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"Lupinen löschen" montre à la fois la beauté et le caractère effrayant d'un petit incident pas tout à fait banal: des bouteilles de vin rouge tombent et volent en éclat. Elles font de superbes taches rouges sur le parquet blanc. Et celles-ci reflètent la lumière provenant des fenêtres. La caméra effectue ensuite un travelling arrière très lent en filmant d'abord le sol, puis les fenêtres, le stuc du plafond, la tapisserie, puis revient au parquet et aux deux fenêtres. D'un seul coup, le sol devient propre et les taches se retrouvent dehors, non plus à l'intérieur. Cette oeuvre se refuse à toute interprétation clairement définie. Elle répète une expérience qui s'étire entre cette manière langoureuse de filmer le quotidien, la lumière et le mouvement, et les images, pleines de significations de l'horreur et du malheur différentes. Selon Sabine Schöbel, "Lupinen löschen" reste, en dehors de ce 'jeu' des apparences, la réalisation dans l'espace du souvenir et de la mémoire.

Sabine Schöbel est née à Bayreuth. Elle a étudié à Ratisbonne, Grenade, Madrid, Francfort-sur-le-Main et Potsdam. Elle a obtenu sa thèse sur le théâtre, le cinéma et les médias à l'université de Francfort. Elle oeuvre dans les domaines de l'architecture/design, de la mise en scène et de la cinématographie: elle a par exemple travaillé en tant que collaboratrice scientifique dans le département de sciences des médias de l'université de Paderborn (2003-2005) et assistante de la mise en scène pour le film "Herr Lehman" (Allemagne, 2002). Parmi ses réalisations personnelles figurent les lumières de la villa Tiedke à Potsdam (2003), le projet pour la maison Claudia Heser à Warmensteinach (réalisé en 2005) ainsi que le projet de mise en scène et de préparation pour le jeu télévisé 'Die Überflüssigen' (ZDF 2006). "Lupinen löschen" est son premier film.

The Richest Family; The Early Episodes is a project by artist Floris Schönfeld in collaboration with Frank Chu. At the center of The Richest Family; The Early Episodes is the internal world of Frank Chu, intergalactic movie star and well-known San Francisco Bay Area protestor. Frank believes that he is the victim of an intergalactic conspiracy that is based around him being the star of a popular television sitcom called The Richest Family. This show features him and his family and is recorded without his consent and broadcast to huge audiences in a number of alternate galaxies known as the 12 Galaxies. He can often be found at large public demonstrations in the San Francisco Bay Area protesting for impeachment of various public figures who he sees as complicit in this conspiracy. For the work The Richest Family; The Early Episodes two bootleg episodes of the television show The Richest Family were made. As well as staring in the episodes Frank was instrumental in the co-directing, and scripting of the pieces together with artist Floris Schönfeld. The Richest Family; The Early Episodes will be the first episodes of The Richest Family to be seen on Earth that have Frank?s full consent.

Frank Chu (b. 1960, Oakland, California, US; based in Oakland) is a professional protester and intergalactic television and movie star. He studied Business Administration at the University of California, Berkeley; California State University, Hayward; Merritt College, Oakland; and Laney College, Oakland, before receiving an Associate?s Degree in Business Administration from The College of Alameda, California, US. Since 1998, Chu has presented his ongoing series of signs in daily protests throughout the San Francisco Bay Area. His work is the subject of "Jretdrostrenikal Exhibitions", an ongoing and undefined solo exhibition at Objectif Exhibitions, Antwerp (2012-ongoing); and he has recently participated in group exhibitions including "Portable Holes", San Francisco Pavilion, 9th Shanghai Biennale, China (2012); "Sõida tasa üle silla (Ride gently over the bridge)", Galerii Noorus, ART IST KUKU NU UT Festival, Tartu, Estonia (2012); and "Psymulation: Reenactments of the Present", Photo Epicenter, San Francisco, US (2008). Floris Schönfeld (1982) is a visual artist currently based in London and San Francisco. He works mainly with film and performance. The focus of his work in the last years has been the relationship between fiction and belief. In his work he is constantly trying to find the line between defining his context and being defined by it. In 2010, Floris completed the multi-disciplinary project ?u? in which he reconstructed the first ever authentic Klingon opera on Earth and made the film The QiH Act based on the performance of the opera for an entirely Klingon audience. In 2011, he made the film Discours de Fou as part of the International Ghetto Biennale in Port-au-Prince, Haiti and in 2012 he was commissioned to make work for the San Francisco Pavilion at the 12th International Shanghai Biennale. Schönfeld?s work has been shown at many film festivals and intsitutions throughout the world including the Amsterdam Film Biennale, Rencontres International Paris/Madrid/Berlin, the Rotterdam International Film Festival, the Haus der Kulturen der Welt Berlin, the Kassel Documentary & Film Festival (where it was nominated for the A38-Prodcution Grant) and the Kadist Foundation in San Francisco. Floris is currently a graduate fellow at the Headlands Center for the Arts in the San Francisco Bay Area.

