinérante pour la galerie online tank.tv. D'autres projections récentes comprennent le "Oberhausen Short Film Festival Lounge", "EMAF ?Smart Art? discussion and Pursescreen at Bureau gallery", Manchester. Elle entreprend actuellement un diplôme en Art & Philosophie à l'Université de Birkbeck à Londres.

Trailer Truths I is the first installment of a trilogy of short films made up of text taken from movie trailers. Words and phrases are collaged together to create a darkly humorous text about war, evil and propaganda. The work playfully addresses the representation of power and language in the media, and the role of belief in the popular consciousness.

Erica Scourti grew up in Athens, leaving at 18 to study Chemistry in London. After a year on the course she quit and, after a stint at London College Fashion and Goldsmiths, graduated from Middlesex University?s BA Fine Art course in 2003. She now lives and works in East London and Essex. Her work will be appearing in the 15th Mostyn Open Competition in March 2005. Recent film screenings include: The One Night of Video & Audio, Umbrella Arts Group, Cardiff, Wales; Max 5 Video Festival, Café Gallery Projects, London; 3rd RestCycling Festival, Berlin; tank.tv on-line (www.tank.tv); Shot By The Sea, Electric Palace Cinema, Hastings; Winter Fantasia, Space Studios, London; and Trampoline ? Reactor, a live link-up to Berlin, held at Broadway Cinema, Nottingham in 2005. Courtesy Castlefield Gallery

Dans un cimetière d'avions, des avions de guerre sont laissés à l'abandon ou mis à la casse.

Alexandria Searls enseigne la production des médias à l'Université de Virginie. Elle est également une photographe exposée dans le monde entier.

F begins to follow two young anarchists who sporty usurp abandoned commercial storefronts and apartments. These three strangers will become closer after subtle acts of trespassing and sporadic forays into civil disobedience. The longing for exile and the fantasy that a promising future is somewhere else contaminates F. The city is immersed in an eternal holding pattern, becoming into a singular artifact, as melancholy as uncanny.

Alan Martín Segal was born in Buenos Aires, Argentina. He is an artist and filmmaker whose work has been presented in various international institutions, galleries, and biennials including the Hessel Museum of Art, Annandale-on-Hudson, New York; Buenos Aires Museum of Modern Art; BIENALSUR, Buenos Aires; The Kitchen, New York; and SculptureCenter, New York and Dia, New York. His films have been featured in film festivals such as the New York Film Festival; Vienna International Film Festival; FIDMarseille; Rencontres Internationales, Paris/Berlin; Jeonju International Film Festival, Korea; and Festival Internacional de Cine de Mar del Plata, Argentina. Segal lives in New York.

“Key, washer, coin” is a video piece that combines techniques from the reenactment, animation, music, and other fields to ruminates towards language and capitalist exchange. The formal and semantic languages of advertisements are dissected, breaking the marketing model down to its component parts, highlighting the complex capitalist infrastructure that fuels our economic reality. Advertisement shorts, graphic design pieces, marketing texts are rarely mistaken for art. That is due to a congenital wound: those forms cannot cover up their commercial nature, the evident and immediate presence of the money. The invisible hand of these disciplines is the labor of scientists, formal semantic researchers, cryptographers and engineers. By learning from these disciplines is it possible to create an original flowchart of resources; simultaneously critical, persuasive and disillusioning outcomes/pieces are expected.

Alan Segal is a Buenos Aires-based artist whose work has been shown nationally and internationally. Segal’s video work has been presented at film festivals such as the New York Film Festival, Viennale, Rencontres Internationales Paris/Berlin and, Mar del Plata International Film Festival. Among his recent group exhibitions are include Praising the surface at the Hesell Museum of Art (New York, USA), To push an ism at MAMBA (Buenos Aires Museum of Modern Art, Argentina), The Kitchen (New York, USA), A word is a shadow that falls on a lot of things at Ausstellungsraum Klingental (Basel, Switzerland), Desarticulaciones at Blau Projects (São Paulo, Brazil) and Variaciones sobre lo no mismo at MACBA (Buenos Aires Museum of Contemporary Art, Argentina). He also shows his work in international biennials; Visual Resonances at the BIENALSUR (the South America contemporary Art Biennial) and Draft Systems at The WRO Biennale (Wroclaw, Poland). As a film editor, Segal teamed up Gastón Solnicki for the films Kékszakállú (Argentina/Uruguay, 2016) and Introduzione all ‘Oscuro (Argentina/Austria, 2018). For his work in this film, he won the FIPRESCI award for the Best Editing at the Venice Film Festival. Segal studied at ENERC (Argentine National Film School), Skowhegan School of Painting and Sculpture (USA) and, UTDT Program for Artists (Argentina). He received his MFA from Bard College (USA).

"An interrupted investigation of R" is an epistemological sci-fi detective short film. This project is an adaptation of Stanislav Lem`s “ The Investigation ”. The work pretends to contribute to the regime of Extra Science Fiction, as was developed by Quentin Meillassoux. A synopsis of the book that I found at Goodreads: "An officer at Scotland Yard is assigned to investigate an eerie case of missing-and apparently resurrected-bodies. To unravel the mystery, Lt. Gregory consults scientific, philosophical, and theological experts, who supply him with a host of theories and clues". I used that minimal narrative as an excuse to address some of this questions and ideas. What would happen if experimental science became impossible and cannot deploy its theories? What exactly guarantees for us, but also what convinces us that natural laws will still be valid in the next moment? How is the bound in between science and fiction? It seems like the science allows the construction of a storyline because stories happen in ordered worlds. The way the merger of the virtual and the digital elicits a context of indetermination. How will the construction of different models of representation affect our perception of a specific phenomenon?

Alan Segal (AR), born in 1985, he studied at Skowhegan School of Painting and Sculpture, Program for Artist and Curators, Universidad Di Tella, and is currently completing his master in Fine Arts at The Milton Avery Graduate School of the Arts at Bard College. He uses drawings, video, coding and sound to design works that reveal alternative systems of communicative convention. “Tutorial ” was his last solo show at Zmud. Recent group exhibitions include "A word is a shadow that falls on a lot of things" at Ausstellungsraum Klingental (Basel, Switzerland), “Praising the surface ”at the Hesell Museum of Art (New York, USA) and “ To push an ism ” at MAMBA (Buenos Aires Museum of Modern Art). He also shows his work in international biennials; "Visual Resonances" at the BIENALSUR (the South America contemporary Art Biennial) and "Draft Systems" at The WRO Biennale (Wroclaw, Poland).

