Catalogue > List by artist

A time fragment in the present history of the unified Europe where considerable numbers of people are not only excluded, but also subject to a "contemporary form of slavery". With reference to the Dziga Vertov portrayal of one day in Moscow after the social revolution 1917, this film depicts work migrants from the former Soviet Union spending their only free day, Sunday, in the Parco di Resistenza in Rome.

Born 1965 in Odessa (formerly CCCP), Alexander Vaindorf has been living and working in Stockholm since 1987. Education 2001-2002 Royal Art Academy, Stockholm. Postgraduate. 1998-2000 Columbia University, NY. Visual Arts, MFA. 1999-2000 Columbia University, NY. Sociology Department. 1995-1998 Konstfack University, Stockholm, BFA. Recent exhibitions and screenings: 2006 Solo exhibition - Salon of the Museum of Contemporary Art, Belgrade; Solo exhibition - Kunstlerhaus Buchsenhausen Innsbruck. 2005; 10th Rencontres Internationales Paris/Berlin; 51st Short Film Festival Oberhausen 2004; Venice Architecture Biennale, Russian pavilion; 2003 "Narration in Swedish Contemporary Art", Sweden; B-fact: Tirana and Istanbul Biennale; "It is hard to touch the real", Kunstverein Munich, 26:e Gothenburg Film Festival.

Footage of different remote locations is manipulated to create an experience of one, generic place where two white Westerners, two local guides and a donkey are on an endless search through this ?unknown? landscape.

ALEXANDER VAINDORF Born 1965 in Odessa, f. CCCP, since 1987 lives and works in Stockholm. Education 2001-2002 Royal Art Academy, Stockholm. Postgraduate. 1998-2000 Columbia University, New York. SoA/Visual Arts, Master of Fine Arts. 1999-2000 Columbia University, New York. Sociology Department. 1995-1998 Konstfack University College, Stockholm, BA of Fine Arts.

Human behaviour in contrast to machines (animals) is influenced by events in the past, as far back as these experiences may lie. Therefore there exists a psychic paratime parallel to the objective time, where the prayers of anguish and guilt, the inability to win, deformations which rip open the skin, becoming aware of oneself, have their constant effects. I demonstrate something which represents past and present.

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

This work documents a ritualistic performance concerned with Ansemia, or the inability to either express or understand gesture. Using symbolic materials - hot wax, a knife, a dead bird - as well as text, VALIE EXPORT investigates human expression, and how communication can fail. "I had used my mouth to take the knife from the podium, holding it in my mouth, (the knife is language, the naming of things, its separates the subject from the object) using it to cut."

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

Like in “Split Reality”, the personality conveyed by a medium in this performance tape appears to be schizophrenic. Two video cameras and a mixer make possible a closed-circuit action that demonstrates not only the differences in the way the viewers perceive a person who is physically present in the room and simultaneously electronically reproduced, but also how the image is manipulated by its electronic conveyance. The camera zooms in and out, subjecting the performer's monitor likeness to permanent alteration. Specific synthetic sounds are linked to the picture: optically close = loud sound and rapid tone repetition, optically remote = quiet sound and slow tone repetition. The work is arranged in 6 parts: 1. space position, 2. split images, 3. space position composition, 4. split image composition, 5. body, 6. body composition.

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

This 16mm film reflects EXPORT`s dialogue with the medium film: "Back then I was occupied with trying to find out how you can use this small machine to do things with various formal, artistic or performance-like sequences on celluloid: cross-fading, rewinding and starting over again, not having any clear pictures. In this project I was interested in moving towards the camera and moving away again."

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

In “Sehtext: Fingergedicht” (Visual Text: Finger Poem) VALIE EXPORT communicates with her fingers. Sign language, as an elision of word and gesture, is investigated in this performance-to-camera work. The artist writes: "The body as carrier of information, in order to convey both spiritual and physical contents, is the reflected image of the internal/psychological and of the external/institutional reality."

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

This video was made for a commission EXPORT received from the Theater an der Wien opera house for an installation on the occasion of the Mozart Year 2010. It shows in short intervals various bars of music, behind each one changing number combinations - 13, 167, 123, 16, 4 etc. - and two dice that roll into the picture displaying various numbers of dots. EXPORT's hand can be seen now and then, reaching for the dice. The images are accompanied by melodies played on a soprano saxophone. The springboard for this video work is a manuscript attributed to Wolfgang Amadeus Mozart titled "Anleitung zum Componieren von Walzern vermittels zweier Würfel" ("Instructions for Composing Waltzes Using Two Dice"), published posthumously in 1793. Mozart's interactive composition piece is based on a system for a musical dice game invented in the mid-18th century which is the oldest known method for combining numbers with the help of a random generator, in this case, dice. In this video, EXPORT summons connections to earlier photographic works and installations in which dice and randomness play a central role.

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

In this video poem VALIE EXPORT speaks to the screen; the body-language action involving her loud, sensual, breathy voice is the main event, while the semantic content as "love-poem" is deliberately more of an afterthought. The focus is instead on the moment of not saying something out loud, of pre-linguistic expression. Only when the viewer follows step-by-step the letters breathed onto the glass pane as well as the performer`s head movements does a sentence become decipherable, which says: "I love you".

