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Smoke and Mirrors / Ran Slavin / Video and sound / Length: 3:54 minutes/ Loop / Media: 1 or 3 channel HD video file screening. Exterior, south Tel Aviv, night, a gas station`s spot lights suddenly burst with steam, a nearby car suddenly sets on fire. Mirrored smoke patters appear to hover under a bridge and to burst in old dusty luck machines in a beat pinball game arcade. A silhouette of a mysteriously still man blinks on and off nervously. Smoke and Mirrors. from Wikipedia: Smoke and mirrors is a metaphor for a fraudulent, deceptive or insubstantial explanation or description. The source of the name is based on magician`s illusions, where magicians make objects appear or disappear by extending or retracting mirrors amid a confusing burst of smoke and also a slang for magic acts and `freak show` displays that depend on`trompe l`oeil` effects. More generally, "smoke and mirrors" may refer to any sort of presentation by which the audience is intended to be deceived. The term is derived from the dubious vaudeville ( vaudeville etymology: voix de ville, or "voice of the city") techniques traditionally used by stage magicians.

Ran Slavin is a video and digital media artist. After graduating from the Art Academy in Jerusalem in 1990, continuously treading both visual and sound paths. Today Ran works with video installation, cinema, experimental film and live-video-sound performance. Attracted to the uncanny, a world of wonder and a universe of unresolved mysteries, some of the narratives and visual vocabulary in his work feature images of an abandoned gas station bursting in steam and a car on fire (Smoke and Mirrors), a sunken man underwater with a gun, a tied tattooed woman in a hotel room in Shanghai plotting with a stranger on the phone and a dancing dandy assassin in the corridor (The Insomniac City Cycles), people sound-synched to the barking of dogs (Everything Is Urgent), a medieval science fiction history revealed under Jerusalem (Ursulimum). Sound; With various wide activity in the Israeli underground music scene, from pioneering punk in the early 80`s and post punk in late 80`s in London, to experimental and contemporary electronica. Ran`s brief history in music includes collaborations with musicians and dance ensembles, groups, and performances with over ten solo records released on the labels Crónica, Mille Plateaux, Sub Rosa, Ak Duck, Earsay, Hed Arzi, Nana Discs. Ran has explored metal music, drum and bass, punk, ambient, glitch, experimental. His sound is restless and currently verges on drone compositions. Live video-sound; In Ran`s live performances, pulses of video and texts translate live into a visual-sound meltdown in a process of randomization. Disturbance and contradiction form a visual-musical score. Accidental esthetics form a music of chance. A custom Module, interprets video data of motion, color velocity, mouse movements into sound. The result can`t be fully predetermined. This exploration questions the true essence of live performance. Is it destined to be a repetition and presentation of a well rehearsed and predetermined score or a complete new and unforeseen event? How does video interpret into sound? What kind of meanings will it produce? Selected exhibitions, screenings and presentations include Mediations Biennale (Polin), Manifesta (Belgium), Venice Architecture Biennial, Liverpool Biennial, The Torino Film festival, Maerzmusic (Berlin) Ars Electronica [Austria, an honorary mention], Transmediale [Berlin], Deaf [Rotterdam], Rencontres Internationales [Madrid-Berlin-Paris], 9th International Istanbul Biennial, Videoformes (France) Netwerk Contemporary Art Centre [Aalst], Petah Tikva Art Museum [Israel], Museum on the Seam (Jerusalem), Gallery Givon (Israel)

THE INSOMNIAC CYCLES Written produced and directed by Ran Slavin 70" min. A man is waking up in a parking lot, shot in the shoulder, he can?t recall how he ended up there, where did the gun he carried with him disappear and whether he is a victim of a crime, or alternatively, a killer. ?The insomniac city cycles?, fluctuates at that point on the axis of reality versus fiction, reality versus imagination and creates an affinity between the protagonist?s mental space and the urbanite one. The colossal and frantic urban topography which envelops the protagonist exhibits a limbo which fables to a mental state where the character is ?stuck? between wakefulness and sleep up to the point where all borders become blurred and reality itself resembles a dream, or better said, a nightmare, in which one can no longer distinguish between truth and lie. He continuously asks himself, ?Is it real??, ?Am I dreaming??, ?Where am I?? Slavin succeeded in creating a spectacular cinematic process in which opposites simultaneously occur as an action of self negation (for example, through the intelligent and rational use of instant replay) and by doing so constructs a space-time devoid reality, both imaginary and real at the same time, which enables us to examine all occurrences, including dreams and memories, as having an equal ontological status. The 2nd part of the film starts when a woman waking up in a hotel room in Shanghai to the sound of a ringing phone. Her legs are weakly tied and she is lying alone in bed. On the line there is a guy who, according to the woman, ?resembles the shot man from the dream?. That is to say, was it a dream after all? The plot keeps branching out and the photogenic solitude asks for her own death. She paid in advance and she is entitled to it. A serial killer enters the frame. The city?s denseness clears off itself to re-repeated images of helpless caged animals which exhibits the woman?s hallucinatory mental space, which in itself, is the mind, the consciousness. The first encounter with a narrative based screenplay (after more than 30min into the film) initially creates a factious sense of a firm grasping point, of orientation, though Slavin creates a screenplay without determination. By that, it enables the viewer to continuously ask himself ? Is it real? A dream? Or is it a memory? The fact that the tale of the protagonist is actually the woman?s own dream (which her own story might be a dream, a hallucination or a nightmare deprived of concrete time and space) discerns the veracity question of ?what?s real? as irrelevant and thus expands the discussion to the rational recognition and the perception of time as an a-priory conscious idea. In order to understand the artistic process in ?The insomniac city cycles? one must remember that this film is actually the 4th version of this film project, created as a direct continuation to the 3rd version named ?Insomniac City? (which is the first part of this film with slight changes). The fact that the film is so much different from one version to the other, changing the narrative using the same images in a different cut, and thus expand and deepen the discussion over it, while using documentary photography to create a hallucinatory alternative reality. (Liora Belford) Cast: Lee Trifon, Adi Gilad, Yaniv Abraham, Irad Mazliah, Ran Slavin Crew Dialogues co-written with Monika Bielskyte Voice of man in pet shop: Ohad Naharin Line Producer; Lior Ianai Lighting; Nimrod Golan Dressing; Maayan Goldman Makeup; Dorit Cohen Camera; Ran Slavin Underwater camera; Alain Daniel Editor; offline, online and post production; Ran Slavin Music and soundtrack design; Ran Slavin Sound mix; Itzik Cohen Sound editors; Ran Slavin, Itzik Cohen, Omri levy

Ran Slavin, who is in charge of writing the screenplay, directing, editing, sound design and original music of ?The insomniac city cycles?, is one of the most prominent new video-sound artists to emerge from Israel with continuous international screenings and exhibitions. His work is cross media and includes photography, cinema, video and sound installations, digital and acoustic music and lives video/sound improvisations. He is active in both the contemporary international music and art scenes. His audio work is a culmination of digitally processed acoustic sources which he turns into generative yet evasive atmospheres. It exists somewhere between the audible and the visual, at times, combined into real time performances.

ALENBI MOMENT. IMAGINED SCENARIO. THIS SHORT FILM FOCUSES ON THE MEMORY OF A PLACE. AS IF THE `PLACE`, IN THIS CASE ALENBI STREET IN TEL AVIV, WOULD HAVE ITS OWN GHOSTLY MEMORY OF A MURDER. THE ONLY WITNESSES AND SILENT COMMENTATORS ARE THE MYSTERIOUSLY SHED MANNEQUINS IN A DARKLY LIT STORE FRONT AND THE GRAFFITI BASHED IMAGES OF A BUS STOP SIGN.

>Bio Ran Slavin is a cross media audio-visual artist. An image hunter. He is working with various forms of video and sound, live audio visual improvisation, non interactive video, cinema, digital and acoustic music, painting. Working within the contemporary art world and the new music scene, his visual and sound oeuvre are hard to define and have been described as multi faceted, intensely urban, dark and often surreal. His audio work is a wide culmination of sonic processes and panoramas of electro acoustic digital manipulations, often guitar and piano derived. His exploration into live audio visual improvisation is image based, collapsing the narrative. Digital formations of non linear story telling and generative sound. Holding a close interaction between real time sound and video where the visual flow triggers sound alternately, based on data such as colors and speed of the moving image, like a mind stream or a reassembly of memory. For this he has built a program where he can take control or lose control over the course of things, in real time, in a platform where text sound and image juxtapose, streams of images morph and surface. His diverse catalogue of videos is a hybrid body of works ranging from short mini `stories` to medium length feature videos. He released on the record labels Cronica, Mille Plateaux, Sub Rosa among others and exhibiting and performing his works in various platforms. www.ranslavin.com BIO Currently Lives in Tel Aviv, works freelance as director and online/compositing artist 1986-1990 Graduates from the Betsalel Art Academy - Jerusalem 1985 Lives in Singapore 1983-1986 Lives in London 1975-78 Lives in San Francisco 1967 Born in Jerusalem AWARDS 2007 Production benefit for Insomniac City, the Rabinowits-Yehosua fund for cinema projects, Tel Aviv Israel 2006 Prize in Art and Design from the Ministry of Science and Culture, Israel 2006 Production benefit for Insomniac City, the Rabinowits-Yehosua fund for cinema projects, Tel Aviv Israel 2004 Prize for alternative music video with Lior Har Lev at the ?951? video awards, Tel Aviv Israel 2002 Prize for best music video at the ?951? video awards, Tel Aviv Israel 2002 First prize for sound design of channel `5+` id`s, Promax, Los angeles USA 1999 Best soundtrack prize for the music of the documentary film: `Stress`. at the Doc-Aviv Film Fest, Tel Aviv Israel 1996 Prize for original director at the haifa music video competition, Israel 1994 The Young Artist Award, Tel Aviv Israel 1991 The Sharet Fund Award, Tel Aviv Israel

"Insomniac City" is a mutation of experimental cinema and dark thriller, combing digital interventions over documentary images. Tel Aviv is cut up and seemingly grafted into a landscape that is both physical and mental; between reality and dreams, and documentary and fiction. Through figures that are staged, this video explores the areas of the city, which is experienced through maze-y insomnia, from the sparkling new towers, to the poorest districts, from the atmosphere to the sea. It explores a psyche hidden in the chaos of urban texture.