Single-channel video in which a recurring dialogue is formed by fragments extracted from two seminal public addresses by Václav Havel, former dissident and essential player of post-soviet politics in Eastern Europe. Both of the lines used in this work are the closing arguments of Havel`s New Year Addresses of 1990 and 1991, respectively. This persistent question posed by an individual in continuous doubt alludes to the extreme changes in global geopolitics once the Soviet Bloc fell in Czechoslovakia, but also alludes to the sociopolitical crisis nowadays, both in the region and other parts of Europe. It aims to present the essential contradictions present between discourse and socio economical realities in a context shaken by extreme political happenings: a laconic invitation to reflect on the nature of power and ideology.

Lives and works in Mexico City, Mexico. His highly diverse work has been shown in solo and group exhibitions in Mexico, USA, Europe and Asia. Some spaces that have featured his work include Sala de Arte Público Siqueiros, Museo de Arte Carrillo Gil, La Panaderia and Museo Tamayo Arte Contemporáneo in Mexico City, along with El Museo del Barrio, Anthology Film Archives, White Box and apexart (New York), LAXART, MoLAA (Los Angeles) Museo Nacional Centro de Arte Reina Sofia (Madrid), National Center for Contemporary Art (Moscow) and the Modern Art Museum of Fort Worth, TX. His work has been widely reviewed & featured in local and international art publications & major newspapers such as Flash Art, Adbusters, Art Papers, Código, Art Nexus, Discipline, Celeste & The Washington Post, among many others. In 2008/09, Segura was an artist-in-residence at the International Studio & Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. In 2012/13, he undertook artistic residencies and research stays at Hangar ?Centre de Producció i Recerca d?Arts Visuals (Barcelona), MeetFactory ? International Center of Contemporary Art (Prague) and Impakt Foundation (Utrecht). He?s a founding member and board advisor of SOMA, Mexico City.

Dans cette oeuvre, une série d´événements socio-politiques est analysée, entre liens hypothétiques et théories de conspiration. Conspiranoia (2004) tente de représenter ce qui serait l´ultime conspiration, non sans humour et sarcasme : en effet, la principale source d´inspiration pour cette oeuvre est la culture populaire, dont les bandes-dessinées, les séries télé, la littérature d´esbrouffe et le journalisme sensationnel "d´enquête". Mais une fois encore, qui sait? Tout ce que vous savez n´est peut-être bien qu´un mensonge ...

JOAQUIN SEGURA (Né à Mexico city, 1980), Artiste visuel. Il vit et travaille à Mexico City. Son travail, ses installations, interventions et oeuvres photographiques ont été exposées dans des expositions solo ou de groupe au Mexique, aux Etats-Unis et en Europe, par exemple à La Panaderia, au Museo de Arte Carrillo Gil, au Centro de la Imagen et Ex-Teresa Arte Actual à Mexico City, mais aussi Outpost for Contemporary Art, Los Angeles, California, Museo Nacional Centro de Arte Reina Sofia à Madrid et Palace Adria à Prague, Republique Tchèque. Il a également réalisé des films et été commissaire d´exposition à l´occasion de plusieurs projets. Ses oeuvres sont actuellement représentées par Arena México Arte Contemporáneo, Mexique.

The Band “Esmark” is a collaboration between the sound architect Nikolai von Sallwitz and the artist Alsen Rau. The music video by video artists Robert Seidel for the track “Husby-klit Bk.” is based on a live video performance, in which a modular video synthesizer generates mental spaces between floating and overwriting realities. The visual material is based on a convolute of geographical impressions, that are fused by the cinematic soundscape into a continuous stream of dissolving memories.

Robert Seidel’s projections, installations and experimental films have been shown in numerous international festivals, as well as at galleries and museums such as the ZKM Karlsruhe, Art Center Nabi Seoul and MOCA Taipei. He is interested in pushing the boundaries of abstracted beauty through cinematographic approaches, as well as ones drawn from science. By the organic interplay of structural, spatial and temporal concepts he creates an evolving complexity of multifaceted readings. Seidel lives in Berlin/Jena as artist and curator.

The Other is a thought provoking video work that takes viewers on a journey through the intricate realms of estrangement, the search for identity, and the indelible marks left by colonial history in our society. At its core, this video work delves into the intricate and often unsettling emotion of estrangement—the feeling of disconnection from oneself and one's surroundings. It poetically explores the ways in which external influences, societal pressures, and personal quests for self-discovery can blur the lines between self and 'other,' giving rise to a compelling examination of identity. Against the backdrop of these personal and emotional explorations, "The Other" unearths the deep-rooted colonial history that continues to shape our collective consciousness. It sheds light on the suppressed narratives, silenced voices, and uncomfortable truths that underlie our societies.

Carla Chibude Seidemann is an interdisciplinary artist specializing in film and photography. Currently enrolled in the VAV-Moving Image Programme at Gerrit Rietveld Academie. A standout accomplishment in their career is the self-publishing of "Visual Diaries," a research magazine that explores the intersections of art, culture, and society, encouraging readers to foster empathy towards their surroundings and to be part of a broader conversation. www.visualdiaries.info In addition to their academic pursuits, Carla Chibude Seidemann has gained practical experience as an assistant at Zaafar Jewelry NY, contributing their creative insights to the world of design. Through their work in film and photography, Carla Chibude Seidemann aims to capture the nuances of human emotion and the intricacies of the human experience.

There is in nature, a mysterious and complex mathematical system that repeats itself over and over again, an underlying geometric pattern in forms as disparate as clouds, mountains, trees or our own circulatory system. Its distinctive feature is self-similarity, the same configuration that is repeated at different scales, branching out infinitely. There are those who believe that it is “God’s fingerprint”, “the absolute truth of the universe”.

Sebastián Seifert is a multimedia artist, designer and music producer. He has lived and worked in Barcelona since 2002. His career has developed at interdisciplinary points of convergence, maintaining digital electronic poetics as the support, concept and format of his productions. He has an International Master’s Degree in Media and Interactive Systems at the Autonomous University of Barcelona and ESDI (2002) and the Design, Image and Sound Career at the University of Buenos Aires (UBA). In the field of media art, he has developed net-art projects, interactive installations and multimedia performances, serving as curator of these languages ??at the «la Caixa» Foundation (Barcelona) from 2003 to 2011. With the audiovisual project “Microfeel ”, the artist highlights his transdisciplinary vocation, creating worlds that combine visuals and sound. He has taken his audiovisual concert to festivals like MUTEK (ES/AR/MX), SONAR, SZIGET, CTM, FILE and AMURAL, among others.

Through episodes that display a high degree of idiosyncrasy, we follow a stranger who creates an imaginary order which serves to stress his inexistence elsewhere. The film is a personal documentary that represents a constellation of past time and suspended time while attempting to explore the Foucauldian phrase 'a placeless place'.

