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Glacis The film explores the remnants of the French bourgeoisie, a world slowly but inexorably undermined by the forces of acceleration and globalised finance capitalism. dividing the sequences are still frames taken from the history of French aviation, the developments of which were a particularly bourgeois pastime of the 18th and 19th centuries enabled by family industrial infrastructure. The notions of speed and acceleration associated both with flight and post industrial capital are contrasted to slowness and investment associated with bourgeois values and the old industrial elites. Self professed Bourgeois are filmed in their family (secondary) homes performing role playing games that they themselves have chosen. These sequences are followed by "cinematic" sequences designed by the performers and produced by the film maker. The French aviation threads that bookend the chapters are accompanied by a narrated voice and composed of a single frame image. That image degrades over time. The degradation of the image is a result of algorithmic scripting that obliterates the traditional notion of decay by performing in fast forward, 1,000 years of the opening and closing of a jpeg image until the image itself is degraded to the point of being unrecognisable. This process formally performs the undermining - by technologies - of the temporal weapon of tradition and manners mobilised in the project of bourgeois hegemony. Glacis is an ancient military term that denotes a field of view unimpeded by obstacles where the enemy other is clearly visible, figured against the nothingness.

Ramon Bloomberg: Biography: Born 1971 Sheffield, United Kingdom. French / British nationality. Worked extensively as a film editor and film director on projects from fiction to documentary to music video and commercial. Currently PHD candidate Art Research, Goldsmiths College, London.

An off-camera narrator is announcing the following: ?In Serbia, the Best man can ask for everything. He can even ask to cross the street on chairs.? A character brings along a pair of wooden chairs and begins exemplifying the unusual off-camera announcement by crossing the empty road on the two chairs. Having that done, the character exits the scene carrying the two chairs.

Florin Bobu is a visual artist and an independent curator. He graduated from the Faculty of Visual Arts and Design (A.K.I.) in Enschede (The Netherlands) in 2005 and has participated in a number of artistic events in The Netherlands, Germany, Belgium, France and Romania. Florin Bobu was born and lives in Tecuci, Romania. His interests in performance and video art remain linked with his beginnings in visual arts: photography. As a consequence, his artistic practice is systematically fragmentized into short actions that could easily remind of the actions of a photographer, especially a street photographer, but also relate to the ways in which one reacts in front of a complex situation. To deal with such situations mostly involves breaking them in less complicated parts which are dealt individually and successively.

Enregistrement de la mise en vente des droits de propriété et d`exploitation du verbe "avoir" à Drouot-Richelieu par Cornette-de-Saint-Cyr.

C?est au travers d?une attitude que l?oeuvre plurielle de Raphaël Boccanfuso trouve sa problématique d?ensemble, une attitude amusée et provocante qui met au défi toutes sortes de schémas référentiels. Son travail n?est pas d?ordre biologique, sa méthode relève pourtant d?un mode de processus viral. S?insinuant dans les failles de codes exigus, elle se plait à forcer les limites toujours trop marquées de systèmes de pensées étriqués. Si sa production peut être dérangeante, il faudrait l?assimiler à une rageante démangeaison plutôt qu?à une fatale pathologie. Car l?artiste n?a d?autre prétention ou revendication que celle d?affirmer sa liberté de création. Un slogan anarchiste clame qu?il faut mordre la main qui vous nourrit, pour sa part Raphaël Boccanfuso sait aussi remercier à outrance, il dit ainsi son indépendance avec une joyeuse dérision.

An intriguing, well-chosen collage of compelling moments from noir cinema, skillfully attuned to the social fantastic and the oneiric quality of the films. James Naremore, author of More Than Night: Film Noir in Its Contexts. An atlas of film gestures and Pathosformel: the montage - better the disassembly - isolates moments from the narrative and separates bodies from events, opening up to the unthinkable and the invisible of film noir. Ragtag, thus, becomes an immense archive of the imaginary that, far from being sequential and historical, becomes intensive and organic: a film-experience beyond film as such. Federico Rossin, film historian.