Ran Slavin was born in Jerusalem in 1967. He has lived in the USA, London, and Singapore. He currently lives and works in Tel Aviv. His videos are screened in film libraries, art centres, international digital art and new media festivals and exhibitions, and events in the area of sound and experimental music. A selected few include Transmediale, at V2 in Rotterdam, and at the Istanbul Biennial in Peking. Slavin participated in the 9th Venice Biennial of architecture with "Insomniac City". In addition, he collaborates with dancers and choreographers, and with musicians like John Zorn and Thomas Köner.

A Radiophonic Fairytale Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Ran Slavin Audio by The Beautiful Schizophonic

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

GOLDEN TWILIGHT MOMENTS Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images and Audio by Ran Slavin

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

Insomniac City [vesion1] `Insomniac City` Is based upon an interlaced mix of urban contemporary snapshots and fiction, presenting the current city of Tel Aviv, and an unstable radical shift of the city space time and matter. This video works with the city space, with its scapes and sounds, combining digital interventions in the real [in the documentary] drifting between the known reality and a hallucinatory one. The movie blenders urban spaces and modes of perception. It encounters a loss of identity, estrangement, water, dream, a gun, a girl, present, futuristic architecture, a cab, deserted space and an artificial island. Through the figure at play, It explores the city spaces, from the new shiny high towers to the slums, from air to sea, processing the city / experienced through a confused labyrinth of insomnia. It explores through video and sound, a hidden psych in the chaos of urban texture and offers a mixed gaze on a city in transit, shift and decay while continuously checking the boundaries of reality and illusion, present dream and future, architecture - possible architecture and artificial islands - both physical and meta physical. Through an insomniac like stream, a gaze drifts from external perception to internal suspension, rendering what we see and what we think we see into an emotional twilight zone. Insomnia: A periodical suspension of the functions, as well as of those of the voluntary and rational soul; that state of the animal in which there is a lessened acuteness of sensory perception, a confusion of ideas, and a loss of mental control, followed by a more or less unconscious state. Insomniac City, by video and sound artist Ran Slavin is a cinematic project in parts which changes form and length as it develops. The first part has been shown at the 9th Venice Biennial of Architecture in september 2004, then at the Tel Aviv Haifa and Jerusalem Cinematheque`s, at the 27th festival Cinéma Méditerranéen de Montpellier in October, at "Documentaire Sur Grand Ecran" ? Paris in November [part1], at Audio-Frames sonic arts festival ? Lille ,France and at the 9th International Istanbul Biennial. written ,directed, edited, music, camera, & post production: Ran Slavin actors: Irad Matzliah, Ran Slavin stereo mix: Ran Slavin dolby mix: Itzik Cohen underwater camera: Alain Daniel special thanks to Daniel Milo and Itzik Cohen made in Tel Aviv [2004-5]

BIO 1967 BORN IN JERUSALEM, ISRAEL. 1975-78 LIVES IN THE USA. 1983 1986 LIVES LONDON. 1985 LIVES IN SINGAPORE 1986-1990 GRADUATES FROM THE ?BETSALEL ART ACADEMY? 1990-2005 LIVES IN TEL AVIV, WORKS FREELANCE IN POST PRODUCTION AS ONLINE EDITOR. AWARDS 1991 ?THE SHARET FUND AWARD? 1994 ?THE YOUNG ARTIST AWARD? 1999 BEST SOUNDTRACK CATEGORY PRIZE FOR THE FILM ?STRESS? AT THE ?DOC-AVIV?  DOCUMENTARY FILM FESTIVAL, TEL AVIV. 2002  FIRST PRIZE FOR SOUND DESIGN FOR CHANNEL IDS, PROMAX,LOS ANGELES. 2002 FIRST PRIZE FOR BEST VIDEO CLIP AT THE ?951? VIDEO AWARDS, TEL AVIV SECOND PRIZE FOR BEST ALTERNATIVE MUSIC VIDEO CLIP AT THE ?951? VIDEO AWARDS, TEL AVIV

Radio Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Ran Slavin Audio by James Eck Rippie

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

Smoke and Mirrors / Ran Slavin / Video and sound / Length: 3:54 minutes/ Loop / Media: 1 or 3 channel HD video file screening. Exterior, south Tel Aviv, night, a gas station`s spot lights suddenly burst with steam, a nearby car suddenly sets on fire. Mirrored smoke patters appear to hover under a bridge and to burst in old dusty luck machines in a beat pinball game arcade. A silhouette of a mysteriously still man blinks on and off nervously. Smoke and Mirrors. from Wikipedia: Smoke and mirrors is a metaphor for a fraudulent, deceptive or insubstantial explanation or description. The source of the name is based on magician`s illusions, where magicians make objects appear or disappear by extending or retracting mirrors amid a confusing burst of smoke and also a slang for magic acts and `freak show` displays that depend on`trompe l`oeil` effects. More generally, "smoke and mirrors" may refer to any sort of presentation by which the audience is intended to be deceived. The term is derived from the dubious vaudeville ( vaudeville etymology: voix de ville, or "voice of the city") techniques traditionally used by stage magicians.

Ran Slavin is a video and digital media artist. After graduating from the Art Academy in Jerusalem in 1990, continuously treading both visual and sound paths. Today Ran works with video installation, cinema, experimental film and live-video-sound performance. Attracted to the uncanny, a world of wonder and a universe of unresolved mysteries, some of the narratives and visual vocabulary in his work feature images of an abandoned gas station bursting in steam and a car on fire (Smoke and Mirrors), a sunken man underwater with a gun, a tied tattooed woman in a hotel room in Shanghai plotting with a stranger on the phone and a dancing dandy assassin in the corridor (The Insomniac City Cycles), people sound-synched to the barking of dogs (Everything Is Urgent), a medieval science fiction history revealed under Jerusalem (Ursulimum). Sound; With various wide activity in the Israeli underground music scene, from pioneering punk in the early 80`s and post punk in late 80`s in London, to experimental and contemporary electronica. Ran`s brief history in music includes collaborations with musicians and dance ensembles, groups, and performances with over ten solo records released on the labels Crónica, Mille Plateaux, Sub Rosa, Ak Duck, Earsay, Hed Arzi, Nana Discs. Ran has explored metal music, drum and bass, punk, ambient, glitch, experimental. His sound is restless and currently verges on drone compositions. Live video-sound; In Ran`s live performances, pulses of video and texts translate live into a visual-sound meltdown in a process of randomization. Disturbance and contradiction form a visual-musical score. Accidental esthetics form a music of chance. A custom Module, interprets video data of motion, color velocity, mouse movements into sound. The result can`t be fully predetermined. This exploration questions the true essence of live performance. Is it destined to be a repetition and presentation of a well rehearsed and predetermined score or a complete new and unforeseen event? How does video interpret into sound? What kind of meanings will it produce? Selected exhibitions, screenings and presentations include Mediations Biennale (Polin), Manifesta (Belgium), Venice Architecture Biennial, Liverpool Biennial, The Torino Film festival, Maerzmusic (Berlin) Ars Electronica [Austria, an honorary mention], Transmediale [Berlin], Deaf [Rotterdam], Rencontres Internationales [Madrid-Berlin-Paris], 9th International Istanbul Biennial, Videoformes (France) Netwerk Contemporary Art Centre [Aalst], Petah Tikva Art Museum [Israel], Museum on the Seam (Jerusalem), Gallery Givon (Israel)

THE INSOMNIAC CYCLES Written produced and directed by Ran Slavin 70" min. A man is waking up in a parking lot, shot in the shoulder, he can?t recall how he ended up there, where did the gun he carried with him disappear and whether he is a victim of a crime, or alternatively, a killer. ?The insomniac city cycles?, fluctuates at that point on the axis of reality versus fiction, reality versus imagination and creates an affinity between the protagonist?s mental space and the urbanite one. The colossal and frantic urban topography which envelops the protagonist exhibits a limbo which fables to a mental state where the character is ?stuck? between wakefulness and sleep up to the point where all borders become blurred and reality itself resembles a dream, or better said, a nightmare, in which one can no longer distinguish between truth and lie. He continuously asks himself, ?Is it real??, ?Am I dreaming??, ?Where am I?? Slavin succeeded in creating a spectacular cinematic process in which opposites simultaneously occur as an action of self negation (for example, through the intelligent and rational use of instant replay) and by doing so constructs a space-time devoid reality, both imaginary and real at the same time, which enables us to examine all occurrences, including dreams and memories, as having an equal ontological status. The 2nd part of the film starts when a woman waking up in a hotel room in Shanghai to the sound of a ringing phone. Her legs are weakly tied and she is lying alone in bed. On the line there is a guy who, according to the woman, ?resembles the shot man from the dream?. That is to say, was it a dream after all? The plot keeps branching out and the photogenic solitude asks for her own death. She paid in advance and she is entitled to it. A serial killer enters the frame. The city?s denseness clears off itself to re-repeated images of helpless caged animals which exhibits the woman?s hallucinatory mental space, which in itself, is the mind, the consciousness. The first encounter with a narrative based screenplay (after more than 30min into the film) initially creates a factious sense of a firm grasping point, of orientation, though Slavin creates a screenplay without determination. By that, it enables the viewer to continuously ask himself ? Is it real? A dream? Or is it a memory? The fact that the tale of the protagonist is actually the woman?s own dream (which her own story might be a dream, a hallucination or a nightmare deprived of concrete time and space) discerns the veracity question of ?what?s real? as irrelevant and thus expands the discussion to the rational recognition and the perception of time as an a-priory conscious idea. In order to understand the artistic process in ?The insomniac city cycles? one must remember that this film is actually the 4th version of this film project, created as a direct continuation to the 3rd version named ?Insomniac City? (which is the first part of this film with slight changes). The fact that the film is so much different from one version to the other, changing the narrative using the same images in a different cut, and thus expand and deepen the discussion over it, while using documentary photography to create a hallucinatory alternative reality. (Liora Belford) Cast: Lee Trifon, Adi Gilad, Yaniv Abraham, Irad Mazliah, Ran Slavin Crew Dialogues co-written with Monika Bielskyte Voice of man in pet shop: Ohad Naharin Line Producer; Lior Ianai Lighting; Nimrod Golan Dressing; Maayan Goldman Makeup; Dorit Cohen Camera; Ran Slavin Underwater camera; Alain Daniel Editor; offline, online and post production; Ran Slavin Music and soundtrack design; Ran Slavin Sound mix; Itzik Cohen Sound editors; Ran Slavin, Itzik Cohen, Omri levy

Ran Slavin, who is in charge of writing the screenplay, directing, editing, sound design and original music of ?The insomniac city cycles?, is one of the most prominent new video-sound artists to emerge from Israel with continuous international screenings and exhibitions. His work is cross media and includes photography, cinema, video and sound installations, digital and acoustic music and lives video/sound improvisations. He is active in both the contemporary international music and art scenes. His audio work is a culmination of digitally processed acoustic sources which he turns into generative yet evasive atmospheres. It exists somewhere between the audible and the visual, at times, combined into real time performances.