Sibi Sekar was born on April 29th, 1997 in Chennai, Tamil Nadu, India. Sibi fell in love with cinema at an early age upon viewing the works of artists such as Luis Buñuel and Sergei Parajanov. Sibi began making experimental films and directed a few short films ("Thoughts Out Of Season", “Night Train Light On Track“, “Teal City” and "Representation") while doing his postgraduation in Humanities and Social Sciences. He launched the SSSW banner during the 2020 pandemic and made a few more short films ("On Floating Bodies", "The Tale of the Entry/Exit", "you are, i am" and "Of Other Spaces") under said banner. They have been screened at over thirty festivals across five continents. He usually works on explorative films that are primarily an ascetic representation of resistance and the thematic dispositions of his films concern the symbolic depiction of being, nothingness and the transcendental space.

The opening of the film «The Ceremony» shows the image from the title page of Olof Rudbeck the Elder’s «Atlantica» from 1679, were Rudbeck reveals Sweden as the sunken Atlantis. Written during the era of the Swedish Empire, the archaeological novel «Atlantica» is a marvel of non-specialization and heterogeneous connections, largely based on speculative etymologies and sound correspondences. In «The Ceremony», in a similar audacious manner, identities, histories and places appear and disappear: freed from reality’s hold, in layer upon layer of image, text and sound, like abandoned or yet to be built cities: Tutankhamen’s crypt and unbroken seal, Bredäng (suburb of Stockholm where the artists live), the strange entrance to the old Stasi headquarters in Berlin, other places, tombs and prisons. All connected by subterranean passages through which an alien time runs; incompatible, turning endlessly into itself.

Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Lina Selanders work often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s work has been shown at Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montré al and in international group shows such as the Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.Oscar Mangione (b. 1971) works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.

Title: Moon Tapestry Year: 2024 16 mm transferred to DV-tape and to digital file 13:09 min Color Sound A 19th-century French hand-painted wallpaper from Medborgarhuset, the house for the citizens in Stockholm, forms the basis of this piece. It was filmed using 16 mm film transferred to DV-tape and processed through a broken post-production machine from the 1990s. The installation explores a variation of the Endymion mythology, where the god Hypnos falls in love with Endymion, causing him to keep his eyes open during sleep. This allows Hypnos to continuously gaze at the young man's face. The installation embodies a technological sedimentation or a pastoral utopia, representing the moon as a gigantic pixel. It explores the dimensions of a square, representation, subject, room, limit, surface, and the definition of front and back.

Lina Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are weighed and tested. She examines the relationships between memory and perception, photography and film, language and image. The precise, rhythmic editing and use of sound create their own temporality and a strong inner pressure. Selander’s oeuvre recurrently explores a fascination for the phenomena and technologies that make images possible, thereby enabling history to be documented. Montage is used in the films to juxtapose images, while entailing a potential loss of content. Image meets text in a flow where meaning arises from the ostensibly unrelated, like echoes through and between the works. Selander’s works constitute a dense archive of observations, occasionally in dialogue with other films, art or literature. Their subject matters often stem from historic or ideological junctions, where one system or physical place collapses and something new begins to emerge. Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Selander’s work has been shown at Kunst Haus Wien, Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montréal and in international group shows such as Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.

This animation highlights the technological remnants of what is left behind. It is a simplistic creation consisting of color and rhythm. It incorporates X-ray images, figures from Pompeii, and footage of a turtle in Syria. This creation story symbolizes the ability to generate something new and release it, akin to a primordial soup of pixels. The animation emphasizes the constant act of looking, viewing, perceiving, and receiving images. It portrays the relationship between the photographic technique, the apparatus itself, "the machine," and the complexities of distortion in perception and imagination. The film was created using a broken special effects machine from the 1990s, resulting in the destruction, overexposure, underexposure, abstraction, and, ultimately, in the freedom of the material.

Lina Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are weighed and tested. She examines the relationships between memory and perception, photography and film, language and image. The precise, rhythmic editing and use of sound create their own temporality and a strong inner pressure. Selander’s oeuvre recurrently explores a fascination for the phenomena and technologies that make images possible, there by enabling history to be documented. Montage is used in the films to juxtapose images, while entailing a potential loss of content. Image meets text in a flow where meaning arises from the ostensibly unrelated, like echoes through and between the works. Selander’s works constitute a dense archive of observations, occasionally in dialogue with other films, art or literature. Their subject matters often stem from historic or ideological junctions, where one system or physical place collapses and something new begins to emerge. Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Selander’s work has been shown at Kunst Haus Wien, Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montréal and in international group shows such as Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.

Man sees himself as nature’s interpreter and tamer. But nature does not care about meaning, and its power cannot actually be controlled. It therefore remains silent in the face of man’s increasingly reckless experiment, the catastrophic effects of which will ultimately afflict man himself. The camera follows a panda at Schönbrunner Zoo surrounded by pictures of the Great Wall of China. Silently the panda holds a bamboo brush to paper, makes some marks with ink—pictures—and is rewarded with carrots. How shall we interpret this artistic gesture? The video proceeds to a control room at a never-used nuclear power plant that illustrates yet another despotic panorama, one with the same silence and latent violence. The images are transferred from one context to another, created and recreated in relation to one another. To question what it means is only human, but in the long run probably irrelevant. Text: Lisa Rosendahl

Lina Selander (b. 1973 in Stockholm) lives and works in Stockholm, Sweden. Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are explored and weighed. She examines relationships between memory and perception, photography and film, and language and image. Lina Selander’s solo shows include Kunst Haus Wien; Argos – Centre for Art and Media, Brussels; Iniva, London; Moderna Museet, Stockholm; VOX – Centre de l’image contemporaine, Montréal. She was the Swedish representative at the Venice Biennale 2015. A selection of her group shows include: The Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Belgium. ++++ Oscar Mangione (b. 1971) works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.

Artifacts from a Maoist life intersects with machines grinding books, the piecing together of destroyed DDR documents and children undergoing education. A comment on the earlier work “When the Sun Sets It’s All Red, Then It Disappears” from 2008.

The Offspring Resembles the Parent (2015) is a new film made for the 2015 Venice Biennale. Like Selander’s earlier works, it takes as its starting point a specific event or situation of crisis within society—in this case the current economic state and our increasingly crumbling faith in the monetary systems, with links to the European situation during World War I and the interwar years. A major part of the film’s imagery consists of Notgeld—emergency banknotes—often colourful and with a strong visual impact, printed on paper or fabric. Their obviously fictitious character—they represent gigantic figures— points to the imperceptible flows within today’s digital economies. Not unlike language, economic value is built on an agreement, a mutual understanding. The fictitious reality of finance only reveals its relation to the human, the body, to work and to nature in a situation of crisis in which the human conditions and connections to colonialism and warfare become clear.

