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Four communist agitators return from a successful mission in China to Moscow and are congratulated for their efforts by the Central Committee (The Control Chorus.) The four agitators, however, inform the committee that during their mission they were forced to kill a young comrade for their mission to succeed. The committee withholds its verdict until after the four agitators re-enact the events that led to the young comrade’s death. The agitators tell of how they were sent on a mission to educate and help organize the workers in China. The director of the party house (the last before the frontier) helps the four agitators and the young comrade in the obliteration of their true identities. They are told to keep concealed that they are communist, for their discovery would endanger the mission and their lives. However, once in China, the sights of injustice and oppression enrages the young comrade on several occasions, when he is time and time again not able to contain his passion, immediately acting to correct the wrongs he sees around him. As a result, he eventually exposes himself and proclaiming the teachings of the party. There, the agitators debate on what to do with him.

Can Kurucu is a filmmaker and artist focused on the sphere of the political image and its consequences. Can's work provides an insight into how digital images are made and what they represent, exploring the political and scientific elements that shape them, and reflecting on the image-making process and the deeper meanings behind the images within these broader contexts. Mariam Aslanishvili is an artist, photographer, and musician based in Berlin. Her artistic practice revolves around the exploration of human perception and the construction of realities, with a particular focus on translating personal experiences into the language of experimental cinema. Jack Hogan is a filmmaker from Waterford, Ireland. Their work focuses on the rich sociality of everyday life, foregrounding friendship and what constitutes good shared lives and places. Matthias Planitzer is a visual artist and doctor who explores scientific and political visual spheres and how they are rooted in their contexts.

In the emptiness of a landscape, a human being is climbing up the rocks testing her balance, three steps forward and three steps into nothing.

Antonella Kurzen was born in Switzerland in 1966. She started artistic studies in the USA and continued them in Switzerland, in Italia and in Germany. She then went on with cinema studies. Since 1998, she has been working as a freelance filmmaker and since 2002 as a video maker as well. Her last videos are elaborations of psychological conditions defined in natural environments, transformed according to intentions, in confined spaces.

The project is about the transforming cityscape of Kazan, the millennium old capital of the Republic of Tatarstan in Russia. With the brand-new buildings and anime costume characters “ Transformers ”, I visualized my impression of this fast-growing modern multicultural city, located in the middle Volga, about 600 km east from Moscow. In Kazan, newcomers would soon notice the futuristic bizarre architecture scattered around the city’s center. Those buildings are somewhat reminiscent of the contemporary but ambiguous glittering architecture in Kazakhstan’s capital Astana and Turkmenistan’s capital Ashgabat in Central Asia. In Kazan’s city center, visitors would also notice awkward-looking costume characters like ones from American-Japanese robot anime “ Transformers ” giving out leaflets or getting pictures taken with kids for money. Kazan is home to Tatars, a predominantly-Islam Turkic people, but it is more complex and unique, as Tatar, Russian and Soviet cultures have been intertwined in the past centuries there. Now, western capitalism gets mixed with this cultural melting pot, bringing even “ Transformers ”to the city and turning parts of the cityscape a little Disneylandish. Kazan is still in the process of this intricate transformation. This project demonstrates my vision of this transforming multicultural city located near the edge of geographical Europe.

After growing up in Japan, studying in journalism in the University of Missouri, Columbia, and living in Romania for a year, Ikuru Kuwajima has been living and working on visual documentary and art projects mainly with photography in various post-Soviet countries (Ukraine, Kyrgyzstan, Kazakhstan and Russia) in the past 10 years. After three years in Kazan, he now lives in Moscow, Russia, continuing personal projects. His artist books “ Tundra Kids ” and “ Oblomov ” were published in Vienna in 2015 and in Moscow in 2017, respectably.