ALENBI MOMENT. IMAGINED SCENARIO. THIS SHORT FILM FOCUSES ON THE MEMORY OF A PLACE. AS IF THE `PLACE`, IN THIS CASE ALENBI STREET IN TEL AVIV, WOULD HAVE ITS OWN GHOSTLY MEMORY OF A MURDER. THE ONLY WITNESSES AND SILENT COMMENTATORS ARE THE MYSTERIOUSLY SHED MANNEQUINS IN A DARKLY LIT STORE FRONT AND THE GRAFFITI BASHED IMAGES OF A BUS STOP SIGN.

>Bio Ran Slavin is a cross media audio-visual artist. An image hunter. He is working with various forms of video and sound, live audio visual improvisation, non interactive video, cinema, digital and acoustic music, painting. Working within the contemporary art world and the new music scene, his visual and sound oeuvre are hard to define and have been described as multi faceted, intensely urban, dark and often surreal. His audio work is a wide culmination of sonic processes and panoramas of electro acoustic digital manipulations, often guitar and piano derived. His exploration into live audio visual improvisation is image based, collapsing the narrative. Digital formations of non linear story telling and generative sound. Holding a close interaction between real time sound and video where the visual flow triggers sound alternately, based on data such as colors and speed of the moving image, like a mind stream or a reassembly of memory. For this he has built a program where he can take control or lose control over the course of things, in real time, in a platform where text sound and image juxtapose, streams of images morph and surface. His diverse catalogue of videos is a hybrid body of works ranging from short mini `stories` to medium length feature videos. He released on the record labels Cronica, Mille Plateaux, Sub Rosa among others and exhibiting and performing his works in various platforms. www.ranslavin.com BIO Currently Lives in Tel Aviv, works freelance as director and online/compositing artist 1986-1990 Graduates from the Betsalel Art Academy - Jerusalem 1985 Lives in Singapore 1983-1986 Lives in London 1975-78 Lives in San Francisco 1967 Born in Jerusalem AWARDS 2007 Production benefit for Insomniac City, the Rabinowits-Yehosua fund for cinema projects, Tel Aviv Israel 2006 Prize in Art and Design from the Ministry of Science and Culture, Israel 2006 Production benefit for Insomniac City, the Rabinowits-Yehosua fund for cinema projects, Tel Aviv Israel 2004 Prize for alternative music video with Lior Har Lev at the ?951? video awards, Tel Aviv Israel 2002 Prize for best music video at the ?951? video awards, Tel Aviv Israel 2002 First prize for sound design of channel `5+` id`s, Promax, Los angeles USA 1999 Best soundtrack prize for the music of the documentary film: `Stress`. at the Doc-Aviv Film Fest, Tel Aviv Israel 1996 Prize for original director at the haifa music video competition, Israel 1994 The Young Artist Award, Tel Aviv Israel 1991 The Sharet Fund Award, Tel Aviv Israel

"Insomniac City" is a mutation of experimental cinema and dark thriller, combing digital interventions over documentary images. Tel Aviv is cut up and seemingly grafted into a landscape that is both physical and mental; between reality and dreams, and documentary and fiction. Through figures that are staged, this video explores the areas of the city, which is experienced through maze-y insomnia, from the sparkling new towers, to the poorest districts, from the atmosphere to the sea. It explores a psyche hidden in the chaos of urban texture.

Ran Slavin was born in Jerusalem in 1967. He has lived in the USA, London, and Singapore. He currently lives and works in Tel Aviv. His videos are screened in film libraries, art centres, international digital art and new media festivals and exhibitions, and events in the area of sound and experimental music. A selected few include Transmediale, at V2 in Rotterdam, and at the Istanbul Biennial in Peking. Slavin participated in the 9th Venice Biennial of architecture with "Insomniac City". In addition, he collaborates with dancers and choreographers, and with musicians like John Zorn and Thomas Köner.

A Radiophonic Fairytale Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Ran Slavin Audio by The Beautiful Schizophonic

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

GOLDEN TWILIGHT MOMENTS Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images and Audio by Ran Slavin

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

Insomniac City [vesion1] `Insomniac City` Is based upon an interlaced mix of urban contemporary snapshots and fiction, presenting the current city of Tel Aviv, and an unstable radical shift of the city space time and matter. This video works with the city space, with its scapes and sounds, combining digital interventions in the real [in the documentary] drifting between the known reality and a hallucinatory one. The movie blenders urban spaces and modes of perception. It encounters a loss of identity, estrangement, water, dream, a gun, a girl, present, futuristic architecture, a cab, deserted space and an artificial island. Through the figure at play, It explores the city spaces, from the new shiny high towers to the slums, from air to sea, processing the city / experienced through a confused labyrinth of insomnia. It explores through video and sound, a hidden psych in the chaos of urban texture and offers a mixed gaze on a city in transit, shift and decay while continuously checking the boundaries of reality and illusion, present dream and future, architecture - possible architecture and artificial islands - both physical and meta physical. Through an insomniac like stream, a gaze drifts from external perception to internal suspension, rendering what we see and what we think we see into an emotional twilight zone. Insomnia: A periodical suspension of the functions, as well as of those of the voluntary and rational soul; that state of the animal in which there is a lessened acuteness of sensory perception, a confusion of ideas, and a loss of mental control, followed by a more or less unconscious state. Insomniac City, by video and sound artist Ran Slavin is a cinematic project in parts which changes form and length as it develops. The first part has been shown at the 9th Venice Biennial of Architecture in september 2004, then at the Tel Aviv Haifa and Jerusalem Cinematheque`s, at the 27th festival Cinéma Méditerranéen de Montpellier in October, at "Documentaire Sur Grand Ecran" ? Paris in November [part1], at Audio-Frames sonic arts festival ? Lille ,France and at the 9th International Istanbul Biennial. written ,directed, edited, music, camera, & post production: Ran Slavin actors: Irad Matzliah, Ran Slavin stereo mix: Ran Slavin dolby mix: Itzik Cohen underwater camera: Alain Daniel special thanks to Daniel Milo and Itzik Cohen made in Tel Aviv [2004-5]

BIO 1967 BORN IN JERUSALEM, ISRAEL. 1975-78 LIVES IN THE USA. 1983 1986 LIVES LONDON. 1985 LIVES IN SINGAPORE 1986-1990 GRADUATES FROM THE ?BETSALEL ART ACADEMY? 1990-2005 LIVES IN TEL AVIV, WORKS FREELANCE IN POST PRODUCTION AS ONLINE EDITOR. AWARDS 1991 ?THE SHARET FUND AWARD? 1994 ?THE YOUNG ARTIST AWARD? 1999 BEST SOUNDTRACK CATEGORY PRIZE FOR THE FILM ?STRESS? AT THE ?DOC-AVIV?  DOCUMENTARY FILM FESTIVAL, TEL AVIV. 2002  FIRST PRIZE FOR SOUND DESIGN FOR CHANNEL IDS, PROMAX,LOS ANGELES. 2002 FIRST PRIZE FOR BEST VIDEO CLIP AT THE ?951? VIDEO AWARDS, TEL AVIV SECOND PRIZE FOR BEST ALTERNATIVE MUSIC VIDEO CLIP AT THE ?951? VIDEO AWARDS, TEL AVIV

Radio Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Ran Slavin Audio by James Eck Rippie

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

Smoke and Mirrors / Ran Slavin / Video and sound / Length: 3:54 minutes/ Loop / Media: 1 or 3 channel HD video file screening. Exterior, south Tel Aviv, night, a gas station`s spot lights suddenly burst with steam, a nearby car suddenly sets on fire. Mirrored smoke patters appear to hover under a bridge and to burst in old dusty luck machines in a beat pinball game arcade. A silhouette of a mysteriously still man blinks on and off nervously. Smoke and Mirrors. from Wikipedia: Smoke and mirrors is a metaphor for a fraudulent, deceptive or insubstantial explanation or description. The source of the name is based on magician`s illusions, where magicians make objects appear or disappear by extending or retracting mirrors amid a confusing burst of smoke and also a slang for magic acts and `freak show` displays that depend on`trompe l`oeil` effects. More generally, "smoke and mirrors" may refer to any sort of presentation by which the audience is intended to be deceived. The term is derived from the dubious vaudeville ( vaudeville etymology: voix de ville, or "voice of the city") techniques traditionally used by stage magicians.

