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The creation of the Spanish "Cahiers du Cinéma" (cinema reviews) represent a considerable event in the world of Spanish movie critics and movie theory. This magazine deliberately follows the historical path of its French counterpart (from which it does not only borrow its name, but also its philosophy and current editorial line), but is also based on the legacy that was built after the itinerary of some of the most important magazines ever to have existed in Spain. Because of this legacy we must constantly question ourselves, with Serge Daney, about "How to come to an image", and it allows us to understand that the activity of movie critic has to evolve, as it is confronted to all the challenges the audio-visual world suggests us nowadays. In the face of growing uniformity in the leading cinematographic talk, in the face of the temptation of only staying away from reality (and passively accepting this reality we are forcefed with), the pages of this magazine come into life in order always to seek critical and constructive thoughts, and a scale of values which can bring more freedom about and open new horizons.

Carlos F. Heredero was born in Madrid in 1953. He is an historian and movie critic. He teaches Spanish cinema History at the ECAM Escuela de Cinematografía y del Audiovisual de la Comunidad de Madrid) and the ESCAC (Escuela de Cine de Barcelona). He has also written numerous books, historiographical studies and monographies about various authors (Wong Kar-wai, Aki Kaurismäki, John Huston, Sam Peckinpah, Joseph L. Mankiewicz, José Luis Borau, Manuel Gutiérrez Aragón, etc.). In 1995, he received with the cinema Sant Jordi award for the books "the language of light" ("El lenguaje de la luz"), a book gathering interviews with Spanish directors of photography, and "time's traces. Spanish Cinema 1951-1961" ("Las huellas del tiempo. Cine español 1951-1961"). He wrote a series of four documentaries produced by Canal Plus and directed by Carlos Rodriguez : Traces of a spirit (1998), Alfred Hitchcock : unlimited fiction (1999), Orson welles in the country of Don Quixote (2000), and Huston and Joyce. Dialogues with the Death (2001). He directed the Spanish national catalogue of specialized cinematographic publications (the REC database) and has prepared, with Antonio Santamarina, the library of Spanish cinema, a catalogue gathering all literary sources (Spanish, Latin-American and foreign) of the Spanish cinema. He is currently (2003/2007) co-directing the Dictionary of Spanish and Latin-American Cinema in 7 volumes with Eduardo Rodriguez and Ivan Giroud. This Dictionary is prepared by the Auteur Foundation (SGAE). He has also been leading the Spanish edition of the Cahiers du Cinema since May 2007.

Sophie est seule. Elle partage sa vie entre des petits boulots et son déménagement. Pour combler ce vide, Sophie sculpte son corps.

Water is a common chemical substance that is essential to all known forms of life. Water is considered a purifier in most religions. The Greek philosopher Empedocles held that water is one of the four classical elements along with fire, earth and air, and was regarded as the ylem, or basic substance of the universe. Water was also one of the five elements in traditional Chinese philosophy, along with earth, fire, wood, and metal. Water plays an important role in literature as a symbol of purification and permanent change. That`s why we want to make an installation with a hot water vaporizator-humidificator, images of water and the sound of rain, common to everyone. This VideoArt installation is something like a ritual, wants to modify the way we experience a particular space, trying to convert it in a familiar and confortable space, good for soul and body, common to everyone.

Rodrigo Hernández is a spanish artist that works on photography and video art. He has studied Arts and Media at Spain and Czech Republic (FAMU School of Arts). And he has arranged exhibitions around Europe (Spain, Andorra, France, Czech Republic). He is working on Spanish Television (RTVE) and cinema critics. Nowadays he is leading a project in Spain, called "Gira Peonza Project", they are investigating on the ontology of the digital image.

There he sits proudly on his motorbike, encompassed in majestic red and the dazzling admiration of the others. Round and round he goes, becoming more and more beautiful and exalted. For only he can explore the jungle. And no, he won’t hand over his motorbike, not even on loan. A playful re-enactment with reversed roles that takes aim at the hubris of the colonial conquerors.