Une silhouette féminine vêtue d?une très courte robe noire moulante à paillettes, se tient debout, devant un fond noir. La perruque noire qu?elle porte est à l?envers. De ce fait, les longs cheveux brillants et ondulés tombent vers l?avant et recouvrent ses seins. Un son techno cadencé démarre et se développe peu à peu. La silhouette soulève deux pompons et commence à se balancer en suivant le rythme. Le refrain répétitif « Control your body. Let the beat control your body - com?on dance with me » l?entraîne dans une agitation de plus en plus hypnotique. Au début, la silhouette paraît presque insignifiante et ridicule. Elle est un persiflage des filles techno : apparence voyante, cheveux ondulés, formes généreuses. Lorsqu?elle commence à bouger sur le rythme, ça a l?air bizarre. Mais petit à petit, on se laisse envoûter. Les paroles répétitives de la chanson semblent sortir de sa bouche et donnent l?impression que c?est elle qui les maîtrise et qu?elle ne fait pas que leur obéir. Tout à coup, elle nous balance des signes et des mots: extra, highlights, make up, generation, ultra, image, fondation, maximum, overdose, yeah. Ce sont les signes de la modernité, de la séduction, du masque. Ce sont les mots-clés de notre quotidien qui nous sont insufflés. En bougeant et en agissant ainsi, elle nous apparaît peu à peu comme une idole ; dans le sens archéologique du terme, autrement dit, comme un objet vénéré. Elle devient une vraie idole de la musique pop, une Vénus de Willendorf du disco. Les pompons qui servent habituellement à encourager les équipes dans les stades américains, elle les utilise pour nous coacher, nous hypnotiser. Elle nous répète sans cesse : contrôle-toi, laisse-toi contrôler.

1993-99 Etudes à l?Ecole Supérieure des Arts Appliqués Saar avec les Pr. Ulrike Rosenbach et Pr. Bodo Baumgarten, Pr. Horst Gerhard Haberl 1997 Création du Duo d?Artistes Stoll & Wachall 1999 Diplôme et Conservatoire à l?ESAASaar 2001-03 Enseignement à l?ESAASaar

Television images of politicians being interviewed show us different worlds of perception. While the politician speaks to reporters, the bodyguard concentrates on potential dangers in the surrounding area. The viewer becomes witness to two parallel worlds, yet is inclined to pay more attention to the politician, who speaks outwardly to matters of public interest. The bodyguard brings to the situation a dramatically greater intensity, but one that is directed inward. He is deep in concentration, communicating through a small earpiece with a network that remains hidden from the viewer. The images are characterized by this contrast, which endows them with a particular tension. The video shifts the focus onto the bodyguard`s inner perception.

The spectator follows the protagonist through a city one dark winter night. Where is she going? Why do we follow her? The city in the dark and the woman in the night provokes an eerie atmosphere, - without the film giving any answers to why. This unsolved story is based upon how we are seen and interpreted in the public sphere. All images are from urban places and contain a subtle doomsday thematic as a sweeping tone through the film.

Kvalvik has exhibited her work internationally including Göteborg International Biennial for Contemporary Art, Overgaden Institute for Contemporary Art; Copenhagen, LOOP Film Festival; Barcelona, Center for Contemporary Art; Glasgow, GalleriBOX; Akureyri, Galeria Miroslav Kraljevic; Zagreb, Kunsthalle Exnergasse; Vienna, Parkingallery; Tehran, Västerås Konstmuseum, Høstutstillingen Kuntnernes Hus; Oslo and Abandoned Gallery; Malmö.

"Distant Landscape" consists of images of landscapes in which traces of movement of the film`s narrator are recognisable within the desolate surroundings. Short texts roll over the images, telling the story of someone in a close and sensual relationship with nature.

Kristina Kvalvik (b.1980) is a Norwegian visual artist currently based in Copenhagen, Denmark. She studied film and fine art in Norway, Sweden and Canada, and completed her MFA at Malmö Art Academy (SE) in 2008. Her work deals with matters relating to surveillance, the inexplicable and the threatening. She examines the limitations of sight and our ability to interpret what we see. Kvalvik has exhibited her work internationally including Göteborg International Biennial for Contemporary Art, Overgaden Institute for Contemporary Art; Copenhagen, LOOP Film Festival; Barcelona, Center for Contemporary Art; Glasgow, GalleriBOX; Akureyri, Galeria Miroslav Kraljevic; Zagreb, Kunsthalle Exnergasse; Vienna, Parkingallery; Tehran, Västerås Konstmuseum, Høstutstillingen Kuntnernes Hus; Oslo and Abandoned Gallery; Malmö.

“ 489 Years ” is transcribed according to the testimony of a former soldier in South Korea, Kim. It gives us access to the DMZ, and makes us immerse in the heart of the personal memory of a soldier. He tells us his experience in a research mission and the amazing discovery he made in the field full of mines (mines laid by South Korea with no record of where they were placed). He speaks of a place where people are forbidden, a place where nature has totally reclaimed its hold.