Ran Slavin is a video and digital media artist. After graduating from the Art Academy in Jerusalem in 1990, continuously treading both visual and sound paths. Today Ran works with video installation, cinema, experimental film and live-video-sound performance. Attracted to the uncanny, a world of wonder and a universe of unresolved mysteries, some of the narratives and visual vocabulary in his work feature images of an abandoned gas station bursting in steam and a car on fire (Smoke and Mirrors), a sunken man underwater with a gun, a tied tattooed woman in a hotel room in Shanghai plotting with a stranger on the phone and a dancing dandy assassin in the corridor (The Insomniac City Cycles), people sound-synched to the barking of dogs (Everything Is Urgent), a medieval science fiction history revealed under Jerusalem (Ursulimum). Sound; With various wide activity in the Israeli underground music scene, from pioneering punk in the early 80`s and post punk in late 80`s in London, to experimental and contemporary electronica. Ran`s brief history in music includes collaborations with musicians and dance ensembles, groups, and performances with over ten solo records released on the labels Crónica, Mille Plateaux, Sub Rosa, Ak Duck, Earsay, Hed Arzi, Nana Discs. Ran has explored metal music, drum and bass, punk, ambient, glitch, experimental. His sound is restless and currently verges on drone compositions. Live video-sound; In Ran`s live performances, pulses of video and texts translate live into a visual-sound meltdown in a process of randomization. Disturbance and contradiction form a visual-musical score. Accidental esthetics form a music of chance. A custom Module, interprets video data of motion, color velocity, mouse movements into sound. The result can`t be fully predetermined. This exploration questions the true essence of live performance. Is it destined to be a repetition and presentation of a well rehearsed and predetermined score or a complete new and unforeseen event? How does video interpret into sound? What kind of meanings will it produce? Selected exhibitions, screenings and presentations include Mediations Biennale (Polin), Manifesta (Belgium), Venice Architecture Biennial, Liverpool Biennial, The Torino Film festival, Maerzmusic (Berlin) Ars Electronica [Austria, an honorary mention], Transmediale [Berlin], Deaf [Rotterdam], Rencontres Internationales [Madrid-Berlin-Paris], 9th International Istanbul Biennial, Videoformes (France) Netwerk Contemporary Art Centre [Aalst], Petah Tikva Art Museum [Israel], Museum on the Seam (Jerusalem), Gallery Givon (Israel)

THE INSOMNIAC CYCLES Written produced and directed by Ran Slavin 70" min. A man is waking up in a parking lot, shot in the shoulder, he can?t recall how he ended up there, where did the gun he carried with him disappear and whether he is a victim of a crime, or alternatively, a killer. ?The insomniac city cycles?, fluctuates at that point on the axis of reality versus fiction, reality versus imagination and creates an affinity between the protagonist?s mental space and the urbanite one. The colossal and frantic urban topography which envelops the protagonist exhibits a limbo which fables to a mental state where the character is ?stuck? between wakefulness and sleep up to the point where all borders become blurred and reality itself resembles a dream, or better said, a nightmare, in which one can no longer distinguish between truth and lie. He continuously asks himself, ?Is it real??, ?Am I dreaming??, ?Where am I?? Slavin succeeded in creating a spectacular cinematic process in which opposites simultaneously occur as an action of self negation (for example, through the intelligent and rational use of instant replay) and by doing so constructs a space-time devoid reality, both imaginary and real at the same time, which enables us to examine all occurrences, including dreams and memories, as having an equal ontological status. The 2nd part of the film starts when a woman waking up in a hotel room in Shanghai to the sound of a ringing phone. Her legs are weakly tied and she is lying alone in bed. On the line there is a guy who, according to the woman, ?resembles the shot man from the dream?. That is to say, was it a dream after all? The plot keeps branching out and the photogenic solitude asks for her own death. She paid in advance and she is entitled to it. A serial killer enters the frame. The city?s denseness clears off itself to re-repeated images of helpless caged animals which exhibits the woman?s hallucinatory mental space, which in itself, is the mind, the consciousness. The first encounter with a narrative based screenplay (after more than 30min into the film) initially creates a factious sense of a firm grasping point, of orientation, though Slavin creates a screenplay without determination. By that, it enables the viewer to continuously ask himself ? Is it real? A dream? Or is it a memory? The fact that the tale of the protagonist is actually the woman?s own dream (which her own story might be a dream, a hallucination or a nightmare deprived of concrete time and space) discerns the veracity question of ?what?s real? as irrelevant and thus expands the discussion to the rational recognition and the perception of time as an a-priory conscious idea. In order to understand the artistic process in ?The insomniac city cycles? one must remember that this film is actually the 4th version of this film project, created as a direct continuation to the 3rd version named ?Insomniac City? (which is the first part of this film with slight changes). The fact that the film is so much different from one version to the other, changing the narrative using the same images in a different cut, and thus expand and deepen the discussion over it, while using documentary photography to create a hallucinatory alternative reality. (Liora Belford) Cast: Lee Trifon, Adi Gilad, Yaniv Abraham, Irad Mazliah, Ran Slavin Crew Dialogues co-written with Monika Bielskyte Voice of man in pet shop: Ohad Naharin Line Producer; Lior Ianai Lighting; Nimrod Golan Dressing; Maayan Goldman Makeup; Dorit Cohen Camera; Ran Slavin Underwater camera; Alain Daniel Editor; offline, online and post production; Ran Slavin Music and soundtrack design; Ran Slavin Sound mix; Itzik Cohen Sound editors; Ran Slavin, Itzik Cohen, Omri levy

Ran Slavin, who is in charge of writing the screenplay, directing, editing, sound design and original music of ?The insomniac city cycles?, is one of the most prominent new video-sound artists to emerge from Israel with continuous international screenings and exhibitions. His work is cross media and includes photography, cinema, video and sound installations, digital and acoustic music and lives video/sound improvisations. He is active in both the contemporary international music and art scenes. His audio work is a culmination of digitally processed acoustic sources which he turns into generative yet evasive atmospheres. It exists somewhere between the audible and the visual, at times, combined into real time performances.

ALENBI MOMENT. IMAGINED SCENARIO. THIS SHORT FILM FOCUSES ON THE MEMORY OF A PLACE. AS IF THE `PLACE`, IN THIS CASE ALENBI STREET IN TEL AVIV, WOULD HAVE ITS OWN GHOSTLY MEMORY OF A MURDER. THE ONLY WITNESSES AND SILENT COMMENTATORS ARE THE MYSTERIOUSLY SHED MANNEQUINS IN A DARKLY LIT STORE FRONT AND THE GRAFFITI BASHED IMAGES OF A BUS STOP SIGN.

>Bio Ran Slavin is a cross media audio-visual artist. An image hunter. He is working with various forms of video and sound, live audio visual improvisation, non interactive video, cinema, digital and acoustic music, painting. Working within the contemporary art world and the new music scene, his visual and sound oeuvre are hard to define and have been described as multi faceted, intensely urban, dark and often surreal. His audio work is a wide culmination of sonic processes and panoramas of electro acoustic digital manipulations, often guitar and piano derived. His exploration into live audio visual improvisation is image based, collapsing the narrative. Digital formations of non linear story telling and generative sound. Holding a close interaction between real time sound and video where the visual flow triggers sound alternately, based on data such as colors and speed of the moving image, like a mind stream or a reassembly of memory. For this he has built a program where he can take control or lose control over the course of things, in real time, in a platform where text sound and image juxtapose, streams of images morph and surface. His diverse catalogue of videos is a hybrid body of works ranging from short mini `stories` to medium length feature videos. He released on the record labels Cronica, Mille Plateaux, Sub Rosa among others and exhibiting and performing his works in various platforms. www.ranslavin.com BIO Currently Lives in Tel Aviv, works freelance as director and online/compositing artist 1986-1990 Graduates from the Betsalel Art Academy - Jerusalem 1985 Lives in Singapore 1983-1986 Lives in London 1975-78 Lives in San Francisco 1967 Born in Jerusalem AWARDS 2007 Production benefit for Insomniac City, the Rabinowits-Yehosua fund for cinema projects, Tel Aviv Israel 2006 Prize in Art and Design from the Ministry of Science and Culture, Israel 2006 Production benefit for Insomniac City, the Rabinowits-Yehosua fund for cinema projects, Tel Aviv Israel 2004 Prize for alternative music video with Lior Har Lev at the ?951? video awards, Tel Aviv Israel 2002 Prize for best music video at the ?951? video awards, Tel Aviv Israel 2002 First prize for sound design of channel `5+` id`s, Promax, Los angeles USA 1999 Best soundtrack prize for the music of the documentary film: `Stress`. at the Doc-Aviv Film Fest, Tel Aviv Israel 1996 Prize for original director at the haifa music video competition, Israel 1994 The Young Artist Award, Tel Aviv Israel 1991 The Sharet Fund Award, Tel Aviv Israel

"Insomniac City" is a mutation of experimental cinema and dark thriller, combing digital interventions over documentary images. Tel Aviv is cut up and seemingly grafted into a landscape that is both physical and mental; between reality and dreams, and documentary and fiction. Through figures that are staged, this video explores the areas of the city, which is experienced through maze-y insomnia, from the sparkling new towers, to the poorest districts, from the atmosphere to the sea. It explores a psyche hidden in the chaos of urban texture.

Ran Slavin was born in Jerusalem in 1967. He has lived in the USA, London, and Singapore. He currently lives and works in Tel Aviv. His videos are screened in film libraries, art centres, international digital art and new media festivals and exhibitions, and events in the area of sound and experimental music. A selected few include Transmediale, at V2 in Rotterdam, and at the Istanbul Biennial in Peking. Slavin participated in the 9th Venice Biennial of architecture with "Insomniac City". In addition, he collaborates with dancers and choreographers, and with musicians like John Zorn and Thomas Köner.

A Radiophonic Fairytale Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Ran Slavin Audio by The Beautiful Schizophonic

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

GOLDEN TWILIGHT MOMENTS Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images and Audio by Ran Slavin

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

Insomniac City [vesion1] `Insomniac City` Is based upon an interlaced mix of urban contemporary snapshots and fiction, presenting the current city of Tel Aviv, and an unstable radical shift of the city space time and matter. This video works with the city space, with its scapes and sounds, combining digital interventions in the real [in the documentary] drifting between the known reality and a hallucinatory one. The movie blenders urban spaces and modes of perception. It encounters a loss of identity, estrangement, water, dream, a gun, a girl, present, futuristic architecture, a cab, deserted space and an artificial island. Through the figure at play, It explores the city spaces, from the new shiny high towers to the slums, from air to sea, processing the city / experienced through a confused labyrinth of insomnia. It explores through video and sound, a hidden psych in the chaos of urban texture and offers a mixed gaze on a city in transit, shift and decay while continuously checking the boundaries of reality and illusion, present dream and future, architecture - possible architecture and artificial islands - both physical and meta physical. Through an insomniac like stream, a gaze drifts from external perception to internal suspension, rendering what we see and what we think we see into an emotional twilight zone. Insomnia: A periodical suspension of the functions, as well as of those of the voluntary and rational soul; that state of the animal in which there is a lessened acuteness of sensory perception, a confusion of ideas, and a loss of mental control, followed by a more or less unconscious state. Insomniac City, by video and sound artist Ran Slavin is a cinematic project in parts which changes form and length as it develops. The first part has been shown at the 9th Venice Biennial of Architecture in september 2004, then at the Tel Aviv Haifa and Jerusalem Cinematheque`s, at the 27th festival Cinéma Méditerranéen de Montpellier in October, at "Documentaire Sur Grand Ecran" ? Paris in November [part1], at Audio-Frames sonic arts festival ? Lille ,France and at the 9th International Istanbul Biennial. written ,directed, edited, music, camera, & post production: Ran Slavin actors: Irad Matzliah, Ran Slavin stereo mix: Ran Slavin dolby mix: Itzik Cohen underwater camera: Alain Daniel special thanks to Daniel Milo and Itzik Cohen made in Tel Aviv [2004-5]