Giuseppe Boccassini is an Italian filmmaker mainly working in Germany and Italy. He graduated in film theory at the University of Bologna and film direction at The New University of Cinema and Television, Cinecittà, Rome. His work has been shown in several international film festivals and exhibitions, including the 79th Mostra Internazionale d'Arte Cinematografica, Venice, Italy FID Marseille, France, Edinburgh International Film Festival, Scotland, Ji.hlava International Documentary Film Festival, Czech Republic, Jerusalem IFF, Torino Film Festival, Italy, IndieLisboa, Portugal, FESTACURTAS BH, Brasil, Crossroads SF, USA, Avvistamenti, Italy, Punto de Vista, Spain, Trentino History Museum, Italy, Microscope Gallery, Brooklyn, NY, Pesaro Film Festival, Italy. Light Cone Paris distributes his entire film production. By transforming and manipulating various sources of archival material, his work reflects upon the notion of proximity in contemporary media. The director considers film as "a phallic conquerer that, folding in on itself, now flaccid deus ex machina, observes itself from the inside like a lysergic membrane that slowly founders between the folds of its material." His most recent collaborations include the film editing for Aldo Tambellini's solo exhibition Black Matters at ZKM Karlsruhe, Germany, and he is the artist for Chicago Film Archives' 2018 Media Mixer. He is in charge of programming at Fracto Experimental Film Encounter held yearly at Kunsthaus Acud, in the heart of Berlin.

"Kraft, Herrlichkeit" (Power, Glory) is the product of research on neo-conservative metaphors and ideology. It comments on a story by the contemporary German author Georg Klein, using and breaking the motifs of the story. The result is a disturbing fiction of glorified efficiency, flat hierarchies and the strong belief in the blessing of competition.

Sebastian Bodirsky, born in 1981, lives in Berlin. He is currently studying in the "Experimental Film" class of Professor Heinz Emigholz at the University of the Arts Berlin. He develops his film works based on reflections on knowledge, observation, and intervention.

"New Heifei" enstand 2007/08 nach einem mehrmonatigen Aufenthalt in Hefei, China. Der 10 minütige in schwarzweiß gedrehte 16mm Film verhandelt die Darstellung von radikaler wirtschaftlicher Prosperität und der von Ihr geformten Räume. Dabei gelangt ein filmästhethischer und erzählerischer Kanon zur neuerlichen Anwendung, wie er im europäischen Kino ¬ über den italienischen Neorealismus hinaus ¬ etwa in Antonionis 1961 gedrehten Film "La Notte" die scheinbaren Ränder der städtischen Landnahme und ihre BewohnerInnen zu ebenbürtigen Protagonisten eines sich abzeichnenden kapitalistischen Dramas machte. "New Heifei" ist ein Experiment, bei dem Ordnung und Funktion von Drehorten und Figuren im Film und die an sie verantworteten Informationen getauscht werden. Der für eine Ausstellung konzipierte Film besteht auf die Konventionen realistischer Bildsprache um die ¬ in diesem Fall zeitlich und räumlich versetzt stattfindenden ¬ gesellschaftlichen Aufbrüche zu beschreiben.

Hannes Böck wurde am 19. 12. 1974 in Wien geboren. Nach einer Ausbildung zum Fotografen studierte er Konzeptuelle Kunst bei Renée Green an der Akademie der Bildenden Künste, Wien, und Experimentelle Filmgestaltung bei Heinz Emigholz an der Udk Berlin. Er ist freischaffender Künstler und lebt in Wien.

A long time ago already the artist had already been planning to do something with the legendary dance scene from the movie "Saturday Night Fever". He decided to create a loop in which the dancer comes and goes again and again, a kind of Western derwish. He felt the urge to draw the dancer, as to create a more universal figure, so the choice of the classic animation technique was obvious. 1700 drawings were necessary to represent the shining dancer as sharp as the original. Then, giving the dancer an opaque silver colour, he retained only the essential, the moves. Because in the end, the iconographical élan of the movie is due to the fantastic choreography. The soundtrack is the original one, but played backwards. In this way the artist moves the synchronization without losing the beat and the delirious Bee Gees sound. Spots and stains in the image are part of the game. All this results in the creation of new accents. At times, letters appear, spelling the title "I am a star and I come and I go". This film may lead to a discussion about the meaning of success, or it can just be watched to enjoy the groove...