Lina Selander is one of Sweden’s most innovative moving image artists. Her films and installations often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s process is similar to that of the scientist or poet. Each work constitutes a dense archive of facts and observations, occasionally in dialogue with other films, works of art or literature. The precise, rhythmic editing and use of sound in her films generate a unique temporality and strong internal pressure, and take intuitive leaps between associations and meanings. Selander’s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet, VOX - centre de l’image contemporaine, Montréal and in international group shows, biennales and festivals, for example in the Venice Biennale 2015, The Kiev Biennale, Seoul Media Art Biennale 2014, Manifesta 9-European Biennal of Contemporary Art 2012, and the Bucharest Biennale 4, 2010. .... Oscar Mangione works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in the following exhibitions, performances and projects: Överlämningen, Konsthall C, 2013; Suðurlandsvegur, The Reykjavík Arts Festival, 2012; The Spiral and the Square, Bonniers Konsthall, 2011/12; Geist in Therapy, The Studio, Moderna Museet, 2009; Role Critique, Iaspis at the Venice Biennale, 2009; Geist on Speed, Index, 2008.

In the first sequences of Lina Selander´s new film a story is told about the ancient, now extinct, plant silphium. The plant grew on the coast outside the North African town Cyrene—a settlement of Greeks from the overpopulated island of Thera in 630 BC—which became the main town in the Greek colony, situated in today´s Libya. The plant was famous for its medical usage (it was used as a contraceptive and abortifacient) and for its richness in flavour, which made it the base of the colony’s export. Its importance for the economic wealth was so crucial that the image of silphium was imprinted on the coins. When exploitation of the plant led to extinction, the city declined. As is often the case in Selander’s works, the film builds on layers of images and meaning, layers that link history and pre-history to contemporary society, and in which nature as a prerequisite for life is one of the focal points. The human strive for development and expansion, the desire for control over nature, and above all—visual control, depiction and surveillance, is always met by another contradicting force. The nature looks back at us, its eyes empty—a reoccurring image in Selander’s film. In Silphium this double movement of visual and earthly mastery and its opposite—loss of visual control, awareness of vulnerability—is first expressed in a shot of the famous 16th-century painting The Ambassadors by Hans Holbein. The ambassadors are depicted together with the emblems of wealth and superiority of the countries they are the representatives for. A contradicting image is hidden until you view the painting from a specific angle, but when you do a human skull becomes visible, the sign of mortality. Selander lets the image oscillate in and out of visibility; the painted image emerges as in a rupture of light in the dark whilst mumbling voices count—numbers, years maybe. The sound fragment is a loan from Chris Marker´s 1962 film La Jetée—another important point of reference. The films narrative tells the story of how a man is used in time travel experiments in order to save the world. He travels through sediments of memory and images, much in the same way as Selander’s film, only to return to his beginning.

Lina Selander (b. 1973) lives and works in Stockholm, Sweden. She works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations in which these different medias converge and interrelate to one another. She is interested in the image’s ability and lack of ability to reproduce time, experience and memories and she explores how narration is created and how different techniques transform a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archaeology and authenticity. Selander’s work has been shown at Index - The Swedish Contemporary Art Foundation, Moderna Museet, Kunsthall Trondheim and in international group shows such as Manifesta 9 in Genk, Belgium and the Bucharest Biennale 2010 and at Haus Kulturen der Welt, Berlin, Seoul International Media Art Biennale and upcoming exhibitions such as Momenta Art, New York, INIVA, London and she also representing Sweden in the 56th Venice Biennale 2015.

To the vision machine (2013) 28:45 min. HD-video, color, sound and silence. 16:9 To the vision machine is the beginning of a larger work on the visual inscription`s invisible centre, on the picture as an internal object and its relation to vision and different imaging technologies. The work initiates a search for a code that would make vision redundant, a promised land which it can not hope to enter. The starting point is the atomic bomb over Hiroshima, or more precisely: the detonation of the atomic bomb as a photographic event. The first atomic bomb created a flash that lasted one fifteenth of a millionth of a second. The light penetrated every building and shadows of objects and bodies were exposed and burned onto the city`s surfaces. When bodies and objects turned to ash, their traces were left as unintentional monuments. But the detonation itself can only be witnessed at the expense of one`s eyesight or life. The sound of the whistle and the scene at the end is from the film "The Children of Hiroshima" ("Genbaku no ko", 1952), which shows the Peace Memorial Museum while it is under construction after the U.S. occupation had ended and it was allowed to remember the disaster again.

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate !lm as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archeology and authenticity. Selander?s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, Institute of Contemporary Art in London and The Netherlands Media Art Institute.

Lina Selander offers a subtle meditation on the long-term historical effects provoked both socially and ethically by the Soviet utopia of the production of energy, summarised in Lenin?s slogan from 1920: ?Communism is Soviet Power plus the electrification of the whole country?. The elements of Lenin?s Lamp equally reject an idea of films, photographs or videos as neutral accretions of visual information. The elements of this film are to be seen both as material witnesses of the experience of modernisation and as agents of the very same history. From Dziga Vertov?s film The Eleventh Year (1928) to and video recordings from the Chernobyl disaster and the ghost city of Pripyat to images of fossils in museums and prehistorical landscapes, Selander?s images consist of sensory materials.

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate !lm as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history and authenticity. Selander?s work has been shown at Index, The Swedish Contemporary Art Foundation, Bonniers Konsthall, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, Institute of Contemporary Art in London, The Netherlands Media Art Institute in Amsterdam and Transmediale 05 in Berlin where she received an honourable mention from the jury.

The film takes its starting point in several research trips to the West Bank, especially to the city of Hebron. We are confronted with photographs, and with still images, depicting ? in a rather abstract and distanced manner ? various situations: a model of ancient Jerusalem in a Museum, a check-point with its massive security architecture squeezed into a historical building, houses, walls, objects. In between, sequences of moving image appear that show a chain link fence above a shopping alley in Hebron, built to protect Palestinians from settlers throwing stones at them. The continuous, but halting, camera movement facing the horizontal fence disturbs our perception and sense of orientation. Still and moving images alternate with short texts, establishing a rhythm that does not only connect ? without always explaining ? what is seen, but introduces a narrative that articulates the interrogation of image and text. Contrary to a conventional image of Palestine and the conflict as emphasized ? and exploited ? by the mass media and contrary to dominant documentary practices, Selander turns away from a documentary exposition and instead ?reflects on and projects layers of control, dream and confinement, both in relation to the place and its history and to problem of showing and saying it? (Selander).