The filmmaker and video artist was born in Mexico. He studied film at the Escuela Nacional de Artes Cinematográficas in Mexico City and at the Polish National Film School in ?ód?. He has made several short films and video works. He currently lives in Mexico where he is taking a doctorate in film theory while teaching film and making social documentaries. He is also developing his debut feature film.

Dans la trilogie Orange Pattern, la caméra explore l?espace, comme elle parcourrait la scène d?un crime. Latéralement, verticalement, profondément, elle se meut dans trois décors successifs et finit par s?immobiliser sur un détail, digne descendant du MacGuffin hitchcockien. Clément Dirié

Christophe Herreros est né le 11 Mai 1981 à Carcassonne, Diplômé de l`Ecole Nationale Supèrieure des Beaux-arts de Paris avec les félicitations du Jury à l`unanimité en 2009 après un passage au California Institute of the Arts. Il l`expose l`année d`après à la galerie Air de Paris dans l`exposition DREAMLANDZ avec Carsten Holler et Bruno Serralongue. Puis, dans l`exposition Yet to be Title avec Neil Beloufa et Jonathan Binet à la Galerie Gaudel de Stampa. On retrouve également son travail dans différents salons dont le Salon de Montrouge et Jeune Création à l`espace 104 à Paris dont il est le lauréat 2010. En 2012, il propose une installation à la galerie de multiples à Paris "Five Red Herrings" dans laquelle il propose un interprétation spatiale de sa vidéo polar "Orange Pattern". La même année il a présenté au Fresnoy Studio National des Arts Contemporains dont il sort diplômé avec les félicitations du jury à l`unanimité une installation vidéo "Le Dragon d`Or" dans laquelle un film en image de synthèse 3D réalisé en 24h à Taiwan par NMA fait face à un diamant en pierre de taille et un mobilier en chêne.

Sortir par les yeux » 15mn, extrait du 1er tournage d?avril 2013, est l?étape liminaire d?une documentation sur comment, où, avec quelle méthode, dans quelles conditions travaille Georges Didi-Huberman. Pour élaborer ses productions, il s?assied à la table de couturière qui lui sert de bureau. Il y étale ses éléments écrits et iconographiques : « je les tourne, je les retourne, je les reproduis, les annote, les classe, les cadre et les décadre, les monte et les démonte, façon de les « secouer ». Avec les gestes de l?artisan qu?il revendique être, son travail intellectuel se déroule concrètement sur cette table. D?où le titre LA TABLE DES MATIERES, projet qui se poursuivra sur plusieurs années. En 2013 il propose 7 heures de films de 15mn à 2h 45mn.

Georges Didi-Huberman est anthropologue des images. Il étudie l?effet que produisent les images sur l?homme (en tant qu?individu plongé dans sa culture). Si vous vous intéressez à l?histoire de l?art et à la philosophie, vous avez probablement rencontré Georges Didi-Huberman via ses quarante livres traduits en une dizaine de langues, ses expositions dans de grands musées européens, ou ses conférences à travers le monde. Il a renouvelé sa discipline en profondeur, avec le don particulier de parler aux artistes et aux penseurs par cette production protéiforme. Henri Herré est auteur et réalisateur de fictions et de documentaires.