BIO 1967 BORN IN JERUSALEM, ISRAEL. 1975-78 LIVES IN THE USA. 1983 1986 LIVES LONDON. 1985 LIVES IN SINGAPORE 1986-1990 GRADUATES FROM THE ?BETSALEL ART ACADEMY? 1990-2005 LIVES IN TEL AVIV, WORKS FREELANCE IN POST PRODUCTION AS ONLINE EDITOR. AWARDS 1991 ?THE SHARET FUND AWARD? 1994 ?THE YOUNG ARTIST AWARD? 1999 BEST SOUNDTRACK CATEGORY PRIZE FOR THE FILM ?STRESS? AT THE ?DOC-AVIV?  DOCUMENTARY FILM FESTIVAL, TEL AVIV. 2002  FIRST PRIZE FOR SOUND DESIGN FOR CHANNEL IDS, PROMAX,LOS ANGELES. 2002 FIRST PRIZE FOR BEST VIDEO CLIP AT THE ?951? VIDEO AWARDS, TEL AVIV SECOND PRIZE FOR BEST ALTERNATIVE MUSIC VIDEO CLIP AT THE ?951? VIDEO AWARDS, TEL AVIV

Radio Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Ran Slavin Audio by James Eck Rippie

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

"Walk" is a 28 minute long video, which should be looped. It depicts the Orange Order at their annual parade in Portadown, Co. Armagh, Northern Ireland. The Orangemen say that they do not march - they walk, accompanied by various marching bands playing flutes, fifes, accordions, bagpipes, drums, and brass and silver instruments. The stereo soundtrack of their music has been distorted. The participants walk into themselves, eventually disappearing, leaving only an empty road. The Orange Order is a Protestant organisation based predominantly in Northern Ireland. It was founded near Portadown, County Armagh, Northern Ireland in 1795. To its members and supporters the Orange Order celebrates Protestant culture and identity, but its critics accuse it of sectarianism and anti-Catholicism. These parades take part throughout the summer "marching season", climaxing on the 12th of July. They celebrate the victory of the Protestant King William of Orange (William III) over the Catholic King James II at the Battle of the Boyne in 1690. Each year in Portadown the demonstration causes friction as they attempt to pass through the Catholic Garvaghy Road on their way to church in Drumcree, and often ends in violence with the police and British army intervening to keep order.

Victor Sloan was born in Dungannon, Co. Tyrone in Northern Ireland. He lives and works in Portadown, Co. Armagh. He studied at Belfast and Leeds Colleges of Art. Victor Sloan is an influential artist and educator. As one of Ireland's major visual artists, he has developed an international reputation for creating powerful images, which display his prodigious versatility and inventiveness. He employs video and photography to produce works commenting on various political, social and cultural aspects of Northern Ireland. The Ormeau Baths Gallery in Belfast initiated a major retrospective exhibition in 2001. In 2002 Victor Sloan was awarded an MBE. He is a Fellow of the Royal Society of Arts, a Fellow of the Royal Photographic Society and an academician of the Royal Ulster Academy. He has won many awards including the Academy?s Conor Prize in 1988 and the Gold Medal in 1995. Victor Sloan has exhibited widely throughout Europe, North America, South America and Asia. His work can be found in numerous private and public collections worldwide.

Dad?s Stick features three objects that my father showed me shortly before he died. Two of these were so well-used that their original forms and functions were almost completely obscured. The third object seemed to be instantly recognizable, but it turned out to be something else entirely.

Born 1952 - London, England John Smith was born in London in 1952 and studied film at the Royal College of Art. Since 1972 he has made over 40 film, video and installations works. His films have been shown in cinemas, art galleries and on television throughout the world and awarded major prizes at film festivals in Leipzig, Oberhausen, Hamburg, Cork, Geneva, Palermo, Graz, Uppsala, Bangkok, Ann Arbor and Chicago. One-person presentations of his work include exhibitions at Ikon Gallery (Birmingham), Pearl Gallery (London), Open Eye Gallery (Liverpool), Kunstmuseum Magdeburg (Germany) and retrospectives at the Venice Biennale and Oberhausen, Cork, Tampere, Uppsala, Regensburg and Winterthur international film festivals. John Smith is Professor of Fine Art at the University of East London. "The films of John Smith conduct a serious investigation into the combination of sound and image, but with a sense of humour that reaches out beyond the traditional avant-garde audience. His films move between narrative and absurdity, constantly undermining the traditional relationship between the visual and the aural. By blurring the perceived boundaries of experimental film, fiction, and documentary, Smith never delivers what he has led the spectator to expect." ?Mark Webber, Leeds International Film Festival, 2000 "The popularity of John Smith?s films can be explained by his wry sense of humour, his play on language, and the elegance of his visual style. His understated humour thinly conceals a darker layer of meaning in his films. John Smith?s skill as both narrator and composer of visual narratives leaves us discomforted even as we smile." ?Catherine Elwes, UK/Canadian Video Exchange, 2000 "These films can be enjoyed as stories; films for everyone, especially in their humour. They comprise a personal topography of East London, blighted but alive. Viewers are enticed to interrogate the very illusions that films construct in front of their eyes?and behind their backs." ?A.L. Rees, A Directory of British Film and Video Artists, 1996

As the camera looks out through a barred window and the clock strikes four in a Swiss city, the death of Yasser Arafat provides the starting point for a journey back in time. "Throwing Stones" is the third video in the "Hotel Diaries" series, a collection of late night recordings made in foreign hotel rooms which relate personal experiences to contemporary world events.

John Smith was born in London in 1952 and studied film at the Royal College of Art. His film, video and installation works have been shown in cinemas, art galleries and on television throughout the world and have been awarded major prizes at film festivals in Leipzig, Oberhausen, Hamburg, Cork, Palermo, Graz, Uppsala, Bangkok, Ann Arbor and Chicago. Recent exhibitions include one-person shows at Pearl Gallery (London), Open Eye Gallery (Liverpool), Kunstmuseum Magdeburg and retrospectives at Oberhausen, Cork, Tampere, Uppsala and Winterthur international film festivals. John Smith is Professor of Fine Art at the University of East London.

“Things are never by themselves. Neither are we. They are among themselves and linger in our surroundings. And we sometimes see them, and us among them, as things among things. Yes, but not quite, not only.” This is how Jan Verwoert starts his text ‘Enter the Eerie Thingscapes’ on Sam Smith’s video installation ‘Form Variations’ (2014). The work, shot in the widescreen CinemaScope ratio, is an atmospheric looping meditation on cinema’s relationship to space and things. The non-narrative structure coalesces object, figure and location into a series of composed vignettes that swing between the hyperreal and the surreal. Key to the work are two specific references from the beginning of Michelangelo Antonioni’s ‘L’Eclisse’ that illuminate ideas that lie subtly in the fabric of the 1962 film. Specifically, the opening shot in which the character of Riccardo`s arm is perceived first as inanimate form, then revealed as flesh.

Sam Smith lives and works between London and Sydney. His current artistic practice spans video, sculpture, installation and performance. From 2013 to 2014 he was an artist in residency as part of the Künstlerhaus Bethanien International Studio Programme in Berlin. Recent solo exhibitions and performances include ‘The Performative Minute’ at KW Institute for Contemporary Art, Berlin (2014); ’Notes on the Apparatus' selected by Vdrome for the Artists' Film Biennial, Institute of Contemporary Arts, London (2014); 'Frames of Rererence', a solo exhibtion at The Royal Standard as part of their Liverpool Biennial 2014 programme (2014) and 'Form Variations' at Künstlerhaus Bethanien, Berlin (2014); He has participated in numerous group shows including 'Online/Offline. Encoding Everyday Life for Vorspeil Transmediale', Altes Finanzamt, Berlin (2014); 'Oblivion', Zweigstelle Berlin (2014); 'Conquest of Space', COFA Galleries, Sydney, Australia (2014); 'Larger than life', Temporära Konsthallen, Stockholm (2013) and 'Framed Perceptions', Sinne, Helsinki (2013).

In the dead of winter, the gas flares and spectral sounds of an oil boom awaken the long-abandoned prairies and ghost towns of North Dakota.

Adam James Smith is a British filmmaker based in New York. His filmmaking practice spans rural and urban environments across China, Japan, and the United States. His first feature film, The Land of Many Palaces, on the Chinese "ghost city" of Ordos, participated in the Sundance Institute workshop and premiered at the 2015 Santa Barbara International Film Festival. The film then went on to screen at festivals and on television around the world, picking up awards in Moscow, Rome, and Kyoto. His follow-up film, Americaville, on the Chinese replica of Jackson Hole, Wyoming was sponsored by the Whicker's Foundation and the Asian Cinema Fund. The film was released in 2020 and has since been screened around the world at festivals and universities. Adam is currently completing a series of films documenting the diversity of the rural experience throughout the American heartland, including the country’s oldest Black rodeo in Okmulgee Invitational, the oil boom awakening the abandoned homesteads of North Dakota in Frontier Phantom, and Native American cowboys in Arapaho Pasture. Adam was educated in film at Stanford and anthropology at Cambridge, the latter of which he is currently an Affiliated Filmmaker at the university’s Visual Anthropology Lab.

Synopsis ? Love, jealousy and wanting to be in two places at once Like a nighthawk at the diner, a young man recounts his story of love gone wrong. His marriage has been quietly growing lifeless, when his wife proposes that they attempt to rekindle their passion through, the dance which first brought them together, the tango. But not any old tango, rather a more risqué partner swapping form of the dance, with different partners in separate venues.

Gregg Smith: biography Gregg Smith is an artist from Cape Town, South Africa. He completed his studies at the Michaelis School of Fine Art, University of Cape Town, in 1991 and since then has been active in a range of contemporary art and theatre projects in South Africa and abroad. With origins in painting, performance, and art in public space, his present work incorporates aspects of all these practices in the development of video installations. Until 2000, he lived in Cape Town, where he was active as an artist and also a professor of painting at the Michaelis School of Fine Art. In 2001-02, Gregg was a participant at the Rijksakademie van beeldende kunsten in Amsterdam, and following this moved to France where he studied film-making at Le Fresnoy studio national des arts contemporains (2002-04). His work is equally accepted in contemporary art and film festival circuits; recent projects have been shown at the Rotterdam International Film Festival, Le Centre Georges Pompidou (Paris, France), La Biennale de Dakar (Senegal) and Galerie Krinzinger (Vienna, Austria). He is at present based in Paris, France and is a professor in the Master of Arts in public sphere program (MAPS) at ECAV.