Bogaert?s films derive mostly from his own filmed material, from which he selects and creates 16 mm loops and videos. In recent years his films have often been based on icons from his childhood which he examines and defines in the present, as in "The Superfast Series", "A Study for Bruce" and "I am a star and I come and I go". The films usually lead to a series of drawings or objects which are exhibited together with the film. As for his technique, he always strives to use new combinations and applications of drawing and painting materials and even filming techniques. In his latest works he often uses the technique of animation.

The installation consists of two black and white video images, one video projector and two thin (2 mm) illuminated fibre lines. A large projection shows images of moving objects or people that are fixed in one place on the wall by means of a sophisticated tracking technique. This technique continuously shifts the frame of the video image in a way that the chosen object stays in one place. Thus, all movements are neutralized. Directly behind the projector a very small 4,7 inch screen shows a close-up of a moving eyeball, of which the pupil is fixed in the middle of the screen. A luminous wire is stretched across the exhibition room, between the fixed point of the projected image and the centre of the small eye pupil. The wire is a physical and stationary element in the exhibition room.

Peter Bogers’ (Netherlands, 1956) work engages the interplay of sound and image to create installation works dealing with questions around the understanding and perception of sound. Working with the themes of music, speech and sound Bogers questions the boundaries of these fields and their limits and access to communication. Through his constant interaction with sound, Bogers also examines the visual, spatial and conceptual understanding of the human body and its place within the moving image and experiential installation. Bogers was one of the first artists in the Netherlands to integrate moving image into his work. He began working with video in the 1980’s as a methodology to accompany and assist his performance work and has since developed a keen approach to the medium that functions as a tool to illuminate the otherwise imperceptible. Peter Bogers studied at the sculpture department at St. Joost Academy, Breda. He has exhibited widely and had solo exhibitions both in The Netherlands (at the Netherlands Media Art Institute and the Central Museum Utrecht, among other places) and internationally (including solo shows in Bremen, Marseille, Osnabrück, Pittsburgh and Stuttgart).

The Napoleon code, that influenced widely the European legislation, punishes the body with no clothes. While all seems to be permitted in the media, in the daily life, in Italia as anywhere else, there is still the « atti osceni in luogo pubblico ». Even after thirty years, the performances by Abramovitz naked can?t be considered as natural. That?s about what a small group of students of the Berera was talking about in March and April 2004 at the café Victoria of Milan, (a bar which was hosen of course because of its name). They were stimulated by Foed Ben Affane, a young artist who starts to get interested into the conceptual world. The occasion of a great exhibition on the nude body in Bologna (Il nudo fra ideale e realtà under Peter Weiermeier direction) made born the demand to face one another and to meet, to look for the contact, at least, with the art world and the audience. And this is how that the 8th of June Foed walks nude among the paintings and the sculptures of Bologna, among its audience shared between in disinterest (simulated?) and the merry participation. And, on June 9th, he does it again with the half authorization of the curator and no without problems at the cloakroom where he wanted to let his clothes. The video presents a montage of these two days and two parts of interviews of Foed at the Victoria Bar

Kika Bohr is born in Geneva in 1956 et grew up in Milan. Daughter of artists, she accomplished at first literature studies and works as translator. Since 1998, she realizes portraits with oil painting, then sculptures in different materials (notably copper). She takes lessons at the Sculpture Academy of Brera.

"Surface Trouble" is a screening enwiden on two screens. The artist proceed to a succession before a dusty mirror. The viewer sight is torn appart between the soft and mysterious opaque of the image on the left and irresitible lure for the dformed right hand image, caricatured by special effets. The high electronic music by David Perchey adds in a gloomy way but effective to this disturbing team.

My performances breath through video its plastic and luminous dimension. The most I alone before the camera, the most I?m constrained to evolve in its still frame. In this intimate, I?m doing a strangely disturbing exercise; the physical relation with the object. Letting the object in its first function, I let myself surprised and build a sexual choreography of manipulation. My body is sculpted by the matter of the object which lay on my shoulder, that gets in my neck, throws on my face, distorts my expression, slashes me violently. For the editing, I use special effects as the backside and the slowdown, surrealist cuts, the proper sound of the object or even a strongly present music in order to penetrate directly in the lyric and poetic universe that inhabit me. Overtaken by my senses and double senses, the man crops up. I?m the puppet of my unconscious. In this work, I duplicate myself in a woman-object, an muse carrying messages.