Hayoun KWON is a multimedia artist and documentary director.   South Korea born in 1981.  She graduated from the Fresnoy – Studio national des Arts contemporains in 2011 and  she lives and works in France and in Korea. The reflection on identity and borders is central to her previous works. She has focused more specifically on the construction of historical and individual memory and their ambivalent relationship to reality and fiction.

A village loosely inspired by a north korean propaganda village ,Kijong-dong. Hayoun KWON reveals a setting and 
invites us into a fiction ,carrying out the journey by proxy. this film testifies to this ghost town in its true state as a mechanism of fiction. the reality of a border confronted with its staging. this village can only be reached within our imagination.

Hayoun Kwon was born in Seoul (South Korea) in 1981. She first studied at the Ecole des Beaux-Arts de Nantes, and then graduated from the Fresnoy – Studio national des Arts contemporains in 2011. Her work revolves mostly around the notions of memory (wether individual or collective), boundaries and limits, questionning the blurred lines between intention and interpretation, construction and fiction, recollection and invention. She examines the ambivalent relationships between reality and fiction.

Sleepers manually scanned in 3D during a flight over the Atlantic Ocean. This project used a last generation of video game sensor camera turned into a 3D scan. The shooting device was exclusively made during the flight, in the tension of being catch by autority.

Eva L'Hoest (1991, Belgium), focuses primarily on the exploration of memory and its strange and minute lingering reality. She tracks the often blurred and non-specific ways in which reminiscence appears. Working on the outer edge of perception where it becomes affect and emotion; starting out with accidents of light like “the operator of a memory who interprets, distorts selects or sometimes saturates and alters the images”*, Eva L’Hoest is an artist whose intuition plays a decisive role. Intuition as a working method, a decisional process in the literal sense given that intuito, i.e. “the regard”, is its etymological Latin root. Her work defines “a single plastic modality which is that of a clouded form, a migratory form, as if the subjects in question had all been taken in a transitory state between construction and deconstruction, reconstruction and erasure”*.

The Inmost Cell is a new video work by Eva L’Hoest which takes its narrative from the traditional tales of the Daugava river and the ruins of its underwater islands, flooded on the creation of the Riga dam. Through the combination of various digital processes, L'Hoest turns her photographic reportage of the outskirts of Riga into three-dimensional fluid architectures. These lost elements of Latvian culture mark a site of synthesis between humans, nature and man-made ruins. In a fusion of the rural and the maritime landscape referencing the calenture, a maritime mirage where the sea becomes an inviting grassy field, the artist imbues the images with a shifting, hallucinatory quality. Across slow, contemplative tracking movements, its different realities merge as forms fall one after the other, and passageways are created between places and memory.

Eva L’Hoest (1991, Belgium) explores how all types of mental images, in particular memory and reminiscence, are able to reappear in a technological form.Piece by piece, the artist appropriates contemporary technology to reveal both their nature as extensions for capturing the world and their potential as an artistic medium. Her work was recently exhibited at FRAC Grand Large (Dunkerque), “Shapeshifters” at the Malmö Museum, the Riga International Biennial “And suddenly it all blossoms” curated by Rebecca Lamarche-Vadel, the Lyon Biennale “Where Water Comes Together with Other Water” curated by Palais de Tokyo, Lyon (France); The triennale of Okayama Art Summit 2019 “IF THE SNAKE” curated by Pierre Huyghe, Okayama (Japon); “Suspended time, Extended space”, Casino Luxembourg.

0434 focuses on two boats anchored at sea which slowly move in uncanny synchrony, composing a casual choreography that suggests a dialog or a strange courtship ritual. The video is a one piece of the on going series VideoRhizome.

The video and sound artist Marcellvs L. was born 1980 in Belo Horizonte (Brazil), he lives and works in Berlin. His particular and radical production that gets into dialogue with the electronic arts? universe attracts attention by the intensity with which it associates philosophical concepts to the electronic images and sounds. His work places itself in a zone of undiscernibility, which turns it inapprehensible by this or that audiovisual genre creating its own discursive universe.

A man. A road. A river.