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

At the 2007 Venice Biennale, I did a 12-minute performance in the Arsenale that showed the vocal folds of my throat while I was speaking. It was called “the voice as performance, act and body”. After a camera was inserted through my nose, the image was shown on large monitors so that you could see my vocal folds in the process of speaking. It was my own text that I read in German, a poetic text about the origin of language. “What is the anatomy of language?” I asked. My answer was just as much a body performance as any of my earlier works. Whenever we think of the body as a vessel for artistic ideas, we somehow always focus on the surface of the body. But the truth is that there is no surface of the body independent of its interior. It’s obvious that the outside of the body is always connected to the inside, to thought processes and to an internal anatomy. (VALIE EXPORT)

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

The rebellious voice, the split voice. The voice is suture, the voice is seam, the voice is cut, the voice is tear, the voice is my identity, it is not body or spirit, it is not language or image, it is sign, it is a sign of the images, it is a sign of sensuality. It is a sign of symbols, it is boundary. It speaks the “Split Body”, it is hidden in the clothing of the body, it is always somewhere else. The breath of life is its source. (VALIE EXPORT: Segment from the spoken text)

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

As usual, the film is “shown” in the dark. But the cinema has shrunk somewhat – only two hands fit inside it. To see (i.e. feel, touch) the film, the viewer (user) has to stretch his hands through the entrance to the cinema. At last, the curtain which formerly rose only for the eyes now rises for both hands. The tactile reception is the opposite of the deceit of voyeurism. For as long as the citizen is satisfied with the reproduced copy of sexual freedom, the state is spared the sexual revolution. “Tap and Touch Cinema” is an example of how re-interpretation can activate the public. (VALIE EXPORT) This outdoor action on Munich's Stachus square translates the concept of expanded cinema and the cinema's fairground roots into the “first immediate women’s film”, as the artist describes her “Tap and Touch Cinema”. “Public” accessibility – restricted to 30 seconds per person – is noisily proclaimed by Peter Weibel. A direct demonstration of cinema as a projection space for male fantasies, this still ironic transgression of the border between art and life is an early indication of VALIE EXPORT’s often risky, but always resolute, deployment of her own body in later works.

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

"Syntagma” is like a fixed gaze that someone exchanges with himself/herself as if he/she were two people’s eyes staring at oneself and the unyielding gaze of the camera. All that can be seen through these two sets of eyes is the staring act itself. Identity reflections, the mirror as something impenetrable, like an investigating veil. The more the mirror reflects, the more it moves toward forgetfulness as an impenetrable object, even if it imprints itself with images. (VALIE EXPORT)

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

In her first “film self-portrait”, VALIE EXPORT wears an attention-getting curly wig and caresses a woman´s breasts in slow motion, then lasciviously closes and opens her eyes. The carefully applied makeup and wig tell of disguise and acting, and are simultaneously beautiful and terribly stony like the anonymous woman´s head. The brevity and slow speed are reminiscent of Andy Warhol´s Screen Tests, in which every single one of the face´s movements become visible.

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

A short videotape showing a frontal view of VALIE EXPORT's semi-figure as she forms various signs by hand and lines them up in a row throughout the tape. It is a sign language using only the fingers and hands, a poem without words or movement of the lips. At the end, the following German text appears which – freely adapting the philosopher Martin Heidegger – suggests a possible theoretical frame of reference: “Ich sage die zeige mit den Zeichen der Sage frei nach Heidegger” (“I say the showing with the signs of the legend”).

VALIE EXPORT, Prof. Dr. h.c.media and performance artist, filmmaker born in Linz, lives and works in Vienna VALIE EXPORT’s artistic work comprises: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, Expanded Cinema, conceptual photography, body-material interactions, Persona Performances, laser installations, objects, sculptures, texts on contemporary art history and feminism. VALIE EXPORT is one of the most important pioneers on conceptual media art, performance and film. 1967 invention of her artist name VALIE EXPORT: an artistic concept and logo to be written in capital letters only VALIE EXPORT takes part at the documenta 12 2007, and documenta 6, 1977, in Kassel 1985 nomination of EXPORT's feature film “Die Praxis der Liebe”, screenplay and direction, for the Golden Bear at the Berlin International Film Festival Since 1975 curatorial projects, international symposiums, exhibitions and film programmes Her works are in international collections like Centro Pompidou, Paris, Tate Modern, London, Reine Sophia, Madrid, MOMA, New York, MOCA, Los Angeles ect. Since 1968 participation in international exhibitions, for example: Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Institute of Contemporary Art, London; Venice Biennale, Venezia; documenta, Kassel; MoCA, Los Angeles; Stedelijk Museum, Amsterdam; MUMOK, Vienna; Generali Foundation, Vienna; P.S.1 Contemporary Art Center, New York; Shanghai Art Museum, Shanghai; Palais des Beaux-Arts, Bruxelles; Tate Modern, London; Metropolitan Museum of Art, Seoul, Korea; Metropolitan Museum, New York; ars electronica, Linz/Austria. Screenings at international film and video festivals, for example London Underground Film Festival; London International Film Festival; Filmex, Los Angeles; Berlin International Film Festival as well as film festivals in Cannes, Montréal, Vancouver, San Francisco, Locarno, Hongkong, Sydney, New York, etc.