Weight is a series of short films that are each based on different excerpts from literature. The selected excerpts served as the scenario for the films, and demonstrate the moments of subtle tension that precede a significant event in the plot. A search for the moment, and for the physical state of the decision making. Removed from the context of the original story these excerpts are enigmatic, but retain the same tension inherent to their former position. As they start to interact on a suggestive level a new, highly tense, charged story emerges. The project strives to convey the `weight` of the moments without the context of their original narratives. The series currently consists of four films; 1. Oracle Night based on Oracle Night by Paul Auster 2. Miso Soup based on In the Miso Soup by Rui Murakami 3. End of the World based on Hard-boiled wonderland and the End of the World by Haruki Murakami 4. The Outsider based on The Outsider by Albert Camus

Floris Schönfeld (Houston, VS, 1982) is a visual artist and filmmaker working in Amsterdam and The Hague. He studied time-based arts at the Gerrit Rietveld Academy in Amsterdam and has recently completed a masters at the Interfaculty ArtScience at the Royal College of the Arts/Royal Conservatoire The Hague. In his film and performance work he is primarily concerned with the awesome power of fiction and it?s effects on humanity. Michaël Sewandono (1979) studied audiovisual art at the Gerrit Rietveld Academy in Amsterdam and he studied at the Escuela Internacional de Cine Y Television de Cuba, Havana. Between 2005 and 2008, he has been working on film projects, commercials and music videos. Sewandono currently works on the completion of short films and the development of two feature films.

?Clips from Curtiz to Lynch, from A Place in the Sun to White Noise. Assembled under the aspect of the dominating light source in each particular excerpt, which in this unsettling four minutes work shows off as the merciless ruler over the sound. Or, in the words of found-footage-virtuoso Volker Schreiner: ?Rooms illuminated by oscilling light, lightened up in rhythmic intervals by lamps and neon signs or irregular flashes of light . People are waiting, awaiting, pondering, searching, worrying.?? (catalogue Viennale 10, 2010)

VOLKER SCHREINER 1988/89 grant Cité Internationale des Arts Paris, 1993 lectureship HfG Karlsruhe, 1994-98 lectureship HBK Braunschweig, 1998/99 grant Deutsche Akademie Villa Massimo Rome, 2000/01 visiting professor HBK Braunschweig, 2002/03 visiting professor Johannes-Gutenberg-Universitaet Mainz, lectures, workshops and seminars a.o. in Rome, Istanbul, Ankara, Casablanca, Jerusalem, Bangkok, participation in numerous festivals and tours, works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum www.volkerschreiner.de

?This is a work based on found footage. Schreiner extracted sequences with numbers from many movies, both classic and obscure. Using these short fragments he compiled a countdown starting from the number 266. A strong effect of suspense is created, the tight-paced montage holding the viewer`s attention.? (catalogue Invideo, Milan 2004)