A young man (Hubert Brown) arrives in a quiet rural location in order to present his candidature for job there. As the interview procedures are to take place over several days, he has traveled together with his wife (Christine), so that they might both benefit from a few days in the countryside. Though he has little working experience as yet, he has been recommended for the post by the wife of an acquaintance, who seems to have some influence. The project involves the redevelopment of a piece of land previously used as a nature reserve. As the day unfolds a precarious web of power relations becomes evident as various individuals struggle to find a firm footing in a scheme which at this stage remains highly speculative. It becomes evident that there are several forces already at play in this seemingly empty landscape. For one thing, it is inhabited by residents who have a strong bond with the land, and are resistant to the development plans. The area seems also to physically affect all those who move through it, animating their gestures with sporadic dancelike movements. These movements are never noticed or remarked upon. The film takes the dance-musical form as a point of departure, but eliminates the element of music. The issue of land is remains a charged and unresolved issue in South Africa. In the video project Underexposed, notions of ownership and empowerment are taken a level further. The film questions the dynamics at play in daily exchanges which determine who has the means to exploit their own resources : their body, their ideas and beliefs. The loose fiction follows the redevelopment of a large piece of seemingly vacant land. A precarious web of power relations becomes evident as various individuals struggle to find a firm footing in a scheme which at this stage remains highly speculative. It becomes evident that there are several forces already at play. For one thing, it is inhabited by residents who have a strong bond with the land, and are resistant to the development plans. The area seems also to physically affect all those who move through it, animating their gestures with sporadic dancelike movements. These movements are never noticed or remarked upon.

Gregg Smith is an artist of South African origin, born in Cape Town and currently living and working in Paris, France. with origins in the traditions of painting and performance his video works experiment with the narrative form as means to question the relation between personal perceptions and social interactions. His work is equally traverses the realms of cinema of contemporary art traditions Recent exhibitions and screenings include : Fondation Espace Ecureuil (Toulouse), Rotterdam International Film Festival, FIDMarseille International Documentary Film Festival, Galeria dels Angels - Carmelitas Gallery, LOOP `07 (Barcelona), Fundació Joan Miró, (Barcelona), Le Plateau, Espace Experimantal (Paris) et Musé du Jeu de Paume (Paris).

The loose narrrative follows the progress of a young man who has arrived in a small provincial town in order to present his candidature for job there. The job at hand entails the overseeing of the redevelopment of a piece of land. As agriculture has declined in the area, there are those who would like to see the land used more profitably, through the construction of a dormitary suburb for a nearby city. In order to expediate such a project however, there would need to be someone put in charge of its management who would tolerate some fairly unorthodox procedures. The young man is seen to be suitable for this post. It soon becomes evident that there are other forces at play in this territory. The area seems to physically affect all those who move through it, with various forms of movement. It seems that the body of those affected becomes charged by a rhythmic force, moving them to sporadic and involuntary dance, during everyday activities. These movements are never noticed or remarked upon.

Gregg Smith is originally from Cape Town. He obtained a degree from the Michaelis School of Fine Arts in Cape Town, and after having studied at the National Studio of Contemporary Arts in Fresnoy, he has since, put on art projects and theatre in South Africa and abroad, blending performance, painting and art in public space. His work has recently been shown in different places: Biennale of Dakar, Musée de Jeu de Paume, the Rotterdam Film Festival, etc. Among other remarkable projects in the domain of art in public places, we have "The Lovephones" (Cape Town, 2000) and "The Lovephones in London" (London, é//&), "The Long Street Baths Mural Project (Cape Town, 1994-98), and his project coming to Cape Town "very Real Time". Recently , the Contemporary Art Space of Castille in Spain commissioned a new work for the exhibition "Our Hospitality" directed by Rodrigo Alonso.

The End (duration: 14 minutes, DVD from HDV) video installation with digital prints and other elements. Two men circulate around an office space, they are engaged in a common project, the purpose of which is unclear. Their work drives them at a constant rate of activity to which they seem to have become so accustomed, that they barely seem conscious of their actions; sorting through papers, filing documents, making small notes, passing documents to one another. To occupy their thoughts they talk of other things, they have clearly known each other for a long time. Operating in such close proximity to each other over an extended period, they have developed a kind of intimacy. They know each others strengths and weaknesses, perhaps as a way to break the monotony they explore this terrain, moving into the vulnerable territories, in a way which is at once tender and manipulative, revealing a personal power struggle which preoccupies their existence. The film is shot on a constructed set and in an abandoned coal mine in Genk, Belgium.

Gregg Smith: biography www.greggsmith.co.za Gregg Smith is an artist from Cape Town, South Africa. He completed his studies at the Michaelis School of Fine Art, University of Cape Town, in 1991 and since then has been active in a range of contemporary art and theatre projects in South Africa and abroad. With origins in painting, performance, and art in public space, his present work incorporates aspects of all these practices in the development of video and film projects. In 2001-02, Gregg was a participant at the Rijksakademie van beeldende kunsten in Amsterdam, and following this moved to France where he studied film-making at Le Fresnoy studio national des arts contemporains (2002-04). His work has recently been exhibited at the Dakar Biennale (Senegal, 2004), Le Musé de Jeu de Paume (Paris), and the Rotterdam Film Festival (Holland), Hidden Rhythms (Nijmegen, NL), Hilchot Schschenim C at the Digital Art Lab (Tel Aviv, Israel), Model Missed Opportunities, Brandenburger Kunstverein, Berlin, Videobrazil, Sao Paulo and the Rotterdam International Film Festival (2004, 2005), Le Plateau, Espace Experimantal, Paris, France, 2006, and Architecture au corps, Galerie Anton Weller, une proposition d?Alexandra Fau, Paris, France. Other notable projects in the field of art in public space include The Lovephones (Cape Town, 2000) and The Lovephones in London (Gasworks Gallery, London, 2001), The Long Street Baths Mural Project (Cape Town, 1994-98), and his ongoing Cape Town based project and discussion series, Very Real Time (www.veryrealtime.co.za). Present projects include the comission of a new work by Espai d`Art Contemporani de Castellon in Castellon, Spain as part of the exhibition, Our Hospitality, curated by Rodrigo Alonso.

A young man is traversing Paris, using his mobile, and talking to himself. He has problems and is looking for shelter for the night. In his mind, he runs through his whole circle of friends, but in reality he does not dare approach any of them. He would like to blame everyone and everything for this uncomfortable and narrow life where all good opportunities seem to have been squandered. From time to time, he stops and is then pulled into another dimension - a dimension where no boundaries and formalities exist and where, very briefly, he makes contact with total strangers. The very simple and functional design of this 'fourth dimension' makes its existence plausible. Everyone could flee to it from time to time. The film is shot in the busy neighbourhoods of Barbès, Château Rouge, and Gouttes d`Or, in Paris, and against a blue screen in Le Fresnoy. With Mireille Abadi, Manon Querelle, Feyçal Bagriche, Gérard Abela, and Gregg Smith.

Gregg Smith is an artist from Cape Town, South Africa. He completed his studies at the Michaelis School of Fine Art, University of Cape Town, in 1991 and since then has been active in a range of contemporary art and theatre projects in South Africa and abroad. With origins in painting, performance, and art in public space, his present work incorporates aspects of all these practices in the development of video and film projects. In 2001-02, Gregg was a participant at the 'Rijksakademie van Beeldende Kunsten' in Amsterdam, and following this moved to France where he studied film-making at Le Fresnoy studio national des arts contemporains (2002-04). His work has recently been exhibited at the Dakar Biennial (Senegal, 2004); Le Musée de Jeu de Paume (Paris); the Rotterdam Film Festival (Holland); Hidden Rhythms (Nijmegen, NL); Hilchot Schschenim C at the Digital Art Lab (Tel Aviv, Israel); Model Missed Opportunities, Brandenburger Kunstverein, Berlin; Videobrazil, Sao Paulo; the Rotterdam International Film Festival (2004, 2005); and Le Plateau, Espace Experimantal, Paris, France, 2006. Other notable projects in the field of art in public space include The Lovephones (Cape Town, 2000); The Lovephones in London (Gasworks Gallery, London, 2001); The Long Street Baths Mural Project (Cape Town, 1994-98); and his ongoing Cape Town based project and discussion series, "Very Real Time".

'Covid Messages' is a video work in six parts, based around broadcasts of British Prime Minister Boris Johnson’s COVID-19 press conferences. The work focusses on the British government’s attempts to eliminate the virus through the use of magic spells and rituals. While the pandemic spreads and the death toll rises, the Prime Minister makes repeated errors of judgement. Exasperated by his many mistakes, the spirits of the dead rise up and intervene.

John Smith was born in Walthamstow, London in 1952 and studied at the Royal College of Art, after which he became an active member of the London Filmmakers' Co-op. Inspired in his formative years by conceptual art and structural film, but also fascinated by the immersive power of narrative and the spoken word, he is renowned for a diverse body of work that subverts the perceived boundaries between documentary, fiction, representation and abstraction, playfully exploring and exposing the language of cinema. Since 1972 he has made over sixty film, video and installation works that have been shown in museums, galleries and independent cinemas around the world. Smith’s solo exhibitions include Kestnergesellschaft, Hanover; Museum of Contemporary Art, Leipzig; Centre d'Art Contemporain de Noisy-le-Sec, Paris; Ikon Gallery, Birmingham; Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg; Turner Contemporary, Margate; Weserburg Museum for Modern Art, Bremen; Uppsala Art Museum, Sweden and Royal College of Art Galleries, London. His work is held in public collections that include Tate Gallery; Arts Council England; Museum of Modern Art, New York; Muzeum Sztuki, Lodz; FRAC Île de France, Paris and Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg.

Indeterminate epoch and country. At 21, Yevgueni is a young astronaut-technician. If he dreams of traveling in space, his employment consists of working at the heart of a launching base for space travel, as a spacecraft launching operator. At the particularly critical launch of an inhabited Soyouz shuttle, Yevgueni abruptly loses consciousness, which causes loss of contact with the team in orbit and the explosion of the spacecraft. Haunted by this catastrophe, Yevgueni progressively loses grip with reality and becomes contaminated by the trauma.