This first series of works presents basic relations and minor conflicts between human beings. This seeming lack of thematic ambition allows the artist better to focus on essential questions related to the space/time dimensions, the essence of the moving image. The artist works using non professional videos. One of the pieces selected for this catalogue is from this first period: "Tía Berti". This short piece works with autobiographic material, contrasting two ages, two gazes, two smiles; in short, two ways of being in the world. The narrative axis of the video is based on that photographic pose that video captures very differently, from the still image: that waiting in silence for the time of the shot, a time which reveals a more intimate side of the portrayed character, who is unaware of it. The most important early work of the artist are ?Yo creí que había que decir algo?, ?Un regalín para la hija del Portero?, ?Las fotos salen mejor sin ojos? and ?Por favor, no me saques?. This work is based on non professional videos. The next period is represented by the piece "Sería hacia el año 1918", made with Daniela Músico. This is a work of unequal distribution and acceptance. It perfectly combines its author's concerns both in the artistic and technical fields. It is a chrome recording of an old man wandering aimlessly. At the same time his memories are brought back to the present by a voice-over and thrown to the back of the image as if it was a giant film screen. A glass recycling container is used to metaphorically represent what a fragmented memory is made of: individual memories end up shattering into countless fragments shaping a stack of compact but disunited memory. The third period is represented by "¿Quién es?", and characterized by the use of tourist and travel video material, amateur recordings the sole purpose of which is to preserve a fleeting and irretrievable present moment for the future. In this case, on screen we see Roman ruins, in a fixed shot that allows the veiled appearance of absences in space to acquire emotional intensity. Time allows its traces to emerge from achitectonic ruins, like fragments of ephemeral beings who are never going to return, or almost bodiless vanishing presences, intangible souls with no real entity and which can only create evanescent and flickering shadows. As time passes by, the video works assume a character associated with parallel art and social art. The artist's constant work in performances from 1990 on progressively leads his videographical reflection towards more complex territories, in a perspective which it both formal and structural. Video is no longer seen as the result of a process of analysis and re-elaboration of a perceived reality, but rather the synthesis of a performing and communicative activity in which discourse grounds the construction of a concept. Video is not the starting point but the ending point, the conclusion of a travel, the end of a process, the identification act of an experiment; in short, the conclusion of an investigation. 2 pieces of artwork that have been made together by Rafael Lamata have been chosen for the "ABC of performance" dictionary, which gathers vices and habits of this artistic practice. The video was originally meant to be a conference-performance, and was later changed to be a video, its structure adapting itself to the moving image format, and using the TV broadcast model as a reference. The collaboration with Daniela Músico (who plays the role of the greeting hostess) was crucial to present numbers of interconnected and complex concepts. The next piece of artwork, ?Siete Cuentos para la Carcel de Carabanchel?, was co-directed by Rafael Lamarta. This video is the conclusion of a collective intervention process in the Carabanchel prison, with prisoners. It was shown within the prison and elsewhere, with the purpose of transcending stereotyped languages and find yet unknown formulas in the field of social and personal denouncement.

Born in Asturias in 1965, Jaime Vallaure has a BA in Fine Arts from the Universidad Complutense de Madrid. He began his public artistic activity with video art, and more specifically, with mono-channel works that explore the aesthetics of the everyday and the familiar. Jaime Vallaure is presently collaborating with Rafael Lamata on an intervention in the Spanish pavilion in the 52 Venice Biennial, with their conceptual/performative duo Los Torreznos.

For some years Wood Wide Web is the magic phrase to describe the web of roots, fungi and bacteria helping to connect trees and plants to one another. In ‘What Wide Web?’ Van Bakel depicts the surreal wasteland of Rotterdam Maasvlakte and its forest of pylons. After a bumpy ride we zoom in on the improbable beauty germinating underneath high voltage lines, a living part of our world hardly ever noticed. The plants that grow below the energy-web are shown as in a digital herbarium. We can ask ourselves: are industry and nature evolving more into co-existence? Background info: Location: Rotterdam harbour, Beerweg Maasvlakte, a place that used to be a nature reserve called ‘de Beer’. Sound: Contact mics on humming power-pylons. Geophones in the earth on the spot that record the sound of falling raindrops. Camera: Animation of still photographs made with home-built scannercamera. Instead of bringing plants to a picture-scanner in his studio, the artist dragged the scanner on site over soil and green. “A forest ecology is a delicate one. If the forest perishes, its fauna may go with it. The Atshean word for world is also the word for forest.” Ursula K. Le Guin from The Word for World is Forest.

Michiel van Bakel studied astronomy, film/photography (Psychopolis; Frans Zwartjes) and psychology for several years before he chose for fine art, at art school. Van Bakel expresses himself artistically in film and videos, sculpture and installations. His work focuses on people and their surroundings, often resulting in a poetic reality. It conveys a fascination for the tension between humans and technology, and the perception of time in our disrupted ecosystems. Van Bakel lives and works in Rotterdam.