An unusual cooperative project between curator and artist was set in motion by Harald Szeemann and Rudolf Herz in the summer of 2003. Their ultimate goal was to produce a film. Now – more than ten years after Szeemann's death – the film is ready to be shown. Harald Szeemann had invited Rudolf Herz to present the project “Prologo sul Lago Maggiore” at the exhibition “G 2003. Mostra internazionale d'Arte all'aperto” in Ascona, Switzerland: a mobile monument consisting of granite busts from the dismantled Lenin monument in Dresden (in former East Germany), which is tied down on a semitrailer. It was a preliminary project for the “Lenin on Tour,” a Europe-wide monument touring event Herz staged the following year under the motto “I show Lenin to my contemporaries. And the 21st century to Lenin. Who will explain it to him?” In turn, Rudolf Herz suggested to present a performance together: He invited Harald Szeemann to join him in the driver's cabin on the long “Prologo” trip and express his thoughts on Lenin. Both Szeemann's discourse on the topic and the journey across the Alps were filmed. The videotapes were long lost and only recently rediscovered. The concept of the film is an interweaving of the surreal and yet very real slow-moving Alpine crossing of the huge vagabonding monument and Szeemann's contemplations on whether or not Lenin had ever been on Monte Verità, the mythenshrouded hill, the center for society's dropouts, back-to-nature lifestyle reformers and Anarchists at the Lago Maggiore around 1900. Szeemann, whose grandfather had been Lenin’s barber in Bern, talks about today at the beginning of the new millennium: about art and politics, about the world situation after the Fall of the Berlin Wall and about the September 11 attacks on the World Trade Center. This was one of the last lengthy talks Szeemann delivered that was recorded before his death in February 2005. Harald Szeemann (1933–2005) was a Swiss curator, artist, and art historian. Having curated more than 200 exhibitions many of which have been characterized as groundbreaking, such as Live In Your Head: When Attitudes Become Form (1969), Happening and Fluxus (1970), Documenta 5 (1972). Szeemann is said to have helped redefine the role of an art curator.

Rudolf Herz (born 1954) is a German sculptor and media artist living in Munich. He was awarded several art prices and grants including the renowned Villa Massimo scholarship in Rome in 1995. Herz’ artistic interest focuses on highly sensitve historical topics and their relation to the present time. In 1997 he was a laureate in the competition for the "Memorial to the Murdered Jews of Europe" (1997). Herz is most renowned for his installation “Zugzwang” which was internationally exhibited, including at The Jewish Museum, New York in 2002. One of his most recent works is a radio play (“Desperados or Hitler goes tot he movies“) about a lost anti-revolutionary film from 1919 which Herz could produce with the national broadcaster Bayerischer Rundfunk.

The first biennial for contemporary art is taking place in Venice in 1895. Over the past decade there has been a proper boom of such intercontinental art events on a global scale. Havana, Sao Paulo, Johannesburg, Dakar, Istanbul, Gwanju, Yokohama or Seoul, nowadays biennials are to be found worldwide. It seems to be good form to put local contexts in the service of a globalized modernity. Some people describe biennials as stimulants for neoliberal economies, as the globalization of globalization. Others try to look at them as competitive artistic events, just like the olympic games, and mourn about the loss of artistic subtlety. But all participants seem to profit. The gain of image is enormous, for the organizers as well as for the participants. On January the 28th 2005, Moscow claims one of the sought after places on the map of the International Art Inc. and opens its first biennial of contemporary art. Pelmeni or Bliny is documenting this event, asks for the ingredients of such a spectacle and examines the scale of decisions in such a win-win situation.

Dirk Herzog, born 1971 in Bad Bergzabern in Bad Berzabern, lives and works in Berlin.

Curious about creating a new image quality, Elias Heuninck made a digital camera. A very simple one. Instead of using a complex sensor to capture the whole image in a fraction of a second, it builds up the image pixel by pixel by making one simple measurement at a time. The camera starts at the top left corner and works its way to the bottom right one, just as you are reading this text. To get the information for each position, the camera shoots a short pulse of laser light towards its subject and waits for the light-echo to return. It is then able to find the distance between itself and the object that reflected the light. The collected measurements do not show anything recognisable yet. The data has to be translated first in order to be visible as a greyscale image. With an exposure time of four days (and up to four weeks), it is not the most practical camera around, but it allows Elias to work directly with the building blocks of the picture itself. The resulting images are digital by nature, yet the visual resemblance with prints from the early days of photography is striking. Whereas the conventional camera is a darkroom that captures light, this camera is more like a lighthouse. Since every point in the image is a distance measurement, the image becomes a map. The video is a slideshow of scenes and letters. The letters are selected from an archive of the correspondence of William Henry Fox Talbot, a pioneer in negative-positive photography.