Northern Germany. An ageing hippie couple endures an isolated, ghostly existence in an old country house. A boy wanders aimlessly through a forest, building a lair for himself. And a story about a never-ending escape from catastrophe. The Revenants - a film about desire, loss, and endlessly returning. A ghost story.

Andreas Bolm was born in Cologne in Germany. As a musician and sound technician he was drawn to Manchester, UK, where he started to experiment with photography and video. He began studying film at FAMU, Prague and at HFF in Munich. Following invitations to Cannes and other festivals, he was granted a bursary by the Cinefondation Residence Festival de Cannes in 2009 which allowed him to develop DIE WIEDERGÄNGER.

Zoli earns his livelihood abroad skinning chinchillas in a Danish fur factory. The film begins with the story of Zoli's return to the periphery, to the small Hungarian village of Jaba. Zoli's family, settled Romas, struggle to earn their living hiring themselves out as day-labourers. For Zoli, Jaba has no work and no prospects, so he kills time and waits. Standstill. "Jaba" tells the story of survival in one of Europe's poorest regions. A movie about the outsiders. The protagonists portray their own lives. A film that is as raw and poetic as the people themselves.

Andreas Bolm was born in Cologne, Germany, in 1971. After film and theatre science studies at the FU-Berlin, he moved to Hungary in 1996 where he had lived in his childhood. There he shot his first documentary "Gradually we hit the target". In 1997 he enrolled for a course at the film academy FAMU in Prague. Since 1999 Bolm has been a student at the documentary department of the Hochschule für Fernsehen und Film München, where he has directed the short documentaries "Rózsa" and "The Sleepers", the latter presented at Festival International du film Documentaire de Marseille in 2003 and Internationale Kurzfilmtage Oberhausen, IFF Rotterdam.

An old building in Venice hosts an exhibition, a visitor walks through empty rooms discovering a fictionalized architectural space that functions like an abandoned theatre set. While a city that is slowly drowning floods you with its obsessive presence on and off- screen, imagination can’t exceed reality. Inspired by Alexander Kluge’s oeuvre and his constellation of film and video works, the metanarrative framework of this exploration attempts to de-construct the subjective experience and liberate the cinematic energy from the horror vacui of the display.

Pia Bolognesi (PhD, b. 1981) is an independent curator, art historian and artist based in Berlin. With a background in Performing Arts, Film Theory and Visual and Environmental Studies, she has organized large scale installations, exhibitions and multidisciplinary projects for institutions including the Tate Modern London, MoMA New York, Centre Pompidou Paris, FNC Montreal, 56th Venice Biennale. Her works and installations have been presented at Wiels Bruxelles, Musée des Beaux-Arts de Montréal, Kyoto and Tokyo Universities of Art and Design, Deutsche KunstHalle Berlin and Triennale di Milano, among others. Giulio Bursi (PhD, b. 1978) is an independent film curator, dramaturg and film-maker based in Berlin. Educated in Film Theory, he has been assistant director of Jean-Marie Straub and Danièle Huillet. He realized a documentary feature (J’écoute!, 2007) and different shorts and installations collaborating with international institutions and film festivals like Austrian Film Museum, 56th Venice Biennale, MoMA To Save and Project New York, Turin Film Festival, Il Cinema Ritrovato Bologna, Berlinale, Festival du Nouveau Cinéma Montreal, GAM Turin. Pia Bolognesi and Giulio Bursi work together as Atelier Impopulaire since 2012. Their installations have been exhibited at Centre Pompidou, La Triennale di Milano, Kunsthaus Bregenz, GAM Santiago, The Mix Place, West Bund Art Space and Power Station of Art in Shanghai, Volksbühne Berlin, ZKM Karlsruhe, Tate Modern, Berlin Gallery Weekend, Rotterdam Film Festival. Atelier Impopulaire has developed site-specific projects internationally, collaborating with artists like Aldo Tambellini, Dries Van Noten, Morgan Fisher, Danièle Huillet & Jean-Marie Straub, Peter Tscherkassky, Margaret Honda, Experimental Jetset, Christopher Williams, Alexander Kluge.

Las Vegas fait partie des zones les plus touchées par la crise aux États-Unis. Le film traverse ce paysage de ruines du présent, vide qui émiette les quartiers résidentiels, chantiers arrêtés, paysages en suspens,banlieues ralenties, souterrains habités par des sans-abris... nous y croisons des personnages improbables, suspendus entre deux mondes. Il propose en creux une métaphore des temps d`incertitude que traverse le monde contemporain.

