Catalogue > Search

This film introduces an alienating yet familiar landscape of satellite images, tracks and sound. We follow the minute by minute movements and sounds of animals and machines, the chatting of people in Philadelphia. Although we constantly hear reality, we experience the movements within an abstract, two dimensional world of satellite photography. Without any crew present, the protagonists recorded their trajectories, sounds and private readings of the streets, allowing the filmmakers to access their experiences only afterwards. The film positions the audience as unwitting voyeurs. The meditative approach questions our contemporary techno-society, where social connectivity and eavesdropping coexist and balances between empathic co-traveling and voyeurism. The film resulted from a 7 month “Art in Public Space/Percent For Art” residency of Dutch visual artists Esther Polak and Ivar van Bekkum in Philadelphia.

Esther Polak and Ivar van Bekkum work together under the name PolakVanBekkum. Their work focusses on landscape and mobility. Routed in the history of the Dutch realistic landscape depiction, they engage with new technologies like GPS and data collection, to express individual experiences of spaces like the contemporary city and countryside. They search for changing ways to be in landscapes and how this influences the human understanding of space and the stories we tell to explain our lives. Besides the digital and technological innovative, they use very concrete means of visualisation, like drawings in sand or light, which makes their work very tangible and direct. Their projects are often informed by collaborations with participants, be it humans, objects, or even the rays of the sun. They have worked and exhibited internationally, at Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, London, IMAL Brussels, Rento Btattinga | Gallery Amsterdam, Museo for Image and Sound Sao Paolo, Nairobi, Lagos, Marrakech, Paris, Philadelphia and Los Angeles. In 2005 Esther Polak did receive a Golden Nica for interactive Art at Ars Electronica together with Ieva Auzina, for their MILKproject. Esther Polak is educated at the Rijksacademie in Amsterdam. Ivar van Bekkum is educated as journalist.

In A Collision of Sorts, inhabitants of the City of Philadelphia, (Pennsylvania, US) go there way, as discontinuous moving dots on a flat surface. The world in which this film plays is Google Earth: an alienating landscape of almost seamlessly stitched-together satellite images of the familiar planet we humans are moving around on. On Google Earth, nothing moves. Buildings, bridges and cars seem warped and flattened and compete for attention with the black weirdness of their own shadows. A virtual camera shows this frozen flattened landscape, reconnoitring the cityscape of the city. Meanwhile we hear sounds and voices. People and animals are down there, crossing the country. It is them who share a physical reality: we hear very intimately their breath, the rustling of clothes, traffic, their vehicles. They travel from one place to another giving the suggestion of a destination. They talk about encounters, visual, economic, political, social and personal but never the main characters seem to meet. Until a bad dream of one of them seems to come true.

Esther Polak and Ivar van Bekkum work together as artist-couple under the name PolakVanBekkum. Routed in the history of the Dutch realistic landscape depiction, they express personal experiences of moving and space. Their projects are often informed by collaborations with participants, be it humans, animals, or even the rays of the sun. Their work has been shown at amongst others: FID Marseille, Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, Media-Lab Prado Madrid; INIVA London, IMAL Brussels, Rento Brattinga | Galerie Amsterdam, Pixelache Helsinki, Lagos, Biennale Marrakech, Philadelphia and Los Angeles. 2016 Special Mention for the film Once We Get There Riga 2015  Expanded Media Preis For Network Culture at Stuttgarter Filmwinters - for “The Mailman’s Bag” 2005 Golden Nica for Interactive Art at Ars Electronica together with Ieva Auzina, with MILKproject. Esther Polak studied at the Rijksakademie for visual Arts in Amsterdam and the Royal Academy of Visual Arts in The Hague, NL Ivar van Bekkum studied journalism at the School for Journalism, Kampen, NL

Rêvant de terres meilleures, de génération en génération, à cause de la pauvreté, de la faim ou des guerres, nous voyageons sur les mers. La géographie est notre destinée. Nos corps conservent-ils la mémoire de nos grands-pères? Les souvenirs de fugue à la recherche de terres meilleures sont-ils inscrits dans nos corps? "Porvenir" signifie "avenir" en espagnol. Porvenir est aussi la seule ville de la Terre de Feu, au bout du monde, fondée par des immigrants venus de Croatie au début du XXe siècle.