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden. Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history and authenticity. Selander?s work has been shown at Bonniers Konsthall, Moderna Museet and Index Foundation and in international group shows, biennales and festivals, for example in the Bucharest Biennale 2010, Institute of Contemporary Art in London, The Netherlands Media Art Institute in Amsterdam and Transmediale 05 in Berlin where she received an honourable mention from the jury. She has also received the Maria Bonnier Dahlin Foundation Grant (2005) and The Edstrand Foundation Art Prize (2008). She is also represented in the next Manifesta Biennal, 2012 in Belgium.

Lina Selander?s work When the sun sets it?s all red, then it disappears takes Jean-Luc Godard?s 1967 film La Chinoise as its starting point. It examines the relationship between political, utopian and emotional expressions in words and images, it explores the revolutionary zeal of a time and the desire to start all over again. La Chinoise is a film in the making, a film that tells the story of a revolutionary and truth-seeking common narrative while at the same time trying to be a part of it, sharing its inherent expressions and problems. Lina Selander?s film is also a work in the making, engaging and evolving around Godard?s film and the questions it addresses and responds to. But it is also a film about photography and storytelling. Most of the photographs in the series of stills are from the 1968 student revolts in Paris and Stockholm, taken at meetings and manifestations. But they also show other motifs, such as a close-up of a growing blob of moisture on a news reel showing Chairman Mao swimming in the Yellow River, personal photos and some stills from La Chinoise. All images have been photographed with flash and all photos have a white circular reflection on them which may represent or constitute a common space where the spectator?s space and that of the motif overlap, but where they are also defined as separate ? a blinding dazzle or hole in the image which ultimately blocks any final narrative and forces itself into the motifs and events that are being documented.

Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, memories and experience and she explores how different narrative forms and techniques transform and change a story. Her works investigates film as medium, examining its possibilities and limitations as form of expression. Lina Selander?s work have been shown at Gävle Art Center, Bonniers Konsthall, 300 m3 Art Space and Moderna Museet as well as in several group shows and festivals abroad, for example the Transmediale 05 in Berlin where she received an honorable mention. She has also received the Maria Bonnier Dahlin prize for young artists and The Edstrand Foundation Art Prize 2008.

Le film montre des images de Portbou, ville située à la frontière franco-espagnole, où le philosophe Walter Benjamin s?est ôté la vie la nuit des 27 et 28 septembre 1940. La frontière a été fermée la veille de son arrivée et rouverte le lendemain de sa mort. Les images, à la fois fixes et en mouvement, sont accompagnées d?une voix-off qui raconte différentes histoires sur le quartier des réfugiés : des fragments, des détails, des pensées. La vidéo et le son tournent tous deux en boucle. Leur durée est cependant différente, ce qui induit une multitude de relations entre le mot et l'image, qui tantôt accentue la distance qui les sépare et tantôt réduit leur écart. Une dérive continuelle de la perspective, qui montre qu?un récit complet n'est jamais possible. Finalement, les images sont peut-être plus liées à la voix qu?aux histoires, ou à l'histoire qu?elles racontent. Le titre « Timmarna som rymmer formen » est une citation de « Sens unique » de Walter Benjamin.

Lina Selander travaille principalement avec des images en mouvement dans le cinéma et la vidéo, mais aussi avec la photographie, le texte et le son. Ses ?uvres sont souvent des installations dans lesquelles ces différents médias et composantes interagissent et convergent les uns vers les autres. Elle s'intéresse à la capacité de l?image, ainsi qu?à son manque de capacité, à reproduire le temps, les souvenirs et les expériences et elle explore la façon dont les différentes formes et techniques narratives peuvent changer une histoire. Ses ?uvres expérimentent le film comme médium, en examinant ses possibilités et ses limites en tant que forme d'expression. Les ?uvres de Lina Selanders ont été exposées aux Gävle Art Center, 300 m3 Art Space, BONNIERS Konsthall et Modena Museet, ainsi que dans plusieurs expositions collectives et festivals à l'étranger, par exemple, à la Transmediale 05 de Berlin (Allemagne) où elle a reçu une mention honorable. Elle a également reçu le Prix de la Fondation Edstrand et le Prix Maria Bonnier Dahlin pour les jeunes artistes. Lina vit et travaille à Stockholm.

Reconstruction. Des images non systématiques ? cousues à l?intérieur puis retournées. Toutes ces images étaient très ordinaires, scènes typiques d?un album de famille : vacances, voyages à l?étranger, rencontres familiales, etc. Les fils de couture dans ces images ? la côte cousue à l?océan, les nuages au ciel ou les gens les uns aux autres marquent une manière de codifier les structures et relations émotionnelles dans les images, contrôlant ainsi une interprétation d?eux-mêmes et soulignant (alors qu?ils essaient en même temps de le combler) le fossé entre l?image et la réalité. Les coutures et les trous de l´aiguille dans l´image sont ressorties comme l´essence d´une realité intense et cachée, contenant une vérité qui manquait aux images réelles. Les images retournées montre cette vérité dévoilée. J?ai ensuite utilisé les images retournées avec les mailles, trous et coutures et inversé leur ordre pour revenir au négatif, à l?image photographique de base. Le point rouge lisant le diagramme comme une figure et les transformant en sons devient une mise en scène d?un acte de souvenir. Il lit ce qui est réprimé et caché, et ce qui se cache derrière la mémoire réprimée.

Née en 1973 à Stockholm où elle vit et travaille. Lina a étudié en Suède à la Valand School of Fine Arts, à Gothemburg puis à la Royal University College of Fine Arts de Stockholm. Elle a ensuite suivi un cursus à la Gothenburg University en photographie et film,. Lina Selander travaille avec les films et des photographies, textes et sons. Les sujets récurrents de ses ?uvres sont la transformation du temps et de la mémoire, leur dissolution, compulsivité et leur intensité. Elle travaille avec, et montre sous des angles différents, l?auto-référence des images, immobiles ou mobiles. Les ?uvres vidéos de Lina Selander traitent du mélange de l?abstrait et de la narration, elle décompose et recompose le film comme structure narrative. Elle veut que les ?uvres mettent en scène elle-mêmes leur propre essence théorique et leur existence, et ainsi faisant, dévoiler un domaine où un nouveau sens peut émerger. Ses ?uvres ont été montrées au Moderna Museet, Fylkingen, Galleri Charlotte Lund, Stockholm and Galleri 300m3, Gothenburg. En février 2005, elle a été récompensée d?une Mention Honorable à la Transmédiale 2005 à Berlin.

Title: Moon Tapestry Year: 2024 16 mm transferred to DV-tape and to digital file 13:09 min Color Sound A 19th-century French hand-painted wallpaper from Medborgarhuset, the house for the citizens in Stockholm, forms the basis of this piece. It was filmed using 16 mm film transferred to DV-tape and processed through a broken post-production machine from the 1990s. The installation explores a variation of the Endymion mythology, where the god Hypnos falls in love with Endymion, causing him to keep his eyes open during sleep. This allows Hypnos to continuously gaze at the young man's face. The installation embodies a technological sedimentation or a pastoral utopia, representing the moon as a gigantic pixel. It explores the dimensions of a square, representation, subject, room, limit, surface, and the definition of front and back.