Marcellvs L. has an extensive background, including an academic education, music lessons since his childhood, and lots of reading. Even nowadays, the artist dedicates a few hours a day to studying the piano. His preferences range from Hungarian composers Béla Bartók (1881-1945) and Gyorgy Liget (1923) to Erik Satie (1866-1925) and Claude Debussy (1862-1918). His interest in music is not restricted to the universe of instrumental and classical music, as it includes more popular genres, such as rock and experimental music. His reading preferences are literature and philosophy, especially Nietzsche and Deleuze. Marcellvs? ongoing interest in music and intense reading pace comprise his initial background, after which it also includes cinema and video. This dual interest in music and image, in addition to an old friendship with the members of the pexbaA band, have led Marcellvs closer and closer to image production. Thus, over approximately four years, from 2000 until 2003, the artist presented himself along with the band. In some of the gigs, band members were hidden behind a front stage screen. Marcellvs presented himself together with pexbaA in the Projeto Rock Contemporâneo (Contemporary Rock Project) at SESC Ipiranga, São Paulo (2002), in the III Festival Eletrônika Telemig Celular at Palácio das Artes, Belo Horizonte (2002), in the SXSW Festival ? South by Southwest, Austin, Texas, USA (2002), and in the Projeto Rumos Itaú Cultural ? Cartografia Musical Brasileira (Itaú Cultural Pathways Project ? Brazilian Musical Cartography) at Itaú Cultural, São Paulo (2001), among others. During his college days at PUC-MG?s Faculdade de Comunicação e Artes (Communication and Arts College), the artist began researching videorhizomes as part for his graduation project, under the guidance of Professor André Brasil. With his videorhizomes, Marcellvs participated in a series of festivals and exhibitions such as ?Brésil, Brésils?, in the Videoformes Festival, at Clermont-Ferrand, France (2005); ?Abre Alas?, at Galeria A Gentil Carioca, Rio de Janeiro (2005); ?Do micro ao macro: novas políticas e imagens? (From micro to macro: new policies and images), exhibited during the 6th Belo Horizonte International Short Film Festival, in Belo Horizonte (2004); Laboratorio Arte Alameda, in Mexico City (2004); ?Uma mágica por minuto? (One magic per minute), Universidade de Passo Fundo, in Rio Grande do Sul (2004); Laisle.com Video Art Exhibition, Museu de Arte Moderna (Modern Art Museum), in Rio de Janeiro (2004); ?Investigações Contemporâneas? (Contemporary Investigations), exhibition at the 14th Videobrasil International Electronic Art Festival), in São Paulo (2003), ?Entre a casa e a metrópole? (Between the house and the metropolis), at the XXVI Intercom Congress, in Belo Horizonte (2003), among others. The Deleuzian thematic is also present in another enticing piece of work: the video ?Deleuze while a living model? (2003). In this piece, the image of Deleuze in a TV monitor is smeared with red lipstick. The video took part in the Southern Competitive Show at the 14th Videobrasil International Electronic Art Festival, in São Paulo (2003); in the Muestra de Cortometrajes de Minas Gerais (Minas Gerais Short Film Exhibition), at the Auditorio de la FUNCEB, Fundación Centro de Estudos Brasileiros (Brazilian Study Center Foundation), in Buenos Aires (2004); in the Cine Esquema Novo (New Scheme Cinema), at Usina do Gasômetro, in Porto Alegre, (2004); in the 7th Tiradentes Cinema Exhibition, at Centro Cultural Yves Alves, in Minas Gerais (2004), among others. The video also won the main prize at Festival do Livre Olhar (FLO ? Free Look Festival), at Santander Cultural, in Porto Alegre (2003), as well as the best video award at the 5th Competitive Exhibition of Images in Motion, at Casa do Conde de Santa Marinha, in Belo Horizonte (2003). Of all videorhizomes, ?Man.Road.River?, also know as ?Rizoma 0778?, is the most widely known, winning awards in several exhibitions and festivals. The video won the Grand Prize at the 51st Oberhausen International Short Film Festival (2005), the Best Experimental Film award at the Mostra do Filme Livre 2005 (Free Film Exhibition), at Centro Cultural Banco do Brasil, Rio de Janeiro, and the award in the Ousadia e Risco category (Daring and Risk) in the Festival do Livre Olhar (FLO), at Santander Cultural, Porto Alegre (2003). Recently, the artist has also received a scholarship fund from the Museu de Arte da Pampulha (Pampulha Art Museum), Belo Horizonte, and will be featured in an exhibition in the second semester of 2005 at Paço das Artes, in São Paulo. (by eduardo de jesus, dossier videobrasil marcellvs l.)