In a Dutch wetland nature reserve we move across the water surface.* The images accelerate and change to infrared; we see the nature sanctuary as through the eyes of the dragonfly that can 'see' many times faster than a human being possibly can perceive. The flight ends where several canals meet; by the water at the foot of a silent witness, a timeless, overgrown bunker. *Striking fact: the former peat exploitation waterways of the Peel bog area have grown themselves into protected nature reserves in the midst of extremely industrial livestock production.

Michiel van Bakel (1966, Deurne NL) studied astronomy (Leiden university) and psychology (Nijmegen university) for several years before he chose for autonomous visual art, at art school (Den Haag and Arnhem). Van Bakel expresses himself through film and videos, sculpture and installations. His work focuses on people and their surroundings, often resulting in a poetic reality. It conveys a fascination for the tension between man and technology, perception of time in our delicate man-made ecosystem.

A reflection on relative movements in manipulated time. A visual poem. In comes nightfall Big Dipper is rising Aeon old carbon man burning with oxygen Well drilled soil pale sanded sun Crude black oil of millennia gone Dwellings are moving reflecting the day Blue lights of dawn blown astray

Michiel van Bakel studied astronomy and psychology for several years before he chose for free expression at art academy. Van Bakel has made films and videos as well as sculptures (bronze, steel, plastics) and interactive multi-media-installations. In these he combines the elementary foundations of photography and video with digital animation techniques. While his approach is technical, his work focuses on people, often resulting in a poetic reality.

nterfield is a description of a imaginary universe, made visible via abstract imagery and a electronic drone. The work ?Interfield? refers to a position of the audience from where they perceive an environment from which they are not part of. From this position they experience how both media are slightly unfolding in to an autonomous composition scheme. Until a point is reached where both the audio and the image are colliding into a synchronomous point in time. Starting from this point on they continue in a mild symbiosis, to develop endlessly in time.

The work of Martijn van Boven (1977, the Netherlands) lies in the field of experimental film and computer art. Combing the techniques and possibilities of modern image processing and creation within the context of the experimental film and early computer generated films. As well the abstract films of Stan Brakhage and computer art have an influence on his work and thoughts about the creation of abstract images in relation to film. Martijn van Boven studied at the Royal Art Academy in The Hague ( Holland), at the Image and Sound department. His work comes in a wide variety of video-installations, films, collaborationswith composers and Live Cinema performances.His work has been shown at numerous festivals world-wide such as: IFF Rotterdam, State X New Forms, Sonic Acts, Holland Festival, Five Days Off, FICCO (Mexico City, Mexico), RIKZ (Riga, Latvia),SKIF-9 (st. Petersburg, Russia) and Transmediale (Berlin, Germany). Since 2000 Martijn van Boven works as a free-lance film and video curator. Focusing on the avant-garde film and abstract cinema. Martijn van Boven teaches audio-visual Design at the Art Academyof Arnhem (the Netherlands). In 2003 he co-founded the new media art center <>TAG (the Hague, Holland). He lives and works in The Hague Holland.

The Sausage Party is a video series. Each part shows a certain social atmosphere in which neurotic and compulsive actions are combined with optical patterns or effect. Shared regression and social cohesion dissolve in each other. The Sausage Party #2 is the most cryptic of the series. Starting with a heap of mud which is encompassed by a fence. Gradually obscured by a growing amount of moving fences, the heap of mud becomes a sort of dirty shapeless treasure/centre. Finally, it transforms into an old-fashioned street-fight (copied from an early how to make cartoons-handbook). Slowly zooming, the swirling fight dissolves into a hypnotising stroboscopic effect, much like Brion Gysin?s dream-machine. The Sausage Party #2 is the most abstract of the series, working with the most optical effects. The fence returns as a visual theme in the Sausage Party #4 (Europa Vostra), where it functions as a classicist fence in an Arcadian landscape.