Né en 1957 à Isingerode/Harz. 1977-83 Hochschule für Bildende Künste (école supérieure d'arts)de Braunschweig/ 1993 enseignant à la Staatliche Hochschule für Gestaltung (école nationale supérieure d'arts) de Karlsruhe/1991 premier prix du 3ème festival Sound Basis Visual Art de Breslau/ 1992 premier prix du 5ème Prix d'art vidéo de Marl/ 1994-98 enseignant à la Hochschule für bildende Künste de Braunschweig/ 1998/99 résidence à la Deutsche Akademie Villa Massimo, Rome/ 200-01 professeur invité à la Johannes Gutenberg-Universität de Mayence/ présentations dans différents festivals nationaux et internationaux, entre autres à Berlin, Oberhausen, Bonn, Paris, La Hague, Rotterdam, Madrid, Rome, Moscou, Montréal, New York, Osaka, Tokyo, Sydney; travaux avec le Neuen Berliner Kunstvereins, la médiathèque du centre d'arts et de technologies des médias de Karlsruhe, l'Université du Québec Montréal, de l' Ecole Nationale des Beaux Arts de Paris, du musée Ludwig à Cologne , du musée d'art contemporain de Karlsruhe, du musée du cinéma d'Amsterdam;

Des salons froidement éclairés par l'écran blanc d'une télévision sont des présages familiers d'une apocalypse approchante dans la plupart des films. Dans Cell c'est justement cet element troublant qui est étudié à la loupe. Un montage de multiples fragments d'écran couvert de cette neige vascillante tirés de films hollywoodiens. L experience de meta-cinema ultime. Pas de message, juste du medium.

Volker Schreiner, since 1988 videos, video-installations and video sculptures/ a.o. grant Villa Massimo Rome, grant Cité des Arts Paris, grant Kunstfonds Bonn, prize winner of the 5th Marl Video-Kunst-Preis/ lectureships at the HfG Karlsruhe and the HBK Braunschweig, associate professor at the HBK Braunschweig and the Johannes Gutenberg-University Mainz/ works owned a.o. by NBK Berlin, ZKM Karlsruhe, Museum Ludwig Cologne, Museum fuer Neue Kunst Karlsruhe, Film Museum Amsterdam

Une compilation de 200 citations extraites de films.

Volker Schreiner, since 1988 videos, video-installations and video sculptures/ a.o. grant Villa Massimo Rome, grant Cité des Arts Paris, grant Kunstfonds Bonn, prize winner of the 5th Marl Video-Kunst-Preis/ lectureships at the HfG Karlsruhe and the HBK Braunschweig, associate professor at the HBK Braunschweig and the Johannes Gutenberg-University Mainz/ works owned a.o. by NBK Berlin, ZKM Karlsruhe, Museum Ludwig Cologne, Museum für Neue Kunst Karlsruhe, Film Museum Amsterdam

Les artistes vus dans les films, dont la vie est fabriquée, des artistes fictifs : qui sont-ils, comment vivent-ils, comment travaillent-ils ? Quels genres de clichés transportent-ils ? Est ce qu'ils reflètent la vision qu?ont les artistes contemporains d?eux-mêmes, ou représentent-ils une image anachronique de l?artiste dans une société extrêmement influencée par les médias modernes? Les douze montages, issus d?extraits de plus d?une centaine de films, allant du classique à la série B, engagent avec ces questions un jeu subjectif.

