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"Toward Entropy 360" is an immersive 360° film experience that invites audiences to step into a 360° world where land art’s monumental gestures meet the quiet persistence of nature. This work reimagines historically significant earthworks, not as static monuments, but as evolving, fragile ecologies shaped by time, weather, and memory. Plants reclaim the ground, water rises, and familiar forms dissolve, questioning the permanence of human ambition. At once poetic and critical, the project examines how culture and environment intersect—how art inscribes itself on the land, and how the land, in turn, writes back. By reframing entropy not as loss but as a generative process, the 360 video opens a space for reflection on art, history, and environmental ethics in a world increasingly defined by change.

Jaewook Lee is a new media artist working across 3D/CGI animation, virtual reality (VR), augmented reality (AR), video games, and interactive installations. His practice explores speculative histories and immersive ecologies, creating environments that question cultural, ecological, and social paradigms while foregrounding nature’s agency through advanced digital technologies. Lee’s work is held in the permanent collections of the Gyeonggi Museum of Modern Art and the Jordan National Gallery of Fine Arts. He has presented solo exhibitions at the Museum of Contemporary Art Taipei (2024), the Museo de Antofagasta at SACO9 Contemporary Art Festival in Chile (2020), and the SVA-NYC Art Platform in Shanghai (2017, 2019). His projects have been featured internationally at events such as the Currents Art + Technology Festival (2025), the Athens Digital Arts Festival (2024), the ARKO Art & Tech Festival (2021), and Mindful Joint at Art Sonje Center (2017). His films have screened at Canadian Screen Awards–qualifying festivals, including the Toronto International Nollywood Film Festival (2024) and the Montreal International Animation Film Festival (2023). Lee holds a BFA from Korea National University of Arts and MFAs from Carnegie Mellon University and the School of Visual Arts. He has taught at the University of Chicago, SVA, and SUNY Old Westbury. He is currently Associate Professor of New Media Art at Northern Arizona University, where he directs the Authorized Unreal Engine Academic Partner program.

An instrument of Meta-Inspiration. With Oamos, Marc Lee had only one goal: to make the spectator discover with the contents those things likely to please and inspire him. What is Oamos? According to topics launched by the public, Oamos requests machines to investigate, using current events, images, synonyms, music, arguments, noises, blogs and videos. The data are prepared audio-visually and are presented by choice in a pragmatic or entertaining way, with or without sound, with or without interconnecting with the others sites.

Marc Lee was born in 1969 in Switzerland. He created interactive projects oriented towards the network since 1999 in a production directed towards the artistic field. He experiments with information and communication technologies which contain cultural, creative or economic and political aspects. He recently took part an important art media exhibition, such as the ZKM of Karlsruhe, New Museum of New York, the Biennial one of art media of Seoul, Transmediale 02 and 04 of Berlin, Viper 01, 03, 04 and 05 from Basel, Ars Electronica, CeC de Dehli, Read_Me Festival of Moscow and the ICC of Tokyo.

The film is built up from that single, imperceptible instant that signals the shift from day to night, a fleeting moment in which what was, is no more, where things might acquire fresh significance. A voiceover guides us through the city, while the camera seems to be searching for a specific plot of land, for the coincidence between narrative and image. The topography of the site continues to advance, while in parallel there emerges a second topography ? mental this time, ? until, perhaps, they meet, somewhere here, in a new psychical space. Using the city of Seoul, it is a personal story that is being told. Our role is to follow it and select a locus of interpretation: truth, (urban) folktale ?

HeeWon Navi LEE Born in December 1978, at Kyeung Ki - Do, South Korea. She worked as a stylist in Seoul, and since 2002 it is installed in France. After studying visual communication at the Ecole Nationale Superieure d?Art de Nancy, Won Hee LEE Navi integrates the Fresnoy - Studio National des Arts Contemporain. His research and practice various artistic blend clothing influences ranging from cinema to graphics, sound installation. His works are moving and using more and more new media across a digital world in works such as;

Meesoo Lee a commencé à faire de la vidéo en utilisant un caméscope et deux magnétoscopes. Inspiré par les DIY ethos of Zines, la musique « lo-fi » et le cinéma d?avant-garde, il réalise des vidéos originales inspirées de la méthode du « vidéo-clip ». Il prétend que ce médium peu coûteux ouvre la voie à un monde infini de créativité et permet l?apprentissage autodidacte sous forme «d?essai-erreur». Meesoo Lee a réalisé des dizaines de courts métrages qui ont été présentés dans divers festivals ainsi qu?au Festival du Front Occidental et au Festival des Images à Toronto