Lina Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are weighed and tested. She examines the relationships between memory and perception, photography and film, language and image. The precise, rhythmic editing and use of sound create their own temporality and a strong inner pressure. Selander’s oeuvre recurrently explores a fascination for the phenomena and technologies that make images possible, thereby enabling history to be documented. Montage is used in the films to juxtapose images, while entailing a potential loss of content. Image meets text in a flow where meaning arises from the ostensibly unrelated, like echoes through and between the works. Selander’s works constitute a dense archive of observations, occasionally in dialogue with other films, art or literature. Their subject matters often stem from historic or ideological junctions, where one system or physical place collapses and something new begins to emerge. Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Selander’s work has been shown at Kunst Haus Wien, Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montréal and in international group shows such as Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.

This animation highlights the technological remnants of what is left behind. It is a simplistic creation consisting of color and rhythm. It incorporates X-ray images, figures from Pompeii, and footage of a turtle in Syria. This creation story symbolizes the ability to generate something new and release it, akin to a primordial soup of pixels. The animation emphasizes the constant act of looking, viewing, perceiving, and receiving images. It portrays the relationship between the photographic technique, the apparatus itself, "the machine," and the complexities of distortion in perception and imagination. The film was created using a broken special effects machine from the 1990s, resulting in the destruction, overexposure, underexposure, abstraction, and, ultimately, in the freedom of the material.

Lina Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are weighed and tested. She examines the relationships between memory and perception, photography and film, language and image. The precise, rhythmic editing and use of sound create their own temporality and a strong inner pressure. Selander’s oeuvre recurrently explores a fascination for the phenomena and technologies that make images possible, there by enabling history to be documented. Montage is used in the films to juxtapose images, while entailing a potential loss of content. Image meets text in a flow where meaning arises from the ostensibly unrelated, like echoes through and between the works. Selander’s works constitute a dense archive of observations, occasionally in dialogue with other films, art or literature. Their subject matters often stem from historic or ideological junctions, where one system or physical place collapses and something new begins to emerge. Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Selander’s work has been shown at Kunst Haus Wien, Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montréal and in international group shows such as Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.

Man sees himself as nature’s interpreter and tamer. But nature does not care about meaning, and its power cannot actually be controlled. It therefore remains silent in the face of man’s increasingly reckless experiment, the catastrophic effects of which will ultimately afflict man himself. The camera follows a panda at Schönbrunner Zoo surrounded by pictures of the Great Wall of China. Silently the panda holds a bamboo brush to paper, makes some marks with ink—pictures—and is rewarded with carrots. How shall we interpret this artistic gesture? The video proceeds to a control room at a never-used nuclear power plant that illustrates yet another despotic panorama, one with the same silence and latent violence. The images are transferred from one context to another, created and recreated in relation to one another. To question what it means is only human, but in the long run probably irrelevant. Text: Lisa Rosendahl

Lina Selander (b. 1973 in Stockholm) lives and works in Stockholm, Sweden. Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are explored and weighed. She examines relationships between memory and perception, photography and film, and language and image. Lina Selander’s solo shows include Kunst Haus Wien; Argos – Centre for Art and Media, Brussels; Iniva, London; Moderna Museet, Stockholm; VOX – Centre de l’image contemporaine, Montréal. She was the Swedish representative at the Venice Biennale 2015. A selection of her group shows include: The Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Belgium. ++++ Oscar Mangione (b. 1971) works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.

Artifacts from a Maoist life intersects with machines grinding books, the piecing together of destroyed DDR documents and children undergoing education. A comment on the earlier work “When the Sun Sets It’s All Red, Then It Disappears” from 2008.

The Offspring Resembles the Parent (2015) is a new film made for the 2015 Venice Biennale. Like Selander’s earlier works, it takes as its starting point a specific event or situation of crisis within society—in this case the current economic state and our increasingly crumbling faith in the monetary systems, with links to the European situation during World War I and the interwar years. A major part of the film’s imagery consists of Notgeld—emergency banknotes—often colourful and with a strong visual impact, printed on paper or fabric. Their obviously fictitious character—they represent gigantic figures— points to the imperceptible flows within today’s digital economies. Not unlike language, economic value is built on an agreement, a mutual understanding. The fictitious reality of finance only reveals its relation to the human, the body, to work and to nature in a situation of crisis in which the human conditions and connections to colonialism and warfare become clear.

Lina Selander is one of Sweden’s most innovative moving image artists. Her films and installations often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s process is similar to that of the scientist or poet. Each work constitutes a dense archive of facts and observations, occasionally in dialogue with other films, works of art or literature. The precise, rhythmic editing and use of sound in her films generate a unique temporality and strong internal pressure, and take intuitive leaps between associations and meanings. Selander’s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet, VOX - centre de l’image contemporaine, Montréal and in international group shows, biennales and festivals, for example in the Venice Biennale 2015, The Kiev Biennale, Seoul Media Art Biennale 2014, Manifesta 9-European Biennal of Contemporary Art 2012, and the Bucharest Biennale 4, 2010. .... Oscar Mangione works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in the following exhibitions, performances and projects: Överlämningen, Konsthall C, 2013; Suðurlandsvegur, The Reykjavík Arts Festival, 2012; The Spiral and the Square, Bonniers Konsthall, 2011/12; Geist in Therapy, The Studio, Moderna Museet, 2009; Role Critique, Iaspis at the Venice Biennale, 2009; Geist on Speed, Index, 2008.

In the first sequences of Lina Selander´s new film a story is told about the ancient, now extinct, plant silphium. The plant grew on the coast outside the North African town Cyrene—a settlement of Greeks from the overpopulated island of Thera in 630 BC—which became the main town in the Greek colony, situated in today´s Libya. The plant was famous for its medical usage (it was used as a contraceptive and abortifacient) and for its richness in flavour, which made it the base of the colony’s export. Its importance for the economic wealth was so crucial that the image of silphium was imprinted on the coins. When exploitation of the plant led to extinction, the city declined. As is often the case in Selander’s works, the film builds on layers of images and meaning, layers that link history and pre-history to contemporary society, and in which nature as a prerequisite for life is one of the focal points. The human strive for development and expansion, the desire for control over nature, and above all—visual control, depiction and surveillance, is always met by another contradicting force. The nature looks back at us, its eyes empty—a reoccurring image in Selander’s film. In Silphium this double movement of visual and earthly mastery and its opposite—loss of visual control, awareness of vulnerability—is first expressed in a shot of the famous 16th-century painting The Ambassadors by Hans Holbein. The ambassadors are depicted together with the emblems of wealth and superiority of the countries they are the representatives for. A contradicting image is hidden until you view the painting from a specific angle, but when you do a human skull becomes visible, the sign of mortality. Selander lets the image oscillate in and out of visibility; the painted image emerges as in a rupture of light in the dark whilst mumbling voices count—numbers, years maybe. The sound fragment is a loan from Chris Marker´s 1962 film La Jetée—another important point of reference. The films narrative tells the story of how a man is used in time travel experiments in order to save the world. He travels through sediments of memory and images, much in the same way as Selander’s film, only to return to his beginning.