Elias Heuninck (1986) studied media art at the School of Arts in Ghent. He got interested in the use of a contemporary form of the landscape-image for various experiments. His works do sometimes involve different media, but they always touch on the material of film and the notion of cinema. He gently disorients the audience by changing the perspective in space, on paper, or in a digital data file.

"In Time - Episode 1" is the first of a series of Episodes based around the ballroom dancing schools and clubs of Croatia, Bosnia, etc. For a period of a year or more, the artist and the crew attend ballroom dancing lessons with the intention of making a film. The relationship between the artist, the crew, and the club is one which changes constantly as their roles and positions within this triad switch from being filmmakers, to beginners of dance. They archive everything on video, to use their own memories and the video archive as a memory aid in order to choose moments that occurred in reality and transform them into cinematic events. This offer is open to everyone in and around the club. Here, a participant of a ballroom dancing class is accused of drinking. This event forms the basis for a visual exploration of the possibilities offered in fiction, documentary and drama.

Born in London in 1965, Nicole Hewitt attended primary school in Zagreb, Croatia. She graduated from the Brighton Polytechnic Art College and specialized in model animation at the Jiri Trnka studio of animated films in Prague. She has a MA in Fine Art Media from the Slade School of Fine Art (2002). She is currently a research student at the Slade attached to the Anthropology department of UCL. She has made numerous short, animated, and experimental films since 1986, and has been screened and awarded at numerous international festivals and exhibitions. She participates in various multimedia performances and collaborative projects, and teaches experimental film and animation at the Zagreb Academy of Fine Art.

Taking as its starting point the Neolithic figurines found throughout the Danube region from Croatia to the Black Sea through Serbia, Romania, North Macedonia,Bulgaria and Greece Women Minor Speculations is part road trip, part time travel and part speculative fiction using fragments of time, archaeological fragments, sound fragments and imaginary audio files trying to weave a potential whole from many distinct parts. During a period of four years I collected materials in film, images, sounds, and text dealing with remains as evidential material, with landscapes as witnesses, with interwoven biographies of archaeologists, their objects and subjects of research (the figurines, the constellations, cement, gossip and songs) in an exploration of how real and unreal objects of material culture produce gendered interpretations, collisions and hallucinations of public accounts, using technologies of memory, data storage devices to fracture the official historical narrative through minor histories, minor narratives and minor speculations. Shot over a fiveyear period on 35mm, 16mm, digital Bolex, Digital 8, mobile phones and still cameras the film involves a tentative encounter of two female explorers in south eastern Europe meeting through materials and separated by 6000 years.

Nicole Hewitt is a visual artist working in film, video, installation, performance, spoken word and text. Her work has recently been shown at The Museum of Contemporary Art Zagreb, Pogon Centre for Independent Culture, Zagreb; Sonic Acts Academy, Amsterdam, The Museum of Modern and Contemporary Art Rijeka; Invisible Savicenta – Savicenta; international festivals such as Days of Croatian Film, Hiroshima International Festival of Animation, International Documentary Film Festival Amsterdam, Festival of New Film Split, Rencontres Internationales Paris/Berlin/Madrid, International Film Festival Rotterdam, EMAF, New Media Festival Seoul, Mumbai International Film Festival, Montreal International Festival of New Cinema and New Media, etc. Retrospectives of her film, video and animation work were parts of Holland International Animation Film Festival Utrecht (2007) and ANIMATEKA (2006), Nicole Hewitt, Museums Quartier Vienna, 2004; Nicole Hewitt, Galerija Nova, Zagreb, 2004; UrbanFestival, Zagreb, 2011; Spaport Biennial 2009/2010, Banja Luka; Women With Vision, Walker Art Centre, Minneapolis, 2008, Insert, Retrospective of Croatian Video Art, MSU, Zagreb, 2006; Here Tomorrow, MSU Zagreb, 2002., etc.). Hewitt is cofounder of the artist run collective Studio Pangolin , is part of the sound collective Soundspiels and teaches at The Academy of Fine Arts, Zagreb. Hewitt lives and works in Zagreb and London.