The abandoned spaces of a Wild West theme-park, a love hotel, and a billionaire's mansion are brought to life with plant overgrowth and animals, late-summer rain, and the haunting remnants of past human habitation.

Adam James Smith is a British-American filmmaker based in New York. His filmmaking practice spans rural and urban environments across China, Japan, and the United States. Adam was educated in film at Stanford and anthropology at Cambridge, the latter of which he is currently affiliated with the university’s Visual Anthropology Lab.

Au fil d’une nuit fantastique, un personnage arpente sans fin des avenues froides et nues, des institutions désertes, des non-lieux inhabités, en marche, en quête, solitaire - guettant les apparitions de fantômes venant se glisser dans son sillage. Suspendu aux télé-technologies (téléphone, puce électronique) de l’intime, il semble se nourrir de l’absence d’un être aimé, ailleurs, loin, intouchable, dont l’absence hante sa déambulation.

Dorothee Smith est une photographe née au milieu des années 80, c’est une enfant de la chute du mur de Berlin, cet évènement qui marque la fin d’une ère, celui de la guerre froide du capitalisme républicain contre le communisme soviétique, et le début d’une autre, celui de la guerre informelle entre l’occident judéo-chrétien et les extrémistes islamiques (Palestine, Irak, Iran, Afghanistan). C’est aussi l’enfant du mouvement queer, avec ses identités fleurissantes et sa nouvelle philosophie du corps. C’est encore et enfin l’enfant de la catastrophe de Tchernobyl, d’une planète maltraitée car trop polluée, d’une terre nucléaire menacée de destruction. C’est un peu ce court morceau d’histoire, qui a un peu plus de vingt ans maintenant, que l’on retrouve dans le sampling visuel de la photographe plasticienne.

Paris - temps incertain, temps de la fin. Une cycliste, cavalière d'une possible apocalypse, erre autour de la ville éteinte, déserte, muette - guettant d'hypothétiques survivances. La Samaritaine, cube blanc, désaffecté, semble s’offrir comme un refuge ; mais elle se révèle le théâtre d’univers parallèles où se décide, avec les quatre derniers vivants, le sens de l'effondrement en cours. Les personnages qui y vivent sont en “arrêt de mort”, suspendus entre deux états, traversant les possibles, pris dans une fin du monde sans cesse imminente, et pourtant sans cesse différée, et encore sans cesse recommencée. C’est le bâtiment même qui va incarner de manière vivante cet interstice travaillant toutes les apparitions qui semblent traverser le lieu. Ce sont les modalités fluctuantes de cet espace de la Samaritaine qui vont se déployer, amenant d’oracles SM en chansons nihilistes, de danses de séduction désespérées en rituels de mutation, la révélation claire qu’il n’y aura pas de révélation. Les fins du mondes et les croyances sont défaites. Il n'est plus question de fin du monde, mais de commencements d'autres mondes - par la métamorphose. Apocalypse nous-autres.

SMITH ?http://www.fillesducalvaire.com/artiste/smith/ Le travail de SMITH s’appréhende comme une observation des mues de l’identité humaine. La photographie y côtoie le cinéma, la vidéo, la chorégraphie, le bio-art, la sculpture et l’utilisation des nouvelles technologies, dans une exploration des combinaisons des approches scientifique et philosophique, ouvertes sur les potentiels de la fiction. Après l’obtention d’un Master de Philosophie à la Sorbonne, du diplôme de l’Ecole Nationale Supérieure de Photographie d’Arles, et du Fresnoy - Studio National des Arts Contemporains, SMITH engage l’écriture d’une thèse de doctorat, à l’UQAM (Montréal). Ses travaux furent présentés sous la forme d’expositions personnelles aux Rencontres internationales de la photographie d’Arles, à la galerie les Filles du Calvaire et au Palais de Toyko à Paris, au musée de la Photographie d’Helsinki en Finlande, mais aussi dans de nombreux pays d’Europe (Suisse, Suède, Autriche, Luxembourg, Allemagne, Espagne, Italie...), d’Asie (Chine, Cambodge, Corée du Sud) et d’Amérique Latine (Mexique, Chili, Uruguay) et aux USA. Sa première monographie, «Löyly», est parue aux éditions Filigranes en 2013, suivie de « Saturnium » aux éditions Actes Sud en 2017, et d’un livre d’entretien avec l’historienne de l’art Christine Ollier en 2017 aux éditions André Frère. Paraissent en 2018 puis 2019 deux autres livres de photographie : "Astroblème" (Filigranes) et "Valparaiso" (André Frère). Son premier et son second moyen-métrages, "Spectrographies" et "TRAUM", furent diffusés en festivals et cinémas en Europe. Ses performances artistiques et chorégraphiques furent présentées au Centre Pompidou, au Théâtre de la Cité Internationale avec le soutien de la Fondation Hermès – New Settings, au CND (Pantin), au Musée de la Danse (Rennes) et au CCN de Montpellier. SMITH travaille actuellement à l’élaboration de son nouveau projet-monde "Désidération", avec la Cellule Cosmiel (Lucien Raphmaj, Jean-Philippe Uzan, SMITH) et le studio DIPLOMATES, qui explore les liens entre l’humanité contemporaine et son cosmos originaire : http://www.desideration.space ** Lucien Raphmaj https://lucienraphmaj.wordpress.com/ Lucien Raphmaj, écrivain né d’une œuvre élaborée avec SMITH, a écrit avec lui le scénario de ses films, depuis "Spectrographies" (2015) jusqu’aux "Apocalyptiques" (2019) en passant par leurs projets multidisciplinaires tels que "TRAUM" (film, exposition, textes, vidéos, spectacle de danse). C’est cette écriture à mille voix, fruit d’un travail personnel, mais aussi expérience d’une spectralisation de l’écriture qui se laisse traverser par d’autres voix, qui est celle qu’il mène encore à travers l’univers des « Apocalyptiques ». Il participe, en tant que critique, à la revue culturelle en ligne Diacritik et tient un blog sur la latérature. Son premier ouvrage, "Blandine Volochot", paraît aux éditions Abrüpt en Janvier 2020.

The Centre for Contemporary Art is a place for the creation and documentation of art in all its forms. The Centre achieves its goals through exhibitions, performances, presentations of visual theatre, concerts of contemporary music, the showing of experimental films, video art, shows and creative workshops, as well as various interdisciplinary events. Twelve years have passed since the Centre for Contemporary Art began its systematic and comprehensive activity in the public domain. A unique feature of this process is the way the developing art program is correlated with the reconstruction and organisation of the architectural spaces of the Castle in which the Centre is housed.

Based on a concert Michael Snow performed with his improvisatory ensemble CCMC at Kunst-Werke in 2002, Reverberlin is the first work for which Snow, both an esteemed filmmaker and musician, co-composed both sound and image. Using digital video images of CCMC playing all over the world, Snow creates counterpoints and juxtapositions to the unedited live recording (only sound) of 2002.

WVLNT ("Wavelength For Those Who Don't Have the Time") is a reworking of Michael Snow's ground-breaking 45 minute experimental film Wavelength (1967). One of the most influential works of structuralist film, the original has been literally cut in three, with each section's visual and sound superimposed upon the others, resulting in a shortened yet intense video version.

Michael Snow is considered one of Canada's most important living artists, and one of the world's leading experimental filmmakers. His wide-ranging and multidisciplinary work explores the possibilities inherent in different media and genres, and encompasses film and video, painting, sculpture, photography, writing, and music. Snow's practice comprises a thorough investigation into the nature of perception. While Snow early established himself as a successful painter and musician in his native Toronto, it was his 1962 move to New York City that marked the beginning of his rise to international prominence. He entered into a long-lasting and fruitful dialogue with downtown Manhattan's artistic avant-garde, exchanging ideas with figures such as Yvonne Rainer, Philip Glass, Sol LeWitt, and Richard Foreman, and developing some of his most ambitious and influential works to date. Snow would continue to pursue improvised music, both on his own and in ensembles such as Toronto's CCMC. The generation and reception of sound in the broader sense emerged as one of his main concerns, reflected in performance and tape works that share qualities with contemporaneous experiments by composers like Steve Reich. At the same time, Snow made alliances within the underground film scene centered around Jonas Mekas 'Filmmakers' Cinematheque. He created his most famous experimental film "Wavelength" in 1967, which notoriously includes a 45-minute camera zoom within a fixed frame. Snow's other films of this period, including "Back and Forth" (1969), and "La Région Centrale" (1971), similarly explored the mechanics of filmmaking to simultaneously investigate the functional processes of cinema and of thinking itself. In the 1970s and 1980s Snow, responding to a growing institutional commitment to his work, experimented more with large-scale installations, including public sculptures such as "Flightstop" (1979) and "The Audience" (1988-89). In recent years he has focused on the specific nature and potential of digital media, yielding works like the video-film "Corpus Callosum" (2002). Regardless of artistic genre, Snow consistently engages in an analytical discourse on the nature of consciousness and experience, and language and temporality.

Sheeploop est un plan fixe, un paysage qui évolue lentement. Sheeploop offre un drôle d`instantané bucolique. Regarder des moutons mastiquer graduellement leur passage dans un pâturage, encore et encore, force le spectateur à reconsidérer la beauté de décors aussi idylliques. Typique des stratégies cinématographiques de Snow, cette oeuvre nous sensibilise au regard que nous portons sur un paysage, et sur la nature même de notre perception.

Michael Snow (né en 1929 à Toronto) est considéré comme l`un des plus importants artistes canadiens. En mars 2000, il recevait pour l`ensemble de son oeuvre cinématographique l`une des plus hautes distinctions au Canada, le Prix du Gouverneur général en arts visuels et arts médiatiques. Artiste multidisciplinaire, il est peintre, photographe, cinéaste et musicien. En 1956, il réalisait son premier film. Son film Wavelength (1967) le consacre comme l`un des cinéastes importants de « l`avant-garde américaine » (sic). À la fin des années 1960, pour la réalisation de son film La Région Centrale (1971), il collabore avec un ingénieur canadien à la conception et à la réalisation d`un bras mécanique qui permet à la caméra de tourner dans tous les sens et à des vitesses de rotation contrôlées par l`artiste. Au cours des dix dernières années, Snow a participé à toutes les expositions importantes ayant trait aux images dans le monde contemporain : Passages de l`image, réalisée par le Centre Pompidou; Projections, les transports de l`image, d`abord présenté au studio national des arts contemporains, Le Fresnoy; La Biennale d`art contemporain de Lyon, qui célébrait en 1995 les cent ans du cinéma, intégrait Snow à l`exposition. Enfin, le Musée des beaux-arts de l`Ontario et le Power Plant lui consacraient conjointement une grande rétrospective, Michael Snow Project. Encore récemment, on présentait en Europe une grande rétrospective de ses travaux filmiques et photographiques intitulée Panoramique : oeuvres photographiques et films=Photographic Works and Films : 1962-1999 et la Arnolfini Gallery de Bristol en Angleterre présentait en 2001 une exposition intitulée Michael Snow: almost Cover to Cover. Il est membre de l`Ordre du Canada et Chevalier de l`Ordre des arts et des lettres (France).