Michael Van den Abeele °29-05-74 links: www.pilotlondon.org www.youtube.com/watch?v=4wXzrjVHj_M www.etablissementdenfaceprojects.com Exhibitions (selection) 2008 -Curiosität, galerie Micheline Szwajcer, Antwerp, Belgium -With Love from Brussels, VanAbbe Museum, Eindhoven, NL -CAC, Museo de Arte Moderno Toluca, Mexico -Europa Vostra, Trafu, Budapest, Hungaria -Losing Control, de Garage, Mechelen, B 2007 -Rencontres Internationaux, Centre Pompidou, Paris, FR -18, l?Observatoire, Maison Gregoire, Brussels, B -"Vanaf nu!..", LLS 387 (organised by Ulrike Lindmayer, Willem Oorebeek and Ricardo Brey), Antwerp, B -Breughel`s View (part of Commitment), BKSM Mechelen, B -GHB, Van Abbe museum, Eindhoven, NL 2006 -Choose Choice (with Jos deGruyter & Harald Thys), de Brakke Grond, Amsterdam, NL -Le Bonheur, Brussels, B 2005 -Emergency Biennal, Matrix Art Projects, Brussels -Madrid - Grozny -Ambassador, Public> Paris, F 2004 - Shoner Wohnen, New center for contemporay art Waregem, curated by Moritz Kung, B - Visa for 13, PS1, contemporary art center, curated by Jimena Blasqez, NY, USA - Working ethics, Krinzinger Projecte, curated by Philip Pirotte, Vienna, Austria 2003 - Participant of the PS1 contemporary art center, studio program, NY-USA -Viva Romantica, NICC Free Space - KMSK (museum of fine arts), Antwerp, B -?split pick up?, a group-project with A. Hendrickx, G. Lester, B. Rebetez & K. Dedecker, STUK, Leuven, B 2002 -Le vent à double tranchant, Archetype, Kanal 11, Brussels, B -Permanent installation at the ?house of Flemisch representation in Paris?, F -?Haunted house of Arts? Gallery Outline, Amsterdam, NL - Paramount Basics (extended), Muhka, curated by Richard Venlet and Moritz Kung, Antwerp, B 2001 -Flat Space, architecture & virtual space, de Witte Zaal, Ghent, B -Parcours d?incidents, de Ateliers, Amsterdam, NL -Prix du Jeune peinture Belge, Palais des Beaux Arts (BOZAR), Brussels, B 2000 -Etablissement d?en face, Brussels, B -Orbis Terrarum, Plantyn-Moretus museum, curated by Moritz Kung, Antwerp, B -3-ness, in Museum Dhont-Daenens (MDD), curated by Edith Dove, Deurle, B -SubRosa, Ateliers Iternationaux d?Alsace et de Lorraine, curated by Eva Gonzales Sancho, Phalsbourg, F 1999 -JARS 1, curated by Guilaume Bijl, Kunstcentrum-Sittard, Netherlands, NL -Young @ all.ages, Deweer Art gallery, Otegem, B -Small Stuff (organised by Hans Theys), Klagsbrun gallery, NY, USA -Small Stuff (organised by Hans Theys), Herman Teirlinckhuis, Beersel, B Residencies -Artist residence in France ?Ateliers Iternationaux d?Alsace et de Lorraine?, France, 2000 -PS1, contemporary art center, studio program, NY-USA, 2003 -Platform Garanti, Istanbul, Turkey, 2008

Cargo Cult, 2006 - 7:52 min. animation and video, no sound Cargo Cult starts as a video poem on the courier company DHL, showing rudimentary silhouettes of mountains and valleys. The landscape is travelled through by a container bearing the DHL logo. It is a romantic abstraction of the travelling of goods, over the mountains, through the valleys, across the universe. The DHL-container is depicted in isometric perspective, the mountains and the valleys are the same image turned up-side down. Distance is reduced through -or maximised to- flatness. The second (video-) part of Cargo Cult shows miniature DHL-airplanes, trucks and trains driving through mini-Europe; a theme-park in Brussels which gathers scale-models of all the architectural monuments from the different EU-member states (Berlin wall, Eiffel tower, Big Ben, etc.). More than merely a sponsor of mini-Europe, the DHL transport-network spreads over the park like a supra-national monument. Cargo Cult is a science fiction poem in which the courier company manipulates depth and distance at will, and the goods travel for their own sake and have their own drive. Cargo Cult should be projected or shown on a single-channel monitor in endless loop.

Michael Van den Abeele °1974 - Brussels, Belgium Michael Van den Abeele is a visual artist who lives and works in Brussels. He is also co-curator of the Brussels based art-centre Etablissement d`en face. links: www.youtube.com/watch?v=4wXzrjVHj_M www.pilotlondon.org www.etablissementdenfaceprojects.com

Paranon consists of two compositions based on parameter canons of sine wave generators. The canon is a counterpoint-based compositional technique that creates one or more imitations of a musical movement after a given duration. These imitations replicate the initial movement with transformations of parameters. The custom programmed sine wave generators Zeno van den Broek uses on Paranon make it possible to generate interference, shift phases and alternate frequencies with great precision. The method of the canon creates tension and unexpected, yet cherished, results between the initial sine wave and the imitations that follow. These two concise compositions delve into the beauty of pure sound and explore the richness of colliding sound waves that create spatial events wherever Paranon is being listened to.

Zeno van den Broek is a Dutch-born, Copenhagen-based composer and artist. Van den Broek works in a multi-sensory way to research and express physical, social and acoustic notions. He utilises audiovisual means to create site and concept specific works. This trans-disciplinary method has a strong conceptual foundation, originating from a background in architecture, which enables Zeno to comprehend and reveal the richness and complexity of spatial, visceral and physical perception. He works with a characteristic artistic language based on minimalist and fundamental elements such as sine waves, lines, noise and grids. Zeno van den Broek works with esteemed institutes such as the Gaudeamus Foundation, LIMA and the Old Church of Amsterdam. He presents his work at venues and festivals such as International Film Festival Rotterdam, Sonic Acts and Rencontres Internationales. His music has been released by labels such as Moving Furniture Records, Unsounds and The Tapeworm.

In a remote industrial site in Inner Mongolia, miners extract a strategic resource essential to our way of life under dramatic human and environmental conditions. This is where 80% of rare earth minerals, essential to the manufacture of digital technologies, come from. A miner working on the site shares his thoughts on his life and working conditions. White Cloud is a film developed with generative AI that offers a unique perspective on the Bayan Obo mining district. While questions of geopolitics, ecology, capitalism, conspiracy and future scenarios run through the film, the essence is the testimony of a lone miner in search of a better future.