Renata Poljak (née en 1974 à Split, Croatie) est artiste visuelle et cinéaste. Elle a été diplômée de la Arts Academy of the University of Split (Croatie) en 1997, et a obtenu un Master à l'École régionale des Beaux-arts de Nantes(France), département cinéma et vidéo, en 1999. Ses réalisations ont été présentées dans le cadre de nombreuses expositions individuelles et collectives, de biennales et de festivals de cinéma, d’envergure tant nationale qu’internationale. Elle a reçu de nombreuses bourses et récompenses, dont le prix T-HT en 2012 - l'un des plus importants prix d'art contemporain en Croatie. Elle a été artiste en résidence, notamment au San Francisco Art Institute (USA); au Museumquartier, Vienne (Autriche); à Art In General, New York (USA); à la Cité Internationale des Arts, Paris (France); aux Récollets, Paris (France). Ses films ont été projetés notamment au Prospectif cinéma du Centre Pompidou, Paris (France) [2010], et au Palais de Tokyo, Paris (France) [2012].

Every winter the Yurungkash River in western China dries up, revealing an expanse of river-worn stones. There, hidden within the rock, lies a buried treasure forty times more valuable than gold?jade. Hundreds of people gather in the riverbeds, endlessly scrabbling at rock in search of a jewel they are unlikely to find. Still, the small glimmer of hope prevails over weary backs and frozen figures. As we watch the countless poverty-stricken men and women in unrequited pursuit, we are perhaps left to ponder our own failed quests for diamonds in the rough, as well as the extraordinary?and quixotic?measures we`ll resort to in pursuit of wealth.

A graduate of the National Film & Television School, Urszula is a Polish-born, London-based cinematographer/director and stills photographer. With a continuing career in feature film drama she is also currently developing a feature length documentary which tackles similar issues to ?China?s Wild West?, but this time across several continents.

Le travail de vidéo "On the 16-th of February 2005" ressemble à une peinture basée sur le temps (documentaire) décrivant une femme assise à une table. Au premier regard, le regard semble complètement immobile. L?image éveille la curiosité et la contemplation plus que ce qui se passe vraiment, plus le temps avance. Par conséquent, le spectateur pourrait déceler que les objets changent de place, bien que leur processus de mouvement reste inaperçu. Á la fin, le temps bouge ?plus vite?, révélant un peu de ce qui l?entoure et de l?auteur en train d?enregistrer ce qui se passe devant ses yeux. La pellicule vidéo n?a pas été retouchée afin d?atteindre cet effet "immobile", tout est absolument véridique au lieu réel et au temps.

Je suis né et j?ai été élevé à Plovdiv, en Bulgarie. J?ai commencé ma formation aux beaux-arts à l?âge de douze ans avec des cours de peinture et de dessin. J?ai été diplômé du College of Theater and Fine Arts à Plovdiv, en Bulgarie en 1991. Plus tard, j?ai étudié à la National Academy of Fine Arts, à Sofia en Bulgarie où je me suis spécialisé en esthétique de la scène dans le cours du professeur Svetoslav Kokalov. Je me suis concentré principalement sur la dramaturgie classique comme Sophocle, Shakespeare et Tchekhov. J?ai été diplômé en 2001 du MFA Photo and Digital Imaging program du Maryland Institute College of Art, à Baltimore aux Etats-Unis. J?y ai suivi la classe du professeur William Larson et du théoriste des médias Timothy Druckrey. J?explore dans mon travail actuel les limites de la perception, tentant d?exprimer les différentes formes de présence du visible et de l?invisible. Depuis 2001, je vis à Chicago, dans l?Illinois.

Naked bodies are buffeted by water accompanied by the music Il Temporale from the opera La Cenerentola and the overture to Il Barbiere di Siviglia both by Gioacchino Rossini. The film is part of a show by Carles Santos: El compositor, la cantante, el cocinero y la pecadora (The composer, the Singer, the Cook and the Sinner).

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

As publicity for the exhibit Miró L`altre, organized by the Colegio de Arquitectos de Catalunya in 1969, the Board commissioned Pere Portabella to film Miró painting the "poster" for the exhibit on the ground floor windows of the building. Portabella was not interested in simply filming a testimonial documentary. However, he said he would do the film if after the exhibit Joan Miró himself, with the help of the cleaning staff erased his own painting. Joan Miró accepted the idea without a doubt. The complicity between the film maker and the painter is evident in the filming.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

The film was conmissioned by the Galeria Maeght to commemorate the Joan Miró exhibit organized by the French Minsitry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film, that took five days to shoot, shows the smelting and casting process of the work known as Puertas Mallorquinas by Joan Miró. The filming team travelled to the foundry owned by the Parellada family in Llinars de Munt. The bronze sculptures weigh 1200, 800 and 650 kilos respectively and were cast in one piece in a kiln specially constructed for the occasion.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