Commencé en 2014, FILM NOIR est un projet en évolution, en plusieurs parties, qui explore une fascination à long terme de La Ribot: la figure de l'extra, "surnuméraire" ou l'acteur de fond. Les pièces de La Ribot 40 Espontáneos, 2004, et PARAdistinguidas, 2011, par exemple, invitaient des extras (des bénévoles locaux, normalement avec peu ou aucune expérience théâtrale) au centre de la scène dans de nouvelles œuvres d’art vivant pour le théâtre. En revanche, FILM NOIR regarde en arrière dans l'histoire du cinéma et utilise la vidéo pour explorer la dynamique cinématographique du monde des extras. Premier de la série, FILM NOIR 001, 2014, se penche sur les extras dans Spartacus (1960) et El Cid (1961) - "papier de tournesol" humain dont les actions et les attitudes révèlent les idéologies contrastées des deux productions. Actuellement en cours, FILM NOIR 002 et 003 élargissent l'enquête sur d'autres films et d'autres questions.

L’artiste et chorégraphe La Ribot est née à Madrid. En 1986, elle co-fonde le groupe Bocanada Danza et le co-dirige jusqu’à sa dissolution en 1989. Deux ans après, elle commence à travailler sous le nom de La Ribot et elle inaugure le « striptease » humoristique Socorro! Gloria!, une pièce qui attire un nouveau public et qui lui inspire sa série solo intitulée 13 Pièces distinguées. Más distinguidas, la seconde série des Pièces distinguées, est inaugurée à Madrid à la fin de l’année 1997. Suivi d’autres série des pièces : Still Distinguished, 2000 et PARAdistinguidas, 2011.   Panoramix, la version anthologique de trois heures rassemblant les trente-quatre premières Pièces distinguées, est inaugurée en 2003 à la Tate Modern et a voyagé ensuite dans d’autres galeries européennes, telles la Reina Sofía de Madrid ou le Centre Georges Pompidou à Paris. En 2000, La Ribot amorce son travail vidéo, et expérimente plus particulièrement l’utilisation du plan-séquence, tourné du point de vue du corps impliqué dans une performance. Cette approche a irrigué de nombreuses œuvres depuis les années 2000, dont l’installation Despliegue, 2001, et le travail complexe mené avec la pièce Mariachi 17, 2009. La même année, elle prend comme base Mariachi 17 afin de mettre en place Llámame Mariachi, un nouveau travail mêlant vidéo et performance live des trois interprètes. En 2004, La Ribot arrive à Genève, en Suisse. Elle y fonde et co-dirige entre 2004 et 2008 Art/Action, un département destiné à l’enseignement et à la recherche du live art basé à la Haute École d’Art et de Design (HEAD) de Genève. Les années 2000 voient aussi le développement de la pièce participative de grande envergure 40 Espontáneos, 2004 ; lancée en 2006 à l’Art Unlimited de Bâle, la pièce Laughing Hole ; et Gustavia, 2008, un duo conçu et joué avec la danseuse, chorégraphe et directrice du Centre National de la Danse de France, Mathilde Monnier. En 2011, elle lance PARAdistinguidas, une nouvelle série des Pièces distinguées conçue pour cinq danseuses et vingt « figurants » volontaires ; en 2012 elle achève EEEXEEECUUUUTIOOOOONS!!!, une commande chorégraphique majeure du Ballet de Lorraine à Nancy, en France. Également en 2012, le MUAC (Mexico City’s Contemporary Art University Museum), a inauguré son espace d’exposition de live art en proposant une exposition monographique sur son œuvre. Le travail vidéo de La Ribot est présenté au sein de collections privées et publiques dans toute l’Europe et elle continue à développer et présenter son travail à l’internationale. Elle a participé à des exhibitions au Japon, Seoul, Korée du Sud et Mexico: en 2012, le MUAC (Mexico City’s Contemporary Art University Museum), a inauguré son espace d’exposition de live art en proposant une exposition monographique sur son œuvre. En 2014, aux côtés du compositeur et pianiste Carles Santons, elle a produit Beware of Imitations!, un vidéo hommage à la danseuse américaine Loie Fuller. Elle poursuit son travail à l’international depuis sa base située à Genève, en Suisse, où elle vit avec le chorégraphe suisse Gilles Jobin.