Emmanuel Van der Auwera (b. 1982, BE) works multidisciplinary with video, theater, sculpture, printmaking and often in tension between art and technology, reality vs. simulation and the trivialization of violence. Finding his material in the rampant image production of a global screen culture, he is interested in the meaning of images and how they depict reality while at the same time constructing it. Van der Auwera is the winner of the Goldwasserschenking awarded by WIELS and the Belgian Royal Museums of Fine Arts. His work has been featured in exhibitions at the Pinakothek der Moderne, Munich; WIELS, Brussels; Centre Georges Pompidou, Paris; Palais de Tokyo, Paris; Centro per l’Arte Contemporanea Luigi Pecci, Prato and the HeK - House of Electronic Arts, Basel; amongst others. In 2023, Van der Auwera's work was presented in exhibitions at the Biennale internationale des arts numériques de la Région île-de-France (Paris, FR), Z33, House for Contemporary Art, Design & Architecture (Hasselt, BE). In 2024, his work was shown in the Biennale de l’Image en Mouvement 2024 - BIM 24 (Geneva, CH), KW Institute for Contemporary Art (Berlin, DE), 8th Yokohama Triennale (Yokohama, JP), Kunsthal Charlottenborg (Copenhagen, DK), Kunstverein Hamburg (Hamburg, DE), Deichtorhallen Hamburg (Hamburg, DE), and Royal Academy of Fine Arts (Antwerp, BE).

Take step fall, a true story in which everthing and everyone gives up hope.

Guido van der Werve, born 7th. of april 1977 in Papendrecht, studied audiovisual arts at the Gerrit Rietveld Academie in Amsterdam, where he graduated in 2003. Before that he studied piano for a short period at the Rotterdam Conservatory. Starting out registrating performances on video, he changed later to working with film, a crew, his own piano playing and cinematographic elements. In this later work he makes short abstract stories based on elements that fits his state of mind. Guido van der Werve works is shown both in the art- and the filmcontext. With his graduation film; ?Nummer twee?, he won the René Coelho award from the Netherlands Institute for media art. His later film; Nummer drie got nominated for the NPS short film prize, and recently his oeuvre got nominated for the prestigues dutch state art award;? The prix de Rome?.

A text against a somewhat grubby black background explains how the maker, ever since he was six years old, was in the habit of furnishing his room in only black and white; how one day a ray of sun reached his wall via a reflection from the façade of a glass building on the other side of the street, and how at night when he cannot sleep he goes for a walk and can hardly see a star in the sky. The camera zooms out and the black field turns out to be part of the black-and-white chequered floor in the artist?s apartment. He is sitting on a stool at his upright piano, with his back to the keyboard, immersed in thought. The voice-over recounts the history of Steinway & Sons? grand piano, and how very few pianists are privileged enough always to be able to play on such an instrument. The quay on which the apartment without grand piano is situated comes into view, and we can see Van der Werve continuing his musing, in the window of a pub, near a bridge, in a Chinese snack bar, while the Steinway seems to get further and further out of reach. Finally, we see him gazing through the window of a famous piano retailer that for many years stood in the heart of Amsterdam. Once inside, a brief conversation takes place with an eager shop assistant about the chosen concert grand piano, its price and ?possibilities?. As viewer, your heart sinks into your shoes. But then, the dream seems to have become true: the music swells, we can see the insides of a shiny black grand piano and Van der Werve?s hands playing the virginal white keys as if he has effortlessly been able to transport himself into the history just recounted. An entire chamber orchestra, conductor and all, fills the black-and-white room to accompany him in the playing of Chopin?s first piano concerto.

Guido Van Der Werve was born in 1977 in Papendrecht, a Rotterdam suburb. He studied archeology and Russian at university and then joined the Rotterdam Conservatoire to study piano and the Gerrit Rietveld Academy in Amsterdam. He is a residing artist at the Rijksakademie in Amsterdam. Eversince his first works, he has been interested in filmic support and cinematographic language and mixes narrative sequences with performances. The keys to his works always are the performance, the music and atmospherique scenes. He works using long shots and never solicits professional actors.

Some things are as inevitable as gravity, however much we would like to avoid them: something with which the subtitle of this short film whole-heartedly agrees. In "Nummer vier", Guido van der Werve presents a contemporary form of spleen: nineteenth-century melancholy, mixed with Dutch sobriety and conceptual timing. Over and over again, we see an unlikely scene unfolding against a picturesque and serene background. A man playing a piano on a raft in the middle of a smooth lake; a choir and orchestra performing a requiem on a ship under sail; someone falling from the sky. Nothing world-shattering, but these are the ingredients with which "Nummer vier" introduces the important issues: nature, art, beauty, life, death. Subjects that no one can avoid, neither as a human being nor as an artist, but that can be defied ? just as gravity.