Laurence Bonvin est une artiste et photographe documentaire dont le travail touche au paysage, à l?architecture, l?espace public, l?informalité, les transformations des environnements urbains et des périphéries en général. Elle est l`auteur de quatre monographies et a largement exposé son travail en Suisse et internationalement. After Vegas est son premier film. Stéphane Degoutin est un artiste et théoricien, co-fondateur du projet Nogo voyages et du laboratoire de recherche LOPH. Ses champs de recherche sont l?humanité après l?homme, la ville après l?espace public, l?architecture après le plaisir, le Umwelt de l?information. Il a co-réalisé avec Gwenola Wagon "Dance Party in Iraq" (2012), "Cyborgs in the Mist" (2011) and "Mute" (2011).

Avant l’envol propose une exploration de la ville d’Abidjan par le biais de son architecture d’état. Le film, précis et minimal, offre un état des lieux quasi chronologique de l’architecture moderniste dans la principale ville ivoirienne tout en soulignant la monumentalité et la qualité architecturale de ces édifices construits pendant les années euphoriques et visionnaires qui suivent l’indépendance. Dans ces architectures venues d’ailleurs le temps semble être suspendu. On y découvre parfois des formes qui traduisent le désir d’intégration de la culture vernaculaire mais qui trahissent, de plus en plus au fil du temps, une inadaptation au climat local. L’attention est portée aux usagers et à la manière dont ils s’approprient ces espaces et leur donnent vie à travers la chorégraphie des gestes, des déplacements, des interactions, des utilisations informelles et autres détournements qui s’y opèrent. Avant l’envol questionne ce patrimoine architectural riche, ambitieux autant que dystopique, interroge le sens et le devenir de cet héritage post-colonial.

Laurence Bonvin est une réalisatrice et photographe suisse ; elle vit entre Berlin et Genève. Son approche de nature documentaire est centrée sur des phénomènes de transformation du paysage urbain et naturel, de l’environnement béti et humain. Son travail photographique a fait l’objet de trois monographies, de nombreuses publications et expositions en Suisse et internationalement. Récemment Bonvin a réalisé trois court-métrages documentaires : After Vegas (2013) avec Stéphane Degoutin ; Sounds of Blikkiesdorp (2014) et Avant ‘envol (2016), projeté en première internationale à la Berlinale et lauréat du prix de la meilleure caméra au Kurzfilmtage de Winterthur.

Sounds of Blikkiesdorp glimpses into everyday life in Blikkiesdorp, a newly built temporary housing area in the far periphery of Cape Town. Erected by the municipality, it is occupied since 2008 by people from very different backgrounds, some who were previously living in a nearby squatter’s camp, some having been forcefully moved from the city to this hostile and isolated place. Despite the harsh living conditions and the uncertainty of their future, the people we come across do all their best to improve their house, to make a living and keep their spirits high. In a place of informality and resourcefulness, music becomes the link between the structures, the alleys and the people: the real soundtrack for Blikkiesdorp.

Laurence Bonvin is a documentary photographer and artist whose work deal with landscape, architecture, public space, informality, urban transformations and peripheries at large. She has extensively exhibited her work in Switzerland and internationally. She is the author of four monographies. Sounds of Blikkiesdorp is her second short film.

In a near future, the villages of a Sub-Saharan area have all been deserted. Mad and disable people as well as child soldiers are the only ones who remain on those dry lands. In this survival atmosphere, relationships are harsh