From the depths of our imagination, a forest appears, inhabited by plants, human beings and their fantasies. In this millenary forest, the space is shared with the wind. This place full of tales and fables evokes a reality close to a vivid dream. What is shown is a testimony of the desire to live and to dance. Differentness is based on the show Happy Island, choreography by La Ribot with company Dançando com a Diferença. Creation September 2018 at Grütli – Centre de production et de diffusion des Arts vivants, in the framework of La Bâtie-festival de Genève.

Born in Madrid, La Ribot is based in Geneva and works internationally. « La Ribot is a choreographer, dancer, and visual artist. She began working in the 1980s, towards the end of Spain’s transition to democracy, and has gone on to profoundly change the field of contemporary dance. She defies the frameworks and formats of the stage and the museum, borrowing freely from the vocabularies of theatre, visual art, performance, film and video to instigate a conceptual shift in choreography. Her solo works, collective explorations, experiments with amateurs, installations and moving images are the many facets of a protean practice that constantly focuses on the rights of the body. » — Marcella Lista, writer and chief curator of the New Media Collection, Centre Pompidou, Paris (2020) La Ribot’s choreographic and visual work has won numerous awards, including the Golden Lion for her entire career at the Venice Dance Biennale in 2020, the Grand Prix Suisse de danse awarded by the Federal Office of Culture in 2019, the Premio en Artes Plásticas de la Comunidad de Madrid (Spain) in 2018, the Medalla de Oro al Merito en las Bellas Arte in Spain in 2015, and the Premio Nacional de Danza awarded by the Spanish Ministry of Culture in 2000. Her choreographic work has been shown at the Tate Modern (London), Théâtre de la Ville and Centre Pompidou (Paris), Reina Sofia Museum (Madrid), Festival d’Automne in Paris, the Aïchi Triennale (Nagoya, Japan), Museu Serralves (Porto), Art Unlimited - Art Basel, S.M.A.K. (Ghent) and MUAC (Museo Universitario de Arte Contemporáneo, Mexico DF), among others. Her visual work is part of the private and public collections of the Reina Sofia Museum (Madrid), Centre Pompidou (Paris), CNAP - Centre national des arts plastiques (Paris), MUSAC (Museo de Arte Contemporáneo de Castilla y León), Artium (Centro - Museo vasco de arte contemporáneo), the FRAC Lorraine and Franche-Comté, FMAC - Collection d’art contemporain de la Ville de Genève...

Un « voyageur » enquête sur la vie et l??uvre de Georges Bataille : le portrait qu?André S. Labarthe livre de l?écrivain se distingue autant de la biographie filmée que du commentaire érudit. Il se présente comme un inventaire où expériences et moments fondateurs de l?existence côtoient éclats et fulgurances de l??uvre. Le montage articule des séquences tournées aujourd?hui sur les quelques principaux lieux de l?itinéraire de Georges Bataille (Reims, Le Puy de Dôme, Vézelay, Orléans, Paris), des plans parcourant ses manuscrits, ses ouvrages édités et des revues créées à son initiative (Documents, Acéphale, Critique), et des images mettant en scène des motifs obsessionnels ou des « visions » de son univers. Le commentaire d?André S. Labarthe, dit par Jean-Claude Dauphin, alterne avec des lectures et quelques enregistrements sonores de la voix de Georges Bataille. Pierre Klossowski et Jacques Pimpaneau interviennent également dans ce film. Sélective et partiale, l?enquête d?André S. Labarthe extrait quelques clefs propres à saisir le noyau sensible d?une pensée radicale.

Né le 18 décembre 1931 à Oloron Sainte-Marie (Pyrénées-Atlantiques) Après des études universitaires en philosophie,il intègre la revue des Cahiers du cinéma courant des années 50. Il passe à la réalisation et à la production quand il démarre avec Jeanine Bazin la série Cinéastes de notre temps de 1964 à 1970. Parallèlement, il collabore à l`émission Cinéma Cinémas de 1982 à 1987 ainsi qu`à de nombreux magazines télé consacrés à la danse, la peinture, au théâtre et dernièrement à la littérature, avec la collection Un siècle d`écrivains. La Société des gens de lettres lui a décerné en 1984 le Grand Prix de la télévision pour l`ensemble de son oeuvre. En 1990, il remet en chantier sa collection de portraits de cinéastes renommée Cinéma, de notre temps. Il est également auteur de quelques ouvrages sur le cinéma et la peinture

Au Japon, le blanc est la couleur du deuil. Les danseurs de butô s`enduisent le corps de poudre blanche et la poétisation de l`espace qui caractérise les pièces de la compagnie Sankai Juku est comme un cadavre exquis, au sens littéral du terme. Pour Amagatsu, fondateur de la compagnie, la danse butô est à la fois vie et mort.