Lina Selander (b. 1973) lives and works in Stockholm, Sweden. She works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations in which these different medias converge and interrelate to one another. She is interested in the image’s ability and lack of ability to reproduce time, experience and memories and she explores how narration is created and how different techniques transform a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archaeology and authenticity. Selander’s work has been shown at Index - The Swedish Contemporary Art Foundation, Moderna Museet, Kunsthall Trondheim and in international group shows such as Manifesta 9 in Genk, Belgium and the Bucharest Biennale 2010 and at Haus Kulturen der Welt, Berlin, Seoul International Media Art Biennale and upcoming exhibitions such as Momenta Art, New York, INIVA, London and she also representing Sweden in the 56th Venice Biennale 2015.

To the vision machine (2013) 28:45 min. HD-video, color, sound and silence. 16:9 To the vision machine is the beginning of a larger work on the visual inscription`s invisible centre, on the picture as an internal object and its relation to vision and different imaging technologies. The work initiates a search for a code that would make vision redundant, a promised land which it can not hope to enter. The starting point is the atomic bomb over Hiroshima, or more precisely: the detonation of the atomic bomb as a photographic event. The first atomic bomb created a flash that lasted one fifteenth of a millionth of a second. The light penetrated every building and shadows of objects and bodies were exposed and burned onto the city`s surfaces. When bodies and objects turned to ash, their traces were left as unintentional monuments. But the detonation itself can only be witnessed at the expense of one`s eyesight or life. The sound of the whistle and the scene at the end is from the film "The Children of Hiroshima" ("Genbaku no ko", 1952), which shows the Peace Memorial Museum while it is under construction after the U.S. occupation had ended and it was allowed to remember the disaster again.

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate !lm as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archeology and authenticity. Selander?s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, Institute of Contemporary Art in London and The Netherlands Media Art Institute.

Lina Selander offers a subtle meditation on the long-term historical effects provoked both socially and ethically by the Soviet utopia of the production of energy, summarised in Lenin?s slogan from 1920: ?Communism is Soviet Power plus the electrification of the whole country?. The elements of Lenin?s Lamp equally reject an idea of films, photographs or videos as neutral accretions of visual information. The elements of this film are to be seen both as material witnesses of the experience of modernisation and as agents of the very same history. From Dziga Vertov?s film The Eleventh Year (1928) to and video recordings from the Chernobyl disaster and the ghost city of Pripyat to images of fossils in museums and prehistorical landscapes, Selander?s images consist of sensory materials.

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate !lm as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history and authenticity. Selander?s work has been shown at Index, The Swedish Contemporary Art Foundation, Bonniers Konsthall, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, Institute of Contemporary Art in London, The Netherlands Media Art Institute in Amsterdam and Transmediale 05 in Berlin where she received an honourable mention from the jury.

The film takes its starting point in several research trips to the West Bank, especially to the city of Hebron. We are confronted with photographs, and with still images, depicting ? in a rather abstract and distanced manner ? various situations: a model of ancient Jerusalem in a Museum, a check-point with its massive security architecture squeezed into a historical building, houses, walls, objects. In between, sequences of moving image appear that show a chain link fence above a shopping alley in Hebron, built to protect Palestinians from settlers throwing stones at them. The continuous, but halting, camera movement facing the horizontal fence disturbs our perception and sense of orientation. Still and moving images alternate with short texts, establishing a rhythm that does not only connect ? without always explaining ? what is seen, but introduces a narrative that articulates the interrogation of image and text. Contrary to a conventional image of Palestine and the conflict as emphasized ? and exploited ? by the mass media and contrary to dominant documentary practices, Selander turns away from a documentary exposition and instead ?reflects on and projects layers of control, dream and confinement, both in relation to the place and its history and to problem of showing and saying it? (Selander).

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden. Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history and authenticity. Selander?s work has been shown at Bonniers Konsthall, Moderna Museet and Index Foundation and in international group shows, biennales and festivals, for example in the Bucharest Biennale 2010, Institute of Contemporary Art in London, The Netherlands Media Art Institute in Amsterdam and Transmediale 05 in Berlin where she received an honourable mention from the jury. She has also received the Maria Bonnier Dahlin Foundation Grant (2005) and The Edstrand Foundation Art Prize (2008). She is also represented in the next Manifesta Biennal, 2012 in Belgium.

Lina Selander?s work When the sun sets it?s all red, then it disappears takes Jean-Luc Godard?s 1967 film La Chinoise as its starting point. It examines the relationship between political, utopian and emotional expressions in words and images, it explores the revolutionary zeal of a time and the desire to start all over again. La Chinoise is a film in the making, a film that tells the story of a revolutionary and truth-seeking common narrative while at the same time trying to be a part of it, sharing its inherent expressions and problems. Lina Selander?s film is also a work in the making, engaging and evolving around Godard?s film and the questions it addresses and responds to. But it is also a film about photography and storytelling. Most of the photographs in the series of stills are from the 1968 student revolts in Paris and Stockholm, taken at meetings and manifestations. But they also show other motifs, such as a close-up of a growing blob of moisture on a news reel showing Chairman Mao swimming in the Yellow River, personal photos and some stills from La Chinoise. All images have been photographed with flash and all photos have a white circular reflection on them which may represent or constitute a common space where the spectator?s space and that of the motif overlap, but where they are also defined as separate ? a blinding dazzle or hole in the image which ultimately blocks any final narrative and forces itself into the motifs and events that are being documented.

Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, memories and experience and she explores how different narrative forms and techniques transform and change a story. Her works investigates film as medium, examining its possibilities and limitations as form of expression. Lina Selander?s work have been shown at Gävle Art Center, Bonniers Konsthall, 300 m3 Art Space and Moderna Museet as well as in several group shows and festivals abroad, for example the Transmediale 05 in Berlin where she received an honorable mention. She has also received the Maria Bonnier Dahlin prize for young artists and The Edstrand Foundation Art Prize 2008.