WVLNT ("Wavelength For Those Who Don't Have the Time") is a reworking of Michael Snow's ground-breaking 45 minute experimental film Wavelength (1967). One of the most influential works of structuralist film, the original has been literally cut in three, with each section's visual and sound superimposed upon the others, resulting in a shortened yet intense video version.

Michael Snow is considered one of Canada's most important living artists, and one of the world's leading experimental filmmakers. His wide-ranging and multidisciplinary work explores the possibilities inherent in different media and genres, and encompasses film and video, painting, sculpture, photography, writing, and music. Snow's practice comprises a thorough investigation into the nature of perception. While Snow early established himself as a successful painter and musician in his native Toronto, it was his 1962 move to New York City that marked the beginning of his rise to international prominence. He entered into a long-lasting and fruitful dialogue with downtown Manhattan's artistic avant-garde, exchanging ideas with figures such as Yvonne Rainer, Philip Glass, Sol LeWitt, and Richard Foreman, and developing some of his most ambitious and influential works to date. Snow would continue to pursue improvised music, both on his own and in ensembles such as Toronto's CCMC. The generation and reception of sound in the broader sense emerged as one of his main concerns, reflected in performance and tape works that share qualities with contemporaneous experiments by composers like Steve Reich. At the same time, Snow made alliances within the underground film scene centered around Jonas Mekas 'Filmmakers' Cinematheque. He created his most famous experimental film "Wavelength" in 1967, which notoriously includes a 45-minute camera zoom within a fixed frame. Snow's other films of this period, including "Back and Forth" (1969), and "La Région Centrale" (1971), similarly explored the mechanics of filmmaking to simultaneously investigate the functional processes of cinema and of thinking itself. In the 1970s and 1980s Snow, responding to a growing institutional commitment to his work, experimented more with large-scale installations, including public sculptures such as "Flightstop" (1979) and "The Audience" (1988-89). In recent years he has focused on the specific nature and potential of digital media, yielding works like the video-film "Corpus Callosum" (2002). Regardless of artistic genre, Snow consistently engages in an analytical discourse on the nature of consciousness and experience, and language and temporality.

Sheeploop est un plan fixe, un paysage qui évolue lentement. Sheeploop offre un drôle d`instantané bucolique. Regarder des moutons mastiquer graduellement leur passage dans un pâturage, encore et encore, force le spectateur à reconsidérer la beauté de décors aussi idylliques. Typique des stratégies cinématographiques de Snow, cette oeuvre nous sensibilise au regard que nous portons sur un paysage, et sur la nature même de notre perception.

Michael Snow (né en 1929 à Toronto) est considéré comme l`un des plus importants artistes canadiens. En mars 2000, il recevait pour l`ensemble de son oeuvre cinématographique l`une des plus hautes distinctions au Canada, le Prix du Gouverneur général en arts visuels et arts médiatiques. Artiste multidisciplinaire, il est peintre, photographe, cinéaste et musicien. En 1956, il réalisait son premier film. Son film Wavelength (1967) le consacre comme l`un des cinéastes importants de « l`avant-garde américaine » (sic). À la fin des années 1960, pour la réalisation de son film La Région Centrale (1971), il collabore avec un ingénieur canadien à la conception et à la réalisation d`un bras mécanique qui permet à la caméra de tourner dans tous les sens et à des vitesses de rotation contrôlées par l`artiste. Au cours des dix dernières années, Snow a participé à toutes les expositions importantes ayant trait aux images dans le monde contemporain : Passages de l`image, réalisée par le Centre Pompidou; Projections, les transports de l`image, d`abord présenté au studio national des arts contemporains, Le Fresnoy; La Biennale d`art contemporain de Lyon, qui célébrait en 1995 les cent ans du cinéma, intégrait Snow à l`exposition. Enfin, le Musée des beaux-arts de l`Ontario et le Power Plant lui consacraient conjointement une grande rétrospective, Michael Snow Project. Encore récemment, on présentait en Europe une grande rétrospective de ses travaux filmiques et photographiques intitulée Panoramique : oeuvres photographiques et films=Photographic Works and Films : 1962-1999 et la Arnolfini Gallery de Bristol en Angleterre présentait en 2001 une exposition intitulée Michael Snow: almost Cover to Cover. Il est membre de l`Ordre du Canada et Chevalier de l`Ordre des arts et des lettres (France).

Joanna is a singer who performs in a bar six nights a week, inside a hotel where she lives a few floors below. Her voice guides us through her work routine and the circular route between her room and the stage, all while the video continuously interrupts itself, disrupting the linearity of her story. 'B Plots' looks into the connection between images and physical spaces and how they mirror and affect each other. The mechanic movements of the camera are not hidden, but amplified, directing ones attention towards the camera as a medium and the materiality of the video.

Freja Sofie Kirk works within video, photography and installation, often in connection with one another. Through her ongoing work with two-dimensional representations, Kirk’s practice investigates how images generate meaning in contemporary society. Her work takes the form of a continuous study of spatial and medial constructions, the violence they perform and the architecture they manifest. By utilizing the camera, Kirk attempts to renegotiate the power relations inherent in both architecture and image production.

The film is based on Lenin?s article ?Before the Storm? which tells about the First Russian Revolution of 1905. So it is a very short reenactment of the previous revolution. On the other hand it is taking place in today?s Moscow and labour migrants feature in the film, so it can be also a rehearsal of the future rebellion.

Haim Sokol b. 1973, Archangelsk, Russia Lives and works in Moscow Winner in 2009 for Special Stella Art Foundation prize Haim Sokol is an installation, sculpture, and video-based artist whose practice addresses the dramatic social histories of Russia and Eastern Europe. Though many of his works teeter on the edge of fiction and fantasy, Sokol roots his use of literary allusion in historical reality and the legacy of major 20th century uprisings, revolutions, massacres and genocides. By compounding the grim realities of urban life with the complexity of exile and socio-political diaspora, Sokol?s works effectively capture experiences of alienation, isolation and disrupted communication. Sokol is a graduate of the Hebrew University in Jerusalem (1996) and the Moscow Institute of Contemporary Art (2007). Sokol has exhibited in solo exhibitions at the M&J Guelman Gallery, Triumph Gallery, Anna Nova Gallery and other galleries in Moscow and St Petersburg. He has participated in the First Indian Biennale (Kochi-Muziris, 2012), Mediation Biennale (Poznan, Poland, 2010), the Third Moscow Biennale of Contemporary Art (2009), the Second Biennale of Contemporary Art in Thessaloniki (Greece, 2009), the First Moscow Biennial for Young Artists (2008) and other exhibitions in Russia and internationally.

You have been tracking us, is a video work that reconstructs one of the scenes of the movie Lawrence of Arabia (directed by David Lean in 1962), the scene is the one that has an oasis as background, where the little army of Lawrence has stopped to rest. The video has been shot at the same spots of Tabernas? Desert (Almería, Spain) where the scene was orginally shot, copying the movements of the camera, in order to analyze the landscape that the cinematographic industry produced and, afterwards, left behind. The production team of the movie created the oasis for the shooting and did not remove the palm trees afterwards, so the trees have managed to survive and they still remain alive, 40 years after; this particular condition creates an interesting situation, where fictional elements have produced a?real? landscape. The video works with images aesthetically close from documentaries, but follows the shots ant the movements of the original scene, creating a contradictory and strange landscape.

Teresa Solar has studied Fine Arts at the Universidad Complutense, in Madrid and has obtained an MA in Contemporary Art at the European University of Madrid. She has been selected in different national contests such as ?Momentos de paisaje 09? (CDAN) and has participated in various exhibitions like ?Yo no tengo razón? (Off Limits, Madrid, 2009) and LOOP Festival (Barcelona, 2009). Since 2008 she has been investigating the relationships between touristic and cinematographic industry and landscape. Nowadays she is producing a new project in Cairo, Egypt.

Au c?ur de Bordeaux demeure l?imposante Bourse du travail, lieu témoin d?une époque où la valeur travail et la lutte des classes étaient moteurs de la construction de la société. Sa façade égratignée, ses étages désertés sont autant de signes que le temps est passé, emportant avec lui la vivacité de l`idéal du Front Populaire. Un groupe visite le bâtiment, le patrimoine semble pousser l`action syndicale aux oubliettes, pourtant le lieu dévoile peu à peu ses habitants, bien vivants et animés par des problématiques sociales on ne peut plus actuelles.

Isabelle Solas est réalisatrice et cadreuse. Suite à des études en anthropologie et en langues orientales, elle intègre la prestigieuse Ecole du Doc de Lussas, en 2005, où elle réalise Dorsale sur le proche Atlantique, et rencontre les différents acteurs issus de ce "village documentaire". Depuis, elle travaille comme cadreuse pour d`autres réalisateurs (Gilles Kerpen, Galés Moncomble, Anna Feillou). Elle réalise son premier long métrage Inventaire en 2009, diffusé à l`Utopia à Bordeaux, et au festival Traces De Vies 2009. Elle se consacre ensuite à la réalisation de films engagés, Anastasie, portrait d?une sans-papier, La Presqu?Île, portrait d?un SDF (Programmation au Festival Traces de Vie 2011), et Voisins, Rencontres et jardins cachés, documentaire sur la question du logement social à Begles, programmé en 2010 au Festival Traces de Vie. Elle travaille également comme vidéaste avec le collectif "Monts et Merveilles", autour d`expériences artistiques et participatives, dans Soupe 3, et Cocktail Manoir, en collaboration avec Florent Ghys, contrebassiste et compositeur, elle réalise des vidéos musicales, 4, et Déviation. Elle travaille actuellement sur un nouveau projet de moyen métrage documentaire en coproduction avec France 3, intitulé PAS DE NOSTALGIE, CAMARADES avec la société Sister productions.