The sound track consists of documentary audio from the preparations for the Vienese Opera Ball in Vienna, the images are reconstructions with Croatian actors and students of the events I filmed while attending the reharsals, auditions and preparations for the Ball. Croatia hopes to emulate the Vienese Opera Ball in February 2005.

Born in London in 1965. Attended primary school in Zagreb, Croatia, graduated from Brighton Polytechnic Art College, specialised in model animation at the Jiri Trnka studio of animated films in Prague. MA in Fine Art Media at the Slade School of Fine Art, 2002.Is currently a research student at the Slade attached to the Anthropology department of UCL. Has made numerous short, animated and experimental films since 1986, screened and awarded at numerous international festivals and exhibitions. Participates in various multimedia performances and collaborative projects. Teaches experimental film and animation at the Zagreb Academy of Fine Art. (selected films: IN/DIVIDU; IN BETWEEN; PIGS, ETC; GLORIA; BRIDGE;WALTZ)

"Tornade Vidéo" Video 4 min. 2004 This film is part of an installation and was orignally intended to be projected onto a large, outstretched spiral in the exhibition space. We see a man walking and running through different landscapes, day and night, as if he was looking to escape imminent disaster, which is none other than the whirling that takes him away, just like a tornado.

I wanted to use the video to put forward the data that brings out the sculpture field and even more our relationship to space. These filmed experimentations are a way to realize the forces, pressure, movements, and speeds that act upon a body. The specific devices used for the video shoot (or for their installation in the form of video sculptures) allow the emergence of these forces' and movements' power, of which, for the most part, we are unconscious.

In 1991 the Jeu de Paume National Gallery became a place of exhibition, a place of contemporary art, and a place of photography. It was not until 2004 that the Gallery fused with both the National Centre of Photography and the Photographic Patrimony, residing at the Sully Hotel in the Marais. Since then, the Gallery sites are exclusively dedicated to contemporary photography, as well as to video and cinema. It welcomes artists from all over the world, thus privileging a synchronic approach of historic moments of art's journey, notably, of photography and and its emotions since its creation up to its contemporary transformations. Image as an artistic expression is touched and revealed in the diversity of its modes of appearance. Anxious to attract its public, the Jeu de Paume National Gallery configures its exhibitions as sources of knowledge, and organizes educational projections, conferences, and symposiums. From the exhibition "Support/Surface" working with the functional across the folded canvases and paintings of Louis Cane, or the knotted ends of twine of André Valensi, to the Arman exhibition, pieces of daily newspapers melted into plexiglass, to the photography art of Joël Meyerowitz, images are discovered at the Gallery in all of their singularity. It gives something to think about.

Danièle Hibon is the head of cinema programming at the Jeu de Paume National Gallery in Paris. She studied classic art and philosophy, and specialized in art history. She has been the head of the 'bureau d'accompagnement de l'avance sur recettes' at the National Centre of Cinematography. Since 1995 she has co-organized a cycle of cine-conferences with Henri Foucault of l'Ensad and Jean-Claude Biette of l'Ensba destined for students at these two art schools. This unique initiative is animated by the constant anxiety to make known the figures of contemporary art and little known filmmakers, and to create events where, in their presence, a genuine dialogue about the questions and problems of art and cinema can be held. In 1995, during a retrospective at the Gallery, Danièle Hibon firmly pushed for the permission to make two filmmakers, Yervant Gianikian and Angela Ricci Lucchi, known to the French public.

The private atmosphere of a Dutch living room is breached by the disturbing presence of a large oak tree that slowly enters the room. Close-ups of different kinds of furniture, potted plants, souvenirs and other personal belongings are carefully depicted. No longer protected from the outside by the thin sheets of glass, the vacuum is cancelled when the large oak tree enters the room, confronting the viewer with the impact this has to both tree and home. Being both realistic and absurd, the confrontation between the tree and the home raises questions about the meaning and symbolism of the tree and the private domain, and its representational aspects towards the outside world.