Just graduated from Les Beaux-­Arts de Paris in 2001, Nicolas Boone directed shootings/performances, “films for once” without any recording system: his work constantly stands between direction and video recording –when, sometimes, the “simple” act of shooting makes the film itself. His work takes various forms: series (BUP, 2007/2008), feature film (codirected with Olivier Bosson: 200%, 2013), short films –sometimes gathered together to compose a whole program (Les Dépossédés, 2012)... The Vivo Art Center, in Vancouver, presented a complete retrospective of Nicolas Boone’s work in 2011. His films were selected in many international film festivals, and often awarded, such as Bailu Dream (2013;; shown in IFFRotterdam, in IndiesLisoa and in IFFJeonju this year) and Hillbrow (2014), selected in FID Marseille (France), the IFF Indies in Sao Paulo (Brazil), the IFF in Clermont-­Ferrand (France), the IFF Entrevue in Belfort (France), where it received 3 awards (Audience, One+One and Camira Prizes), the Festival du Nouveau Cinema/FNC in Montreal (Canada), where it received the grand prize (Loup argenté), the Lago Film Festival (Italy), where it won the First Prize of the Jury. In France, it also received the Grand Prize “Scribe du cinema” in 2014. In Fall 2015, it was part of a collective exhibit in « La Galerie », Noisy-­le-­Sec (France). Psalm, shot in Senegal in 2015, had been prized in FID Marseille (Prizes of the CNAP and of the Students) and screened at the RIDM, the Viennale & other venues. Bailu Dream, Hillbrow and Psalm were screened at UnionDocs Center for Documentary Art (Brooklyn) in November 2015. 2015 Psaume (48’;; Gagué-­Chérif, Sénégal) Dog Over (8’;; Paris;; part of the Goethe Institute’s « Europoly » project) 2014 Hillbrow (32’;; Johannesburg) 2013 Les Dépossédés (50’;; Togo, Quebec, Paris) Le Rêve de Bailu (12’;; Bailu – China) 2010 200% (80’;; Saint-­Fons – France) 2009 Transbup (51’;; Ardèche – France) 2008/07 Série BUP (10’ each of the 9 episodes – France) 2006 La Transhumance fantastique (54’;; Dordogne – France) 2005 La Nuit blanche des morts-­vivants (30’;; Paris) Portail (40’;; Région Centre – France) 2004 Fuite (7 x 7’;; Lorraine – France) Plage de Cinéma (14’;; Nord – France) 2003 Lost Movie (11’;; Pontoise – France) 2002 Un film pour une fois (15’;; Paris)

In an indeterminate space, against a backdrop of virgin landscapes with no trace of civilisation, exotic beaches, mountains, deserts, forests, coastlines and volcanoes, the X (1) wander around. One of them, who we quickly identify as a kind of moderator, comes in and out of the group. He strikes up conversations, interrupts them and restarts them. Everyone improvises. 1 The X is what I call the 10 characters in the Bressonian sense. They were chosen for their eloquence and unique imaginations.

French filmmaker Nicolas Boone began as a visual artist and performer, but gradually got into film directing. He makes primarily short-length films ? both documentaries and fictional movies. Over the past few years, many of them have ended up at renowned film festivals (FID Marseille, IndieLisboa, IFF Rotterdam, and others). Boone?s only full-length documentary to date is the social fresco 200% (2011).

Hillbrow, Johannesburg`s oldest and trendiest cultural attraction, has now developed into a densely populated and rather violent working-class neighborhood.  The movie HILLBROW offers a selection of local stories that cross over geographical boundaries and whose fictional characters are portrayed by inhabitants presently living in the neighborhood.  In ten journeys, HILLBROW draws a labyrinth of urban tensions. 

A truck runs along a track in Africa, mesmerizing the villagers to such an extent that they disappear into the bush. A preacher bears witness to his own (dis)possession. A teenager makes his way through the forest guided by strange encounters. Dancers spin round and round in a nightclub that could have belonged to Dr. Frankenstein. This is a crazy fable about alienation, in 4 chapters.

By using electronic notes from Jerusalem, Italy, France, Germany, Peru, Buenos Aires, Mexico and the United States, The Museum Of Memory searches for a homeless referent, the disconnection between the image and its historical world. ?Not the symbol but that for which the symbol stands, the vivid thing in the air that never changes?? wrote Wallace Stevens. The relation between a world viewed and one lived is found in a small village in Mexico where each evening elderly dancers connect the past to the present in a danzón. Memory, travel and photography take their seats in coach class as one persona struggles to recall experiences while another battles with the inability to forget. In The Museum of Memory photography becomes a place holder for the ?real,? a flash card for places and objects for which stories are invented. The photographic image, the image recalled, the one from childhood, the one from yesterday and the present are offered to acknowledge that there are things that we know, but do not understand. In The Museum of Memory a camera may invent its own world ? a world that exists to be perceived and advertised in postcards.

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.