Christoph Girardet est né en 1966, à Langenhagen, en Allemagne. Il étudie à l?Ecole des Beaux-Arts de Braunschweig. Il a bénéficié de plusieurs bourses et obtenu des prix pour son travail : du DAAD pour une résidence à Tokyo, le Preis des Kunstvereins de Hanovre, le prix de la critique allemande du meilleur film expérimental, l?Award for the best international film and video à l?Image Festival de Toronto. Il obtient en 2002 une bourse pour une résidence, et le programme curatorial à New York. Il obtient également en 2002 et 2003 le prix pour la meilleure contribution allemande au festival du film d?Oberhausen. En 2004, il séjourne à l?Académie Allemande à Rome, la Villa Massimo. Il travaille seul ou en collaboration, notamment avec Matthias Müller. Ces deux artistes étaient présents à Paris lors des précédentes Rencontres internationales Paris/Berlin. Il travaille également en collaboration avec Volker Schreiner. Le travail de Christoph Girardet est présenté dans les festivals nationaux et internationaux, à Berlin, Oberhausen, Bonn, New York, Montréal, Toronto, Venise, Vienne, Rotterdam ; et dans des musées et centre d?art, comme la Fondation de Appel, à Amsterdam ; au PS1 à New York ; au Stedelijk Van Abbemuseum, à Eindhoven, au New Museum for Contemporary Art de New York. Volker Schreiner est né en 1957, à Isingerode. Il étudie à l?Ecole des Beaux-arts de Braunschweig, puis à l?Ecole de Karlsruhe. En 1991, il obtient le premier prix au troisième festival au Sound Basis Visual Art de Breslau, et en 1992, le premier prix aux 5ème Marler Video-Kunst-Preis. Il séjourne en 1998-1999 à l?Académie allemande de Rome, la Villa Massimo. Il est professeur invité en 2000-2001 à l?Ecole des Beaux-Arts de Braunschweig, puis en 2002-2003 à la Johannes Gutenberg-Uniersität de Mainz. Son travail est présenté dans les festivals internationaux, à Berlin, Oberhausen, Bonn, Paris, La Haye, Rotterdam, Madrid, Rome, Moscou, Montréal, New York, Osaka, Tokyo, Sydney. Son travail est présent dans les collections de plusieurs institutions et écoles, notamment au Neuen Berliner Kunstvereins, à la Médiathèque du Zentrums für Kunst und Medientechnologie de Karlsruhe, à l?Université du Québec de Montréal, à l?Ecole Nationale des Beaux Arts Paris, au Musée Ludwig à Cologne, au Museums für Neue Kunst à Karlsruhe, au Musée du film d?Amsterdam.

Traces, devices, indications, found and discovered, clues and hints referring to absentees - a compilation of excerpts from movies and feature films.

VOLKER SCHREINER 1988/89 grant Cité Internationale des Arts Paris, 1993 lectureship HfG Karlsruhe, 1994-98 lectureship HBK Braunschweig, 1998/99 grant Deutsche Akademie Villa Massimo Rome, 2000/01 visiting professor HBK Braunschweig, 2002/03 visiting professor Johannes-Gutenberg-Universitaet Mainz, participation in numerous festivals and tours, works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum

A transformation of Nam June Paik`s text "film scenario" into a movie. Hollywood stars speak Paik: "You can make any Hollywood movie interesting, if you cut the movie several times ..." Michael Caine, Humphrey Bogart, Elizabeth Taylor, John Torturro, Katharine Hepburn and other protagonists of mainstream cinema are assembled to speak a text about deconstructing film watching.

Volker Schreiner video works since 1988/ grants at the Cité Internationale des Arts Paris, the Deutsche Akademie Villa Massimo Rome/ lectureships at the HfG Karlsruhe and the HBK Braunschweig/ visiting professorships at the HBK Braunschweig and the Johannes-Gutenberg-Universitaet Mainz/ lectures, workshops and seminars a.o. in Rome, Istanbul, Casablanca, Jerusalem, Bangkok/ participation in numerous festivals and tours/ works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum/ distribution by Heure Exquise! and Light Cone Paris/ internet: volkerschreiner.de

A pair of hands, a pair of rings, two candles, cards, cables, fingers, photos, needles, glasses, chairs ? a couple, a pair, pairwise, pairs of words ? close-distant, longing-leaving, connecting-separating, remembering-forgetting, inside-outside, ahead-behind, before-after.

Volker Schreiner video works since 1988/ grants at the Cité Internationale des Arts Paris, the Deutsche Akademie Villa Massimo Rome/ lectureships at the HfG Karlsruhe and the HBK Braunschweig/ visiting professorships at the HBK Braunschweig and the Johannes-Gutenberg-Universitaet Mainz/ lectures, workshops and seminars a.o. in Rome, Istanbul, Casablanca, Jerusalem, Bangkok/ participation in numerous festivals and tours/ works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum/ distribution by Heure Exquise! and Light Cone Paris/ internet: volkerschreiner.de

Une compilation de faisceaux lumineux provenant de lampes de poche. "Radar" conduit à une inquiétante recherche. Des faisceaux de lumière tâtonnants, montés à partir des fragments d'innombrables films, éclairent de façon sporadique un chemin qui mène vers le néant. Une réflexion métaphorique sur les parts d'ombre de l'existence comme sur la lumière de la connaissance. (Kristina Tieke:"Lumière de la connaissance", in:Hannoversche Allgemeine Zeitung, 9.5.2006)