Guido van der Werve is an Amsterdam based artist, born on the 7th of April 1977 in Papendrecht, a suburb near Rotterdam, The Netherlands. Guido van der Werve studied art at the Gerrit Rietveld Academie and the Rijksakademie van Beeldende Kunsten in Amsterdam. Besides this he studied classical piano, Russian language and culture and Classical Archaeology. He is also working as a lecturer and teacher. His work consists of performance based films. Van der Werve's work has been shown numerously in both the major art and film venues. He received the René Coelho Award (of the Netherlands Media Art Institute, Montevideo/TBA) in 2003. He was nominated in 2004 for the NPS short film award, and in 2005 for the Prix de Rome in The Netherlands. Currently he is being represented by Gallery Olaf Stueber in Berlin, Gallery Monitor in Rome and Gallery Juliette Jongma in Amsterdam.

Some things are as inevitable as gravity, however much we would like to avoid them: something with which the subtitle of this short film whole-heartedly agrees. In "Nummer vier", Guido van der Werve presents a contemporary form of spleen: nineteenth-century melancholy, mixed with Dutch sobriety and conceptual timing. Over and over again, we see an unlikely scene unfolding against a picturesque, serene background. A man playing a piano on a raft in the middle of a smooth lake; a choir and orchestra performing a requiem on a ship under sail; someone falling from the sky. Nothing world-shattering, but these are the ingredients with which ?Nummer vier? introduces the important issues of nature, art, beauty, life, and death. Subjects that no one can avoid, neither as a human being nor as an artist, but that can be defied ? just as gravity.

Guido van der Werve is an Amsterdam based artist, born on the April 7, 1977, in Papendrecht, a suburb near Rotterdam, Holland. Guido van der Werve studied art at the Gerrit Rietveld Academy and the Rijksakademie van Beeldende Kunsten in Amsterdam. Besides this he studied classical piano, Russian language and culture, and Classical Archaeology. He also works as a lecturer and teacher. His work consists of performance based films. Van der Werve's work has been shown numerously in both the major art and film venues. He received the René Coelho Award (of the Netherlands Media Art Institute, Montevideo/TBA) in 2003. He was nominated in 2004 for the NPS short film award, and in 2005 for the Prix de Rome in The Netherlands. Currently he is being represented by Gallery Olaf Stueber in Berlin, Gallery Monitor in Rome, and Gallery Juliette Jongma in Amsterdam.

Some things are as inevitable as gravity, no matter how much we would like to avoid them: something with which the subtitle of this short film whole-heartedly agrees. In "Nummer Vier", Guido van der Werve presents a contemporary form of spleen: nineteenth-century melancholy, mixed with Dutch sobriety and conceptual timing. Over and over again, we see an unlikely scene unfolding against a picturesque, serene background. A man playing a piano on a raft in the middle of a smooth lake; a choir and orchestra performing a requiem on a ship under sail; someone falling from the sky. Nothing world-shattering, but these are the ingredients with which "Nummer vier" introduces the important issues: nature, art, beauty, life, death; subjects that no-one can avoid, neither as a human being nor as an artist, but that can be defied ? just as gravity.

I ask myself: When do I hum? I say: I hum on three occasions. I hum when I move around my territory and clean my furniture. Meaning when I am home. I hum when I am not at home and trying to return home, when the night falls, the hour of anguish. I look for my way and give myself courage by singing tralala. I am going towards home. And then I hum as I say: Adieu, I am leaving and in my heart I will take heart...

Ludvine van Gaver studied montage at the Fémis after studying at the Ecole du Louvre and the Paris University 8 in Fine Arts. She is a film editor, a video director, and a photographer. She works and lives in Paris and Berlin.

"FBCK/AV - Red Flag" provokes the observer with a penetrating sound and a flickering red image that refuses to take on a recognizable form. In order to generate this image, Bas van Koolwijk developed software which, again and again, transforms the input of audio and video signals into unique abstractions. Small doses of these signals can poach on each other's preserves, so that the computer converts sound information into image and image into sound ? a matter of data feedback. The resulting interference looks a bit like flagging, a term and phenomenon from the times of video tapes. Flagging occurs when a video tape does not run smoothly through the recorder, and the phenomenon is usually visible in the upper part of the image. With this reference to the analogue era, the viewer's thoughts are taken even further 'back', towards the capricious and chaotic nature of flags fluttering in the wind. But is also refers to the Babel-like confusion that governs this digital era due to the fact that (with all the codecs and formats) much of the software available only provides for limited readability and exchangeability of data.

"FBCK/AV - Red Flag" provokes the observer with a penetrating sound and a flickering red image that refuses to take on a recognizable form. In order to generate this image, Bas van Koolwijk developed software which, again and again, transforms the input of audio and video signals into unique abstractions. Small doses of these signals can poach on each other's preserves, so that the computer converts sound information into image and image into sound ? a matter of data feedback. The resulting interference looks a bit like flagging, a term and phenomenon from the times of video tapes. Flagging occurs when a video tape does not run smoothly through the recorder, and the phenomenon is usually visible in the upper part of the image. With this reference to the analogue era, the viewer's thoughts are taken even further 'back', towards the capricious and chaotic nature of flags fluttering in the wind. But is also refers to the Babel-like confusion that governs this digital era due to the fact that (with all the codecs and formats) much of the software available only provides for limited readability and exchangeability of data.