Roderick Hietbrink (b. 1975, the Netherlands) is a visual artist. He received his BA in Fine Art from the Art Academy St. Joost in Breda in 1999 and his MA in Fine Art from the Piet Zwart Institute in Rotterdam in 2002. He is a current resident at the Rijksakademie van beeldende kunsten in Amsterdam. His work is shown internationally in solo and group exhibitions at Museum Boijmans van Beuningen Rotterdam, Künstlerhaus Bethanien Berlin, Artspace Visual Arts Centre in Sydney, SMART Project Space Amsterdam and Where Where Exhibition Space in Beijing. Roderick Hietbrink lives and works in Amsterdam and Rotterdam, the Netherlands.

A group of travellers of unknown origin arrive out of nowhere into an open landscape. Over the course of a day, they explore and scan the environment with their unique handmade triangular antennae. Through their sensual decoding of information and hypnotic choreography of sign language, a necessity of care for this strange and beautiful planet emerges.

Claudia Hill is a Berlin-based cross-disciplinary artist who makes objects that create possibilities for personal encounters and community. Hill’s work developed from a career in fashion presenting her collections between New York and Japan. As her designs expanded beyond the boundaries of the industry, she made costumes for choreographer William Forsythe, The Wooster Group, and became a frequent collaborator with choreographer Meg Stuart. Her interventions range from performative designs to constructing large scale, textile based sculptures, and conceiving participatory actions for art centers such as Centre Pompidou Paris, and ZKM Center for Art and Media, Karlsruhe. Hill’s own artist film Kon’voi’ has been presented in several international film festivals. She is currently developing new work for Supernova, an artist group formed around Damaged Goods´ Sketches/Notebook (extended version) for the HAU Berlin 2018 season.

?Dansent le désert? Some landscapes of body are overlapping in images. Such dances are possible in such an environment. This is the challenge that take the dancers. Created by Pat Hillaire. Dansed by Rolf Meesters and Pat Hillaire. Length: 2 minutes and 50 sec.

1998 initiated a work in video performance in presence of the dancer Claudia Flammin then of Rof Meesters with who I started in 2000 experimental dance. The last performance is in October 2005 Da LI LI DA DA. Falls Festival of Barcelona, 6 performers are gathering to experiment a performance where the important will be that each position on the stage has the same intensity that another. Dance, poetry, video, japans flute are melting. In 2005, this is especially street performances: bar opening exhibitions, Bcn street festival, Museo Mares? 2003 in Berlin: KNOWHERE, 10 street performances, 3 performers, dances Rolf Meesters, Pat Hillaire, musician without instrument Joahnnes Gergmark. He challenged to perform with no object or instruments.

Remembering my last visit with Mary in her garden of light, trees, glass and stone.

Baba Hillman grew up in Japan, Venezuela and Panama and works between France and the U.S.. She received a B.A. in French Literature from Duke University and an M.F.A. in Film and Performance from the University of California, San Diego. Her films and performance works explore memory, history, perception and the poetics and politics of place, language, and the body. She was co-director of Teatro Movimento in Florence, studied with Etienne Decroux and Jean-Pierre Gorin, and is Professor Emerita of Film at Hampshire College in Amherst, Massachusetts. Her films have screened widely at festivals and museums including the Museum of Contemporary Art, Los Angeles, FIDMarseille, Edinburgh Film Festival, Rencontres Internationales Paris/Berlin, Ann Arbor Film Festival, National Gallery of Art, Washington D.C., Anthology Film Archives, ICAIC Havana, Africa World Documentary Festival, Yaounde, MIX Brazil, and European Media Art Festival, Osnabruck, among others. She has received awards and grants from the French Ministry of Culture, the Whiting Foundation, the California Arts Council, and the Italian city governments of Florence, Lecce and Certaldo. In 2020, Hillman’s film Kitâb al-Isfâr: Book of the Journey, a feature-length film about near-death and mystical experiences in Andalucia, premiered at the FIDMarseille film festival and was selected for the Athens Avant Garde Film Festival. Earlier films by Hillman include Decroux’s Garden, and 5 Cité de la Roquette, part of a series of films connected to return, place and disappearance.