The film was commissioned by the Galeria Maeght for the Joan Miró exhibit organized by the French Ministry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film was shot in six days in Montroig del Camp (the Miró country home) and in Tarragona during the process of elaboration of an original tapestry for eight months using 1200 kilos of wool and 600 kilos for the warp. The tapestry was 6 meters wide and 11 meters long and weighed a total of 3,500 kilos. A special loom had tobe built to weave it. The day the twin towers of the World Trade Center in New York were attacked, September 11, 2001, the tapestry was hanging in the hall of the one of the towers and was destroyed along with it.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrspective exhibit in 1969. There wew heated discussions on whether it would be rudent to screen the film during the exhibit. Portabella took the following stante: "either both films are screened or ther don`t screen any" and, finally, both Miro l`Altre and Aidez l`Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter`s "pochoir" known as Aidez l`Espagne.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Carles Santos plays one of his pieces on the piano. This film was made for the exhibit on Carles Santos ¡Visca el piano! held at the Miro Foundation in the summer of 2006.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Playback is presented as a short rehearsal in a double sense. It is a satellite of the constellation of works that Portabella dedicates to the analysis of the "materiality" of aesthetic and cultural languages (Vampir-Cuadecuc and Miró l`Altre among others can also be understood in this manner). At the same time, he analyzes the rehearsals that Carles Santos carries out for the playback recording of a film on the work of Antoni Gaudi. The choir of the Gran Teatro del Liceu of Barcelona reads fragments from Wagner`s Tannhauser, Lohengrin and the Valkyries. The film was shot in the theater "Lluïsos de Gràcia".

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

11 years happens in Medanos, a town of 5,000 inhabitants of the Province of Buenos Aires, an unprecedented event. A group of boys and girls with artistic interests, decided to get together and organize actions to not migrate. From cooking pig in a field, until the sale of raffles to pay future expenses Médanos Cultural Center, they began with their own initiatives. This group takes one of the greatest works of political activism in the Argentine art scene, show that you can work in a class without having to constantly look outside is one of the objectives of the documentary. When we learned that for various reasons the last "Spring Season" would take place was born the idea of making a documentary film project the history of Medanos and traveled Group. Record the lives and experiences of a generation that cultural alternatives proposed for years and also show how they live some historical villagers who were able to access and frequent. Who create Winding & golden Médanos: Ignacio Iasparra, Marianela Portillo, Stecconi Bruno, Nicolas Dominguez Bedini and Guillermo Ueno, we think of a documentary sketch experience local cultural management. That assumed a commitment to its people. Through self-management and the pursuit of aesthetic deliver.

Guillermo Ueno, Buenos Aires 1968 Photographer, Video maker. Between 1999 and 2015 he showed his work in Gallery Benzacar .Belleza y felicidad. Malba .Mamba .Macro. Museum of Contemporary Art Niteroi, Brazil. Cultural Center Medanos .Vasistas Gallerie, Montpellier , France. FNA . Printed Matter , NY. Argentine Consulate NY. Museum of Contemporary Art Santiago de Chile. Catena Gallery. Gallery TL OAS , Washington. He published regularly in Purple , Purple Journal, Les Chronicles Purple, iD magazine , Lápiz Japonés, Masterbox , Hawaii, Otso. Director of photography and camera Hachazos Andrés Di Tella , 2011 , 327 cuadernos Andrés Di Tella 2015 . Davidovski (one day in Medanos ), 2015 . Co-direction (Sergio Subero ) Alter Sapukai ! Bafici 2012. Sinuosos y dorados Médanos 2015 , with Ignacio Iasparra , Marianela Portillo, Bruno Stecconi and Nicolas Dominguez Bedini .

Une ligne-frontière divise la Bosnie-Herzégovine en deux entités autonomes et dépendantes.
Nous partons à la recherche de cette ligne mais peu à peu les traces de sa présence viennent troubler l?enquête...