Inspired by Old Master paintings, three slow-moving tableaux images appear depicting scenes of conflict and resolution on the streets, at home and in the workplace. Shot on locations in East London the images feature young people playing various roles including a young pregnant mum representing Justice and a smart young man battling with a politician at the doors of a local Job Centre. These evocative and multi-layered images employ both photographic and filmmaking techniques, challenging the audience to see different things in them on each viewing. Under the direction of Eelyn Lee, young filmmakers and photographers from A New Direction?s Headstart worked alongside filmmakers at Eelyn Lee Productions and photographers Tim & Barry to create this compelling piece of moving image work. Commissioned by A New Direction

Eelyn Lee is a filmmaker and managing director of Eelyn Lee Productions. After studying fine art she founded the performance group Sacred Cow, producing site-responsive visual theatre in the North of England during the 1990?s. Following a Post-Graduate in sculpture, her work became more installation based, which in turn triggered a career in filmmaking. Her visual art and performance background continues to inform her narrative-led filmmaking, a career in which now spans 15 years. Eelyn has written, produced and directed documentaries, short films and animations. She has a strong reputation for making high quality films about young people that are often devised through participatory processes. Her films have been broadcast on TV and online, shown in festivals and distributed on DVD. In 2012 she received the ?RITTER SPORT Film Prize? for Life and Deaf, a short film selected for the competition programme of the 6th ZEBRA Poetry Film Festival in Berlin. Eelyn lives and works in London and Sheffield and is currently developing ideas for narrative feature films.

Garden of all spheres is a VR experience which exhibits the live simulation of a pseudo-ecosystem. The garden is built in the video game environment, which can exhibit the most advanced technology in the production and presentation of real-time CGI and simulation. The library of the virtual scenery is parallel with the modern natural history museum - the eye-catching collection of nature - the inventories which are ever-expanding and impossible to complete. Skysphere is a primary, simple prop for creating an illusion of horizon. In the nature of Virtual Reality, the player?s eye is located in the centre of the sphere. It becomes her private sky which is impossible to feel the scale of it - as much like as the sky in the physical world. The camera moves beyond the stage, from inner shell to outer shell and reveals the boundary of human-centred viewpoint. This spherical garden mediated through VR glasses, which embodies the desire for a seamlessly expanded vision. All the animals, humanoids, trees, stones, lights, skies are reflected on the surface of gazing ball and exhibited in the spherical vitrine, and the exhibition becomes meta-ecosphere.

Yoonjoo Lee is a multi-disciplinary artist based in Berlin. Her artistic practice generally focuses on the relationship between voyeuristic/Intellectual curiosity and technology of representation. She uses various digital technologies such as 3d animation and video game engines for a platform of the moving image experiments and explores the apparatus-mediated vision. She is currently studying experimental film and generative art in the Berlin University of Arts.

‘Tra' is an ode to Italian filmmaker Pier Paolo Pasolini. ‘Tra' synthesizes the narrative of his film ‘Teorema' (1968) by highlighting its interstitial moments. The act of running that appears throughout the film is isolated and deployed to expose the film’s subtextual currents.

John Di Stefano is an artist/filmmaker, writer, and curator whose work reconciles the personal with the social, the everyday with history through hybrid forms of documentary practices and the essayistic form. His work often deals with his immigrant past seen through a queer lens, including the feature-length 'You Are Here' (2009) which premiered at the Festival International du Documentaire (Marseille). His award-winning work has also been featured at the Videonale (Bonn), Whitechapel Gallery, Tensta Konsthall, Barcelona Museum of Modern Art, Para/Site (Hong Kong), and Anthology Film Archives. His critical writings appear in various international publications. He teaches at Concordia University (Montreal). Cathy Lee Crane is an experimental filmmaker whose work mines the historical archive to produce lyrical films of speculative history. She was a Guggenheim Fellow, and in 2015 her work enjoyed its first survey at the National Gallery of Art (Washington DC). Crane’s award-winning films –including 'Pasolini’s Last Words' (2012)– have screened at Viennale, Cinematheque Francais, BFI, and Arsenal/Berlin. Her interest in borders saw the release of 'Crossing Columbus' (2020) about the border town of Columbus, New Mexico which was supported by the Rockefeller Foundation and the Harun Farocki Institut in Berlin. She teaches at Ithaca College (New York).

Jan Robert Leegte a étudié à l'académie des arts de Rotterdam, après trois ans d'études d' architecture à l'université de Delft. PArallèlement à ses performances et installations, il a commencé à travailler pour internet en 1997. http://rhizome.org/thread.rhiz?thread=20448&page=1#39300

Men and women shout, crowd, shake then embrace. Paul says goodbye to them. He leaves the institution with the hope, perhaps, of a new beginning, but outside, the past persists from one room to another.

Pierre Lefrançois Vérove was born in 1989 and lives in Montreuil, France. He studied at the national school of art of Paris-Cergy before joining Le Fresnoy, national studio of contemporary arts in 2021