Né le 18 décembre 1931 à Oloron-Sainte-Marie, André S. Labarthe est un critique cinématographique, producteur, réalisateur et scénariste français. Après des études universitaires en philosophie,il intègre la revue des Cahiers du cinéma courant des années 50. Il passe à la réalisation et à la production quand il démarre avec Jeanine Bazin la série Cinéastes de notre temps de 1964 à 1970. Parallèlement, il collabore à l`émission Cinéma Cinémas de 1982 à 1987 ainsi qu`à de nombreux magazines télé consacrés à la danse, la peinture, au théâtre et dernièrement à la littérature, avec la collection Un siècle d`écrivains. La Société des gens de lettres lui a décerné en 1984 le Grand Prix de la télévision pour l`ensemble de son oeuvre. En 1990, il remet en chantier sa collection de portraits de cinéastes renommée Cinéma, de notre temps. Il est également auteur de quelques ouvrages sur le cinéma et la peinture.

"Surface Tension" est une anthologie réalisée par Ken Ehrlich, Brandon LaBelle et Stephen Vitiello. Ces différentes oeuvres sonores s`inscrivent dans une réflexion sur le lieu même de la création. A la recherche des interrelations avec un lieu, la façon dont il influence et répond à une création sonore. Le lieu se fait tour à tour ville ou corps. Entre extérieur et intérieur, non organique et organique. Ce programme a été diffusé dans le métro à Paris, station Carrefour Pleyel, lors des 10èmes Rencontres internationales Paris/Berlin. La diffusion du programme sur WPS1 prolonge cette question de l`espace public et des réseaux.

Brandon LaBelle vit et travaille à Los Angeles. Musicien, performeur, critique, plasticien des sons, éditeur, il est à l`intersection des différents champs artistiques, mixant ces diverses pratiques dans un travail singulier articulant le sonore à l`espace social. Par le biais de micro contacts, le corps humain devient une source sonore complexe, l`espace où se déroule son action s`impose comme un instrument à part entière. Il construit ses performances sonores en fonction du site et des objets trouvés sur place, found-art relevant d`une démarche tout à la fois très conceptuelle et dans un jeu d`improvisation. La musique de Brandon LaBelle révèle le contexte social dans laquelle elle s`inscrit, ou plus exactement c`est le contexte même qui est donné comme événement musical ; déplacement de la notion d`auteur sur un espace social agissant. " Techné " se présente comme la trace d`un processus où le corps physique entre en interaction avec une architecture par le biais de micro contacts. La technologie est l`interface de ce contact construit sur le désir et la contrainte architecturale du lieu (et son inconscient). Enregistrement d`une poétique situationniste où le projet politique donne la forme même, un bruit radical.

A short absurd fairy tale taking place on a historical site of modernism, with references to Lewis Caroll and George Lucas. A young man enters a futuristic building, the headquarters of the Communist Party of France PCF in Paris. In the subterraneous grand assembly hall he encounters relics of the past that shaped/described history. Simultaneously on the roof of the building a hooded figure scans the premises` structure while down below the white concrete overground dome of the hall transforms into the moon. Alice in Wonderland in a conflictive version - playing out a poetic discourse on surrealism & socialism where science fiction, architecture, and literature are dialectically intertwined with the human psyche. The title Alice.M relates phonetically as "alism" to the ending of certain "ism" terms, such as e.g. "surrealism", "socialism", "idealism", "dualism".