Clément Postec, réalisateur, 24 ans, né le 8 février 1986 Après un baccalauréat scientifique option cinéma audiovisuel, Clément Postec poursuit sa formation en classe préparatoire littéraire option études cinématographiques au Lycée de Sèvres (92). En 2007, il obtient une licence de lettres modernes et une licence de cinéma à l?Université de Paris 3, Sorbonne Nouvelle. Il passe une année au sein du département des Film Studies à l?Université de Kent à Canterbury au Royaume-Uni, puis poursuit son parcours en master recherche études cinématographiques à l?Université de Paris 3. En parallèle, il a réalisé un court métrage, à propos d?e., mise en fiction de moments de danse contemporaine. Il travaille régulièrement la vidéo, moins comme objet définitif que comme laboratoire de ses projets de films (www.etcaeteraprod.org). Diplômé de l?IEP Sciences-Po Strasbourg (Politique et Gestion Culturelles), il est actuellement assistant de direction artistique pour pointligneplan.
Pauline Dewaulle(co-réalisatrice), 22 ans, née le 2 décembre 1988. Elle s?intéresse au cinéma depuis une durée indéterminée, et a fait quelques films en super 8, dont Portrait de Jean Rolin (commande du musée portuaire de Dunkerque et de la Drac nord ? Pas-de-Calais) et La bête à rêves. Avant de quitter la mer du Nord et ses dunes pour rejoindre Paris, elle prend part à divers ateliers de création, et notamment participe à la réalisation d?un court-métrage avec Jean-Charles Fitoussi. Ainsi, après un baccalauréat littéraire en classe européenne, elle entre en 2006 à l?Ensa Paris-Cergy. Elle y fait des dessins et des films d?animation dont Personne ne peut exiger de la mer qu?elle porte tous les bateaux (grattage sur pellicule 16 mm) ; Les oiseaux (dialogue avec cage), installation de projecteurs 16 mm projetant un même film divisé en deux pellicules ; Le grand sommeil, film réalisé à partir de dessins fixes d?un dormeur. En parallèle, elle prend part à de nombreux projets, dont Je m?appelle Hélène d?Hélène Motteau et Le dernier voyage de Maryse Lucas d?Artus de Lavilléon et David Ledoux en tant que cadreuse.

Après une décision irréversible, un débat politique est plongé dans une ambiance de marimba, chants d´oiseaux, et de photographies.

Stuart Pound a un passé de réalisateur et travaillait sur le calcul par ordinateur. La vidéo numérique lui a permis de conjuguer ces deux domaines. Il débuta la réalisation en 1970 en tant que membre de la London Film-makers Co-op et enseigna la réalisation à l´Université Nottingham Trent par la suite, jusqu´en 1979. Ses oeuvres ont été exposé lors de festivals à Londres entre autres.

Tehran Trace emprunte le même chemin en mouvement, le pas lent et silencieux, à travers quatre photographies figées: le vestibule de l'Hotel Laleh, le Mirror Hall of the Golestan Palace, un arche en pierre tourné vers le nord de la ville et un bazar avec vue sur des montagnes. Chaque "piste" commence en gros plan, s'éloigne en courbe de son sujet d'ouverture et finit avec l'image initiale cadrée intégralement.

Stuard Pound a reçu une formation en réalisation et en informatique,la vidéo numérique réunissant les deux activités. Il fait ses débuts dans la réalisation en 1970 comme membre de la London Film-makers Co-op et enseigne par la suite la réalisation à la Nottingham Trent University jusqu'en 1979. Son oeuvre a été présentée dans des festivals à Londres et ailleurs ainsi que via internet. Des projections ont eu lieu notamment à MoMA (Paris),Tate Modern, Impakt Festival Utrecht, London Film Festival, Split International Festival of New Film, VIPER (Basel), International Media Art Biennale Wroclaw, Vidéoformes Clermont-Ferrand , Media Forum, Moscow International Film Festival , prog:ME, Centro Cultural Telemar, Rio de Janeiro, KunstFilmBiennale Köln, Microwave International Media Art Festival, Hong Kong