Volker Schreiner est né en Allemagne en 1957. Ses films sont présentés dans des musées et festivals nationaux et internationaux, par exemple Berlin, au festival du film d'Oberhausen, à Paris au centre George Pompidou, à La Haye, au festival du film de Rotterdam, à la Viennale, au Museo Nacional Centro de Arte Reina Sofia à Madrid, à Rome, au Portugal à Curtas Vila do Conde, à Moscou, Montréal, New York, Tokyo, Sydney, au Musée d'art moderne de New York, au Musée d'art contemporain de Washington. Il participe à de nombreux programmes de tournées, et réalise des travaux pour le Neuen Berliner Kunstverein, la médiathèque du ZKM de Karlsruhe, l'Université du Québec de Montréal, le Ludwig Museum de Cologne, le musée d'art contemporain de Karlsruhe, le musée du film néerlandais d'Amsterdam, entre autres. Il est invité à diverses conférences, séminaires et ateliers. Il est également d'enseignement et professeur invité dans plusieurs écoles d'art et universités. Il a bénéficié de divers prix et bourses, parmi lesquelles, en 1988/89 la résidence de la Cité Internationale des Arts à Paris, en 1998/99 une résidence à l'académie allemande Villa Massimo, Rome.

Le monde est ce que le bruit est: le motif central de ?Scope? est le haut-parleur sur des pylônes, dans les halls des gares, sur les toits, dans les autoradios, dans les radios de salon, dans les écouteurs, les combinés téléphoniques ou dans les postes émetteurs-récepteurs. On n?aperçoit les auditeurs que dans les coupes ou dans les flous. Les haut-parleurs diffusent des montages de tons et de sons, morceaux incompréhensibles de communication, des musiques déformées, des annonces et des ondes brouillées. Volker Schreiner prête au bruit général et tout contemporain, que l?on ne perçoit plus depuis longtemps en raison de son omniprésence dans le monde moderne, une voix nouvelle, autre, oubliée.

En 1988/89 Volker Schreiner obtient une bourse de la Cité Internationale de Paris, en 1993, il est chargé de cours à la HfG de Karlsruhe, et de 94 à 98 à la HBK du Braunschweig. En 1998/99, il bénéficie d?une bourse de l?Académie allemande pour la Villa Massimo à Rome, il est professeur invité successivement à la HBK du Braunschweig en 2000/2001, et à l?Université Johannes Gutenberg à Mainz en 2002/2003. Ses travaux ont été acquis par la NBK de Berlin, la ZKM de Karlsruhe, le Musée Ludwig de Cologne, le Musée pour les Nouveaux Arts de Karlsruhe, et le Musée du Film d?Amsterdam parmi d?autres.

A filmic tryptic of three landscapes.

video works since 1988/ grants at the Cité Internationale des Arts Paris, the Deutsche Akademie Villa Massimo Rome/ lectureships at the HfG Karlsruhe and the HBK Braunschweig/ visiting professorships at the HBK Braunschweig and the Johannes-Gutenberg-Universitaet Mainz/ lectures, workshops and seminars a.o. in Rome, Istanbul, Casablanca, Jerusalem, Bangkok/ participation in numerous festivals and tours/ works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum/ distribution by Heure Exquise! and Light Cone Paris/ internet: volkerschreiner.de

`UNAMERICA Relocating memories’, by the artist Luise Schröder, deals with the commemoration of the internment of Japanese-Americans at the former War Relocation Center in Manzanar, USA during World War II. Once a year survivors, their relatives, as well as sympathizing groups come together to commemorate the forced displacement and detention of more than 10,000 people to Manzanar authorized by president Roosevelt through the Executive Order 9066. In 1985 the place was declared a national memorial site. Since 9/11 the Japanese-American community intensively expresses its solidarity also with Muslim communities in the USA and invites them to participate in the events at Manzanar. The video focusses on different historical, political and visual narratives with the purpose to understand how and in which way the historical events are represented and reconstructed today. The historical photos used in the video are taken by Ansel Adams and Dorothea Lange.