Philipp Lachenmann (*1963 Munich, lives in Berlin) studied filmmaking at Munich?s Academy for Film and Television and art history and philosophy at the Ludwig Maximilians University. He received a scholarship from the German Academic Exchange Program (DAAD) for New York in 1998 and in 2003 a grant for the Villa Aurora in Los Angeles. From 2000 to 2003 he was awarded a post-graduate fellowship at the Academy of Media Arts Cologne (KHM), and several travel & work grants. Selected exhibitions include the Goethe Institute Paris, the Museum K21 Düsseldorf, the Transmediale Berlin, the Reina Sofia Madrid, the Kunst-Werke Berlin, the Nationalgalerie im Hamburger Bahnhof Berlin, and the Deichtorhallen, Hamburg. Screenings at MIT Short Film Festival Boston, IFFR International Filmfestival Rotterdam, SIFF Seattle International Film Festival, SFIFF San Francisco International Film Festival, NYFF New York Film Festival, HKIFF Hongkong International Film Festival. For 2012 Lachenmann received a one year grant at the Villa Massimo in Rome.

The city of Kolkata (Calcutta) was not touched by the tidal wave on December 26th 2004. The video document "Kolkata" was filmed throughout the first days of January 2005. It is a serene work with meditative depth, which can seem to take place a thousand miles away from where the catastrophe happened, but it carries the fine but persistent imprint of an underlying tension. The water is everywhere, discreet, flowing and running. It is the trace of the cameraman's unconscious at work, like an internal retort. It is not a documentary, journalism even less, but really an artistic production, with its own particular rhythm and breath. The fixed shots open up a space of time, of observation, and, of dreaming to the viewer. It is precisely this simplicity in the structure that at the same time guarantees the freedom of our gaze and a profound respect of what is on film. Benoit Laffiché thus shares with us his idea of the artist´s role, the first task is, to his eyes, allotted to him: give people something to see, to think about and to exchange.

Benoît Laffiché's work applies to global exchanges, migratory fluxes, otherness, and to cartography. To film, to photograph, is to meet the other and to offer him an image of his environment, a memory of his social times, a narrative that happens creates a distance. It's about looking at the other so that we can understand this other that we are. His work escapes from the ethnographic position which the American critic Hal Foster very justly criticizes for not having sufficiently questioned the ethnographic authority. This is not Laffiché's preoccupation. His purpose is elsewhere. For him, art, taking in account social and political questions, can manage to sufficiently hold onto its autonomy and distance in order to say something that only it can say. How, as close to reality as possible, does art affirms itself as such, surely sometimes mimetic, but never fusional? Laffiché's images do not impose anything, not a single injunction, just underlined ideas.

This video extracted from a serial work where lettuce is used as a main element of the composition "Cache-Cache Salade" wants to be read as an absurd story, a dream-like extract somehow strange and unhealthy, because with no immediate origins, neither possibilities of identification. The video starts with a fiddled panoramic frame, where a cloned character emerges jumping, miming a kid walking in the woods - straight from a children story. The sound wrapping takes parts in the dream-like and mysterious story. The character seems taken then in a hide and seek game, where he is himself attacked, tracked, and becomes a prey every time he is exposed to the outside sight (out of frame). Or is he himself, the predator? Hiding to hunt down the "beast"? The outside sight, suggested by barking out form frame, is also the one of the viewer/voyeur observing the scene. Let's note that this is by the character's behaviour, hiding and running alternatively between the trees, that a metaphoric link is created with the outside. The essential doesn't stand in the action as the only narration, but in that kind of hypnotic fascination brought by the image itself almost static - and by the impression of a moment giving up elsewhere, in a out of time. The poetry is here preserved by the persistence for the arbitrary, the image assures itself and refined only little by little its possible interpretation.

Born in 1978 (in France), Jérémy Laffon begins his artistic research by an exclusive pictorial and poetic work, then enlarges little by little his expression field to other supports such as carving, photography, performance (and happenings), but also video, still conserving a poetic unity revealing some of his influences (such as Incohérents', Fluxs', Francis Alys', Fischli & Weiss', Paul McCarthy, etc.). While collaborating on a regular basis with various artistic associations (during exhibitions or venues) the artist experiments his concepts and his creative processes (implementing them sometime in unappropriate spaces for that prospect, such as music festival or down the street). These concepts constitute today a singular language, gravitating around flow phenomenon, transitory and grotesque but always keeping an obsessive rigor and an irony toward the process of creation and the relation with the viewer. Defining himself as an usurper, professional novice and dressing himself with very different characters such as "the wanderer", "the dullar", "the stuffer", or the "pom-pom boy", Jérémy Laffon declines the role of the intruder, has an iconoclast sight on culture, while questioning key notions such as "power", money" or "manipulation".