Agnès: a very sensitive young woman. Her best friend: Camille. The latter?s companion: Marianne. The latter?s sister: Astrid. They were to meet again, the four of them, for the first time in a long time. But, Marianne does not show up. Agnès drifts away with her sentiments. For one day and two nights, old stories buried away and new desires will re-emerge, and they will all completely question their relationships with one another.

Julien Hilmoine was born in Fécamp in 1979. Having spent his childhood and teen-age years in Rouen in an upper-middle class, non-religious, and republican family, Hilmoine persued his studies in Litterature, Audio-Visual (Assiciate's Degree with emphasis in Image), and at the Fémis [Ecole Nationale Supérieure des Métiers de l?Image et du Son] in the department of Directing. He lived a typical French youth: love stories, friendships, passions, break-ups, and deaths. He became a Parisian by force of circumstances and tried directing films. He loves actors with a passion. He is always looking for new images, faces, and voices.

This short video film criticizes, parodies, but also reinforces a Public Warning. Someone has taken the law into their own hands and promised a prosecution. The artist, who could be anyone, is seen challenging and breaking 'the law' while also re-enforcing it. Careful planning and attention is used to prepare for the action by replicating the warning, while stealth and humour is engaged for presentation and execution.

Steve Hines has been exhibiting on a regular basis for ten years now. He has shown his work nationally and internationally, having participated in several international art festivals. With a background in Photography, Steve Hines' practice is now firmly rooted within a conceptual framework and as such he works in various mediums. This provides a great deal of liberty and constantly brings forth new challenges. Steve Hines is interested in making minimal conceptual work that is often combined with the opposing, yet complimentary, nature of extremes. Personal experiences and the everyday provide inspiration and material for his creation of work that combines narratives and elements that can affect us all.

"speakers" represents the notion of a confused, competitive world where the numerous factions, groups, religions, and cultures are all trying to communicate and persuade the rest of the world that their way or belief is superior. The film is a colourful kaleidoscopic, impressionistic image with a matching chaotic audio message. "speakers" is a short digital video film composed from footage shot at Speakers Corner, Hyde Park, London. The finished work represents the notion of a confused world where there are numerous factions, groups, religions, and cultures, of which many are minorities, who are all trying to communicate and persuade the rest of the world that their way or belief is superior. The Speakers are: a black male Muslim, three different white male speakers talking about the ideals of Socialism, a black male Christian; one female and five separate white male Christians, two black males talking about their personal experiences, and an American preacher. All are individuals expressing their ideas, hopes, fears, and concerns about issues affecting us all. The footage of all the "participants" is layered directly on top of each other and what results is a montage and a confused chaos of moving images and words. This effect and action mirrors issues around the world and draws comparisons with arguments and disagreements about borders, territories, religions, governments, and regimes, etc. Presented in its finished state, "speakers" inverts the original audience/speaker role in a particular way. Initially it was the speakers who were struggling, shouting, and vying to get their message across to a varied audience consisting of doubting, interested, or even mocking individuals. Now, in a gallery space, it is the audience who stand there intrigued by what is before them and who then begin to listen more carefully, trying to catch or hear a legible word here or there, or to try and visualise an individual face in the crowd. The image brings to mind a kind of moving, impressionist painting of kaleidoscopic nature whilst the sound reminds one of a civilised world in confusion, rather like that of The Stock Exchange in full flow for example. © steve hines 2005

steve hines has been exhibiting on a regular basis for almost ten years now. He has shown his work nationally and more recently internationally, having participated in several international art festivals. With a background in photography, steve hines` practice is now firmly rooted within a conceptual framework, and as such he works in various mediums. He is interested in making minimal, conceptual work that is often combined with the opposing yet complimentary nature of extremes. Personal experiences and the everyday provide inspiration and material for the creation of work that combines narratives and elements that can affect us all.