Luise Schroeder is a visual artist, photographer and filmmaker, who is based in Potsdam, Leipzig and Berlin. Within her artistic practice she is dealing with aspects of “history in the making” from a today’s perspective and how cultures of remembrance and commemoration are influenced and formed by media and image production. In recent years, the artist has taken part in solo exhibitions at the Kunstverein Bielefeld and the C/O Berlin Amerikahaus in Germany and in numerous group exhibitions. Among others in the Brno House of Arts (Czech Republic), in the 7th Berlin Biennale for Contemporary Art in 2012 and in the Gallery Eigen+Art in Berlin as well as in the Goethe Institut Washington DC, USA. In 2016 she was awarded a three-months scholarship in Los Angeles at the Villa Aurora and in 2018/19 she was holding a residency at the Cité des Arts in Paris, France.

To speed up the process of becoming an independent self-employed artist and to end my dependence on Hartz 4 unemployment benefit, I had to participate in a program for business optimization, carried out by a management consultancy that was engaged by the Jobcenter. My proposal to make a film documentation of the process was denied. I transformed recordings of conversations, hand-outs, correspondence, my dream diary and the pre-printed form F 5.5 into a scenario about my “project on the artistic business personality,” in which the role models of artist, entrepreneur and welfare recipient, all represented by myself, clash and make me grapple with their compatibility. What does optimization mean? Which language is used? How are my actions and how am I described, adapted and, if so, deformed?

Studies in art education, art history, communication science, Greifswald University. Organisation of WBS70, independent culture centre, Greifswald. Participant of art squat project prora.allinclusive Guest student in media art at HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography at HGB Leipzig. Participant of Professional Media Master Class / PMMC LAB at Werkleitz e.V. Halle/Saale. Member of the Cinematic Initiative Leipzig FILZ https://filz.works/de/about. Supervisor/teacher for digital photography and image editing, Kulturbahnhof e.V. Markkleeberg. Participant of Pilot Programme for emerging filmmakers, MDM. www.schroederstefanie.de

Rainbow's Gravity is a cinematic study on the Agfacolor-Neu colour film stock made in Nazi Germany. Along its three layers of emulsion, the film digs deep into the escapist colourised landscape of this time and asks for the material requirements, retentions and ideological continuities of the Agfacolor palette. The film sequences, projected in the former production line, dismantle not only themselves, but also our view accustomed to historicise. Those scenes aim to visualise what the colour does not show. The film tries to realise, not only how it had been - in the darkrooms of the Agfa film factory - but also how it can be possible at all to face this reality today within film, in images and movements without a final or even conciliatory view of the past

Mareike Bernien (Berlin) and Kerstin Schroedinger (London / Zurich) working in collaboration since 2006 in joint film, exhibition and text projects. In their work they seek to critically interrogate image productions and to produce and reproduce images as material of thought. They work with film, radio play, music and text with a historiographical practice, questioning the means of production, historical continuities and ideological certainties of representation. They are interested in an experimental and critical approach to media formats, with an implicit entanglement of content and form.

"Chaos in the Trolley" est une installation sonore et picturale qui joue avec le système d'information des transactions - des codes barres. L'information sous forme de code barre est transformée en sons influencés par des algorythmes chaotiques. Sur le plan visuel du travail, le chaos devient visible via des produits fictifs. Le sujet, de type publicitaire, d'un charriot rempli avec des des produits "chaotiques" est montré devant un supermarché et les champs environnants.

Schuda et Schmeiser travaillent ensemble dans le domaine de l'espace publique et des installations médias fixes depuis 1998. Florian Schmeiser est né en 1973 à Graz. Il a étudié la philosophie à l'université de Vienne et a été diplôme dans les médias visuels à l'université des arts appliqués de Vienne. Il travaille avec un large panel d'installations, de vidéos, de son et aussi sur le web. Susanne Schuda est née en 1970 à Vienne. Elle est diplômée en médias visuels à l'université des arts appliqués de Vienne. Elle travaille dans les limites de l'art dans l'espace public, les installations vidéos, le web et les collages numériques.