Evolizer NL, 2007, 10`37? In a space that looks like a town or a factory, but could just as well be the inside of a computer, a robot-like figure is moving along. The camera zooms in on a kind of small cabinet that seems to suck the viewer in. Some elements are being added to this technological, geometric environment, which bring about rearrangements and transformations here and there. Spontaneous modulations create a proliferation of colourful, organic forms. With their tentacles grasping around them, these organisms gradually and increasingly take possession of the space. An aquarium-like underworld, in which an aggressive struggle for life is taking place, then replaces the orderly universe where the viewer?s trip began. This (r)evolution, unfolding within a well-defined space, breaks out of the cabinet before the eyes of the little figure, and continues outside it.

The movement of information across the worldwide web is invisible. Bits and bytes slip soundlessly through slender cables, to arrive, in no more than a split second, at the computer for which they are meant, where they can be used again at the click of a mouse. In contrast, the movement of oil is a messy and ponderous affair, which makes huge claims on the landscape and built-up areas. Bulky, rusty pipes traverse the fields, while trucks and tankers toil slowly over roads and oceans, accompanied by the threat of pollution and explosion. Both processes have drastically changed the world, and continue to keep economic and political relations on the alert. With its black-and-white collage-like images, "Warning Petroleum Pipeline" is reminiscent of art that, in the early twentieth century, was intended to depict the destructive power of the heavy emerging industry. Mysterious machines turn and hammer to a strict rhythm, and seem to be propagating themselves, creating a forest of moving components, sharp-edged plates and heavy cables. The fluent digital animation is a dark vision that not only shows destruction, but also, paradoxically, the uncontrollable creative power by which an industry can bring itself to fruition.

"A desolate and deserted landscape slowly turns into a futuristic industrialized world. Indescribable machines are connected up to more complex mechanisms which rhythmically produce industrial music."

"After studying audio-visual design at St. Joost Art Academy in Breda, Netherlands, from 1997 to 2002, Jan Van Nuenen mainly worked on short experimental animation films and video installations until 2005. His favourite tools are digital editing software such as After Effects, Photoshop, Premiere, Reactor and FL Studio. His films are mostly made from collages of video footage he finds and pictures he cuts, mixes and edits with the computer. His work is characterized by a combined and complex action of loops, repetitions and rhythms, in which sound plays a major role. Jan Van Nuenen also made short animations movies for the series of the Dutch channel VPRO, "Wonderland" (2004), and his films are shown in several international film, video and art festivals."

The Polish word “obsada" means "film cast” but can also mean "working party" - it connotes the distribution of work positions as well as placing of a plant in the ground. Wendelien van Oldenborgh’s obsada, is a collaboration with an all-female film crew, who are at the same time the film’s cast. It is an attempt to propose non-patriarchal narratives and methods of work. Involving a group of MA and PhD students from the Lodz Film School, the change they strive for does not consist simply in replacing men with women in film production; rather, the work develops in an open and improvised process – sensitive to the context of the place and the polyphony of the team. The women’s individual and collective experiences resonate with locations in the Film School and in Muzeum Sztuki in Lodz.

Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation, collaborating with participants in different scenarios, to co-produce the script. With these works, always shown in specially developed architectural settings, she shows widely in the art and museum context. Recent solo presentations include: unset on-set at Museum of Contemporary art Tokyo (MOT) 2022/23, tono lengua boca at CA2M Madrid 2019-20; Cinema Olanda, at the Dutch Pavilion in the 57th Venice Biennial 2017. Her work was recently included in Sonsbeek 20->24, Arnhem 2021; of bread, wine, cars, security and peace… at Kunsthalle Wien, 2020; Chicago Architecture Biennial 2019, Singapore Biennial 2019.

Filmed in Tokyo and Yokohama, of girls brings a variety of contemporary voices in resonance with two distinct female voices from Japan’s literary and political past. Both popular authors of their time—the period from the late 1920s on—Fumiko Hayashi and Yuriko Miyamoto both died young, in 1951. They each had a strong feminist and class consciousness as well as an impressive literary voice, but came from very different backgrounds and expressed their ideals through different paths. The power and contradictions in both these women’s words reverberate in dialogues and images of an intergenerational cast moving through the various spaces of knowledge, memory and culture, and reflect today’s struggles around gender, politics, and love

Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation, collaborating with participants in different scenarios, to co-produce the script. With these works, always shown in specially developed architectural settings, she shows widely in the art and museum context. Recent solo presentations include: unset on-set at Museum of Contemporary art Tokyo (MOT) 2022/23, tono lengua boca at CA2M Madrid 2019-20; Cinema Olanda, at the Dutch Pavilion in the 57th Venice Biennial 2017. Her work was recently included in Delinking and Relinking, collection presentation van Abbemuseum 2021-2026; Sonsbeek 20->24,, Arnhem 2021; of bread, wine, cars, security and peace… at Kunsthalle Wien, 2020; Chicago Architecture Biennial 2019, Singapore Biennial 2019. Her films Two Stones (2019) , Hier. (2021) and of girls (2023) premiered in the International Competition of FID Marseille.