Le film montre des images de Portbou, ville située à la frontière franco-espagnole, où le philosophe Walter Benjamin s?est ôté la vie la nuit des 27 et 28 septembre 1940. La frontière a été fermée la veille de son arrivée et rouverte le lendemain de sa mort. Les images, à la fois fixes et en mouvement, sont accompagnées d?une voix-off qui raconte différentes histoires sur le quartier des réfugiés : des fragments, des détails, des pensées. La vidéo et le son tournent tous deux en boucle. Leur durée est cependant différente, ce qui induit une multitude de relations entre le mot et l'image, qui tantôt accentue la distance qui les sépare et tantôt réduit leur écart. Une dérive continuelle de la perspective, qui montre qu?un récit complet n'est jamais possible. Finalement, les images sont peut-être plus liées à la voix qu?aux histoires, ou à l'histoire qu?elles racontent. Le titre « Timmarna som rymmer formen » est une citation de « Sens unique » de Walter Benjamin.

Lina Selander travaille principalement avec des images en mouvement dans le cinéma et la vidéo, mais aussi avec la photographie, le texte et le son. Ses ?uvres sont souvent des installations dans lesquelles ces différents médias et composantes interagissent et convergent les uns vers les autres. Elle s'intéresse à la capacité de l?image, ainsi qu?à son manque de capacité, à reproduire le temps, les souvenirs et les expériences et elle explore la façon dont les différentes formes et techniques narratives peuvent changer une histoire. Ses ?uvres expérimentent le film comme médium, en examinant ses possibilités et ses limites en tant que forme d'expression. Les ?uvres de Lina Selanders ont été exposées aux Gävle Art Center, 300 m3 Art Space, BONNIERS Konsthall et Modena Museet, ainsi que dans plusieurs expositions collectives et festivals à l'étranger, par exemple, à la Transmediale 05 de Berlin (Allemagne) où elle a reçu une mention honorable. Elle a également reçu le Prix de la Fondation Edstrand et le Prix Maria Bonnier Dahlin pour les jeunes artistes. Lina vit et travaille à Stockholm.

Reconstruction. Des images non systématiques ? cousues à l?intérieur puis retournées. Toutes ces images étaient très ordinaires, scènes typiques d?un album de famille : vacances, voyages à l?étranger, rencontres familiales, etc. Les fils de couture dans ces images ? la côte cousue à l?océan, les nuages au ciel ou les gens les uns aux autres marquent une manière de codifier les structures et relations émotionnelles dans les images, contrôlant ainsi une interprétation d?eux-mêmes et soulignant (alors qu?ils essaient en même temps de le combler) le fossé entre l?image et la réalité. Les coutures et les trous de l´aiguille dans l´image sont ressorties comme l´essence d´une realité intense et cachée, contenant une vérité qui manquait aux images réelles. Les images retournées montre cette vérité dévoilée. J?ai ensuite utilisé les images retournées avec les mailles, trous et coutures et inversé leur ordre pour revenir au négatif, à l?image photographique de base. Le point rouge lisant le diagramme comme une figure et les transformant en sons devient une mise en scène d?un acte de souvenir. Il lit ce qui est réprimé et caché, et ce qui se cache derrière la mémoire réprimée.

Née en 1973 à Stockholm où elle vit et travaille. Lina a étudié en Suède à la Valand School of Fine Arts, à Gothemburg puis à la Royal University College of Fine Arts de Stockholm. Elle a ensuite suivi un cursus à la Gothenburg University en photographie et film,. Lina Selander travaille avec les films et des photographies, textes et sons. Les sujets récurrents de ses ?uvres sont la transformation du temps et de la mémoire, leur dissolution, compulsivité et leur intensité. Elle travaille avec, et montre sous des angles différents, l?auto-référence des images, immobiles ou mobiles. Les ?uvres vidéos de Lina Selander traitent du mélange de l?abstrait et de la narration, elle décompose et recompose le film comme structure narrative. Elle veut que les ?uvres mettent en scène elle-mêmes leur propre essence théorique et leur existence, et ainsi faisant, dévoiler un domaine où un nouveau sens peut émerger. Ses ?uvres ont été montrées au Moderna Museet, Fylkingen, Galleri Charlotte Lund, Stockholm and Galleri 300m3, Gothenburg. En février 2005, elle a été récompensée d?une Mention Honorable à la Transmédiale 2005 à Berlin.

A sprawling meditation on the choreography of bodies in Moscow’s urban landscape, Detours depicts a new way of dealing illicit drugs via the Darknet, the layering of the physical and the virtual realities, as well as a poetics, and politics, of space. Taking place in sleepy neighbourhoods, among the concrete walls of high-rises, behind garages and amidst abandoned railroads, the film alternately follows and loses track of Denis, the treasureman who hides stashes of drugs all over the city.

Ekaterina Selenkina is a filmmaker, artist and curator born in St. Petersburg, Russia in 1992. Her work showed at Venice International Film Critics’ Week, Viennale, Thessaloniki International Film Festival, Garage Museum of Modern Art, Camerimage, Pacific Meridian, Message to Man, New Holland Island International Debut Film Festival, REDCAT arts center, among others. Together with Zaina Bseiso, Luis Gutiérrez Arias and Joie Estrella Horwitz, she is a member of the film collective called Bahía Colectiva and co-curator of Adrift Residency. She received her MFA in Film/Video from California Institute of the Arts and is currently based in Moscow.

"Sleep" fait référence à la vidéo éponyme d?Andy Warhol. Tenant le rôle de John Giorno je vis mon sommeil comme un refuge propice à l`inaction. De part ce fait j?évite les contraintes matérielles et les logiques productivistes du monde actuel. L?irruption de la figure tutélaire de Warhol ne tardera pas à rompre ce paisible isolement, me secouant et me demandant de me réveiller et de travailler (« wake up it?s time to work and be famous »). Par un jeu de miroir, s?introduit alors la logique répétitive d?une Histoire de l?Art obnubilée par une conception linéaire du progrès. Le caractère cyclique de la vidéo peut aussi bien préfigurer le retour rêvé de l?inertie bienfaisante que symboliser l?alternance implacable entre répression et régression dans une ambiance cauchemardesque.

Né en 1979, à Versailles. Après avoir acquis une formation Littéraire, option Arts Plastiques au lycée, je suis entré à l?Ecole des Beaux-Arts de Rouen où j?ai obtenu mon Diplôme National Supérieur d?Expression Plastique cette année. Le travail que j?ai développé utilise le dessin et l'animation vidéo pour illustrer les thèmes du doute et de la difficulté à créer. Me livrant à des jeux parodiques avec l?Histoire de l?Art, je laisse libre cours à des interprétations poétiques de mes incertitudes et inhibitions. A ma sortie des Beaux-Arts, j?ai participé à l?exposition « Sommeil », à la Chapelle du Genêteil à Château-Gontier.