Schmutziges Licht (Lichtphon Art-Avant X) An abstract, poetic visual-sound-drama The visual, tonal union and view of transcendent embodiment. A symbiosis of micro-coded, floating light-dust particles, interconnected in cracked soundscapes, layered sound cells, residual impulses and dissecting short-time cuts in noise structures. A self-born symbiotic being - alive through dissolution and constant change in time - Metamorphoses - Schmutziges Licht (Lichtphon Art-Avant X) is transformation in the beauty of decay and nonexistence. In the change of sight and hearing, reality and the levels of being resonate. Form and formlessness become inseparable. The unknown emerges, moves, penetrates into the observer, into us - becomes conscious and existent - Inner perception is infinite - Schmutziges Licht (Lichtphon Art-Avant X) is a multi-layered light-image-sound-vision. An artistic position and poetic exploration of the perception of artificial light and the unknown in the incarnate - of selfhood in an eternally lasting word in silence. On the technical side, the music consists of several hundred audio tracks with thousands of individual sounds. The visual level is based on a self-developed software particle system. There are hundreds of thousands coded pixel points, cross- linked lines and inner networked connections. Micro-audio clips, multi-level, time-independent organic soundscapes and digital visual light codes. Schmutziges Licht (Lichtphon Art-Avant X) is a complex visual sound correlation. Abstract, mysterious, filigree, powerful and subtle at the same time. A German-French co-production by the experimental artists Schahram Poursoudmand (DE) and Yoann Trellu (FR). Note: Schmutziges Licht (Lichtphon Art-Avant X) is created and produced to be played loud and projected in high quality. Please listen to it loud or via headphones. ...the night becomes the day - Light Overload - Schmutziges Licht (Dirty light) is artificial light. Excessive use of artificial light and its misuse (light pollution) on humans and the environment. Fatal consequences through the artificially constructed and manipulated lightening of the night by humans...

Schahram Poursoudmand Music & Sound Art, Composer, Visual Imagist, Poet Schahram Poursoudmand is a German composer, music & sound artist, visual imagist and poet. He creates extraordinary music, sound and visual art of a unique kind. In the avant-garde projects LICHTPHON, ONEVERYMOON, LICHTSCHREI, SHINE and ART-AVANT, he explores and realizes his artistic visions of music, sound, visual image and video art in existential poetry. The creative discovery of beauty through disintegration, dissolution, transformation, recreation and the representation of being and beyond in the transition from existence to non-existence is the essential approach and destination in his artistic passion. Music, sound, image and moving picture is stretched and condensed in form, time and space. Tonal and visual entities, sections and details, become disintegrated through dissolution in themselves and creates new structures, unknown realities and avant-garde elements by further deformation, in the beauty of decomposition. Existence, time, duality, deconstruction, humanism, transcendence, the infinite moment, the unknown, and recreation are some of the themes in his works. Schahram Poursoudmand creates unreal worlds of music, sound, visual art and poetry of strange beauty with unique aesthetics and expression. A surreal and bizarre mystery in music and visual art. „The fascination of renewal after the dissolution. The discovery and changing of time and time states. The artistic deconstruction, the diving into deep micro- and nanostructured soundworlds, as well as the representation of beauty in the creation of existence in nonexistence and new realities are the themes that stirs and fascinates me. Not the clearly audible and visible - but the secret behind the veil.“ * ...another world...an unknown place...an unknown time... * ::::::::::::::::::::::::: ::::::::::::::::::::::::: Yoann Trellu French video artist and software developer based in Berlin. Starts working with live video projections in 1999, Nantes, France. Moves to Berlin in 2003 and starts working with choreographers, creating media environment for stage productions. Yoann Trellu works internationally on numerous stage productions as well as developing his own projects through collaborations with musicians and dancers. His work is mostly abstract and stems from his early photographic work, using the camera and digital tools to alter reality, to extend details and moments into their own world. He considers the computer as a collaborator, able to suggest and create artistic elements. Using controlled randomness and probability is an important aspect of his practice, giving rules, limitations and (unlimited) variations on which to build further.

La fenêtre de la video s`ouvre sur un personnage vêtu de rouge, errant dans une forêt, en quête d`un quelque chose dont le commencement serait antérieur à celui de la video. Aveugle de l`oeil qui le scrute, le personnage poursuit son activité sans relâche tel un Sisyphe d`une époque récente. L`épaisseur de la forêt s`insère entre une perception éloignée du personnage et une proximité enveloppante produit par la netteté des bruits de son déplacement (craquement de branches, respiration). La fenêtre balaye l`espace de la forêt autour du personnage qui se révèle être un point fixe dans la surface de projection. Cet espace, cette distance créée entre sa perception éloignée et sa présence sonore (et celle de l`outil de projection) laisse apparaître le flottement d`une image et de son auteur (celui qui filme) semblant plus être perdu dans son intention de filmer que le protagoniste assumant tel Sisyphe sa destinée. Déstructurer, disloquer chacun des éléments composant une illusion, serait une façon de replacer le spectateur dans sa position réelle.

Né en 1977 à Rennes, après des études dans le milieu artistique, Yvan pousset a poursuivi aux Beaux-Arts d'Angers en tant que sculpteur et s'exprime depuis 4 ans avec la vidéo. Tout son travail est larecherche d'une matérialité dans la vibration des pixels de ce médium.