Dans un futur proche, des événements étranges se produisent au cœur d’un Berlin inondé. L’eau monte jusqu'au premier étage des immeubles, mais la vie continue. Ce film combine des scènes surréalistes filmées dans une maquette, des scènes narratives jouées par des acteurs et actrices, ainsi que des montages des deux. Le quotidien laconique de la ville oscille entre catastrophe et catharsis, mais les images donnent aussi l'espoir de nouvelles façons de vivre. Malgré la précarité contre laquelle luttent les personnages, leur environnement est celui d'une société post-capitaliste qui a réalisé des changements positifs par nécessité: de nouvelles dispositions spatiales et architecturales dans les maisons, une source locale de nourriture et d’énergie sur le toit, l'autonomie. Le film présente donc différentes possibilités pour le futur, des possibilités qui sont accessibles à partir de l’état actuel des choses, des futurs porteurs d'espoir et de menace.

Florine Schueschke est artiste et architecte. Elle vit à Berlin (Allemagne). Elle a étudié l'architecture à la Universität der Künste Berlin (Allemagne) et à la University of Illinois at Chicago (USA).

In the pieces by Hanakam & Schuller, the device is a recurring motif. That is to say, all that apparatus that is used to render optical imagery and also generate their specific formats, to control or trigger images or even manipulate them. The device - or gadget - is a type of artifact, a functional object that is charged with both everyday and mystical meaning. In their recent video piece Mobile, two hands move one object after the other into focus, creating an endless sequence of object chains. In his allegorical reference to a kind of Jacob’s ladder of the media, the video in the loop becomes a sort of perpetuum mobile. The mobile can also be understood as a mobile. The mobile device allows data to flow and data to be exchanged. The accompanying voice over with a computer-simulated voice reproduces several tracks from Tree of Technologies of the classic computer game Civilization that was released again in 2016, revealing the absurdity of the strictly linear development of technology and culture, as illustrated here by the game.

Many of the artifacts of Hanakam & Schuller, an artist duo that lives in Vienna, are shapeshifters, changing their outer form and then reappearing in a variety of contexts. As artists and explorers, Markus Hanakam and Roswitha Schuller redesign the rules of the fine arts for their own purposes and create unconventional arrangements and new world designs in videos and objects. They also work with applied artforms. Their works have been shown in Berlin’s Haus der Kulturen der Welt, the Eyebeam art and technology center in New York, Paris’ Palais de Tokyo, Moscow’s Garage Museum of Contemporary Culture, Vienna’s MAK, the MAK Center for Art and Architecture in Los Angeles, and Tokyo’s National Art Center.

More recently, the artist duo has looked at the artistic practice of the emblem. This is to consider an emblem as a variety of being a symbol, a trick, or a figure of thought. By so doing, Hanakam & Schuller rely on their profound examination of the formal language of everyday objects, liberating these from their context or their supposedly mysterious meanings. Inspired by the “Building Duke” research, Hanakam & Schuller worked on Duke University’s (Durham, NC) variety of architectural forms during their stay in spring 2019. In other words, the idea is to develop a short film featuring both physical architectural details of the campus buildings, and also virtually twisting these by means of a playful range of emblems.

Markus Hanakam (1979) and Roswitha Schuller (1984) both studied at the Universtiy of Applied Arts in Vienna. Since 2004 they collaborate as duo, their work is shown at Museums and Festivals in an international context, including Rencontres Internationales at Haus der Kulturen der Welt, Berlin and Palais de Tokyo, Paris, Eyebeam Center for Art and Technology, New York, , SIGGRAPH 2012 Los Angeles, ISEA 2011, Istanbul, 4th Moscow International Biennale for Contemporary Art 2011 among others. Recently they have been visiting artists at Duke University, Durham, NC. The artefacts made by the two artists who live in Vienna are often shape-shifters, changing their exterior forms and reappearing in different contexts. As artists and researchers they are engaged in restructuring the visual art rulebook and building up idiosyncratic systemic orders and new visions of the world in their videos and objects. In the process they reflect and make ironic various historical and contemporary artistic strategies as well as their means of expression. They work primarily in the realm of video, interactive computer applications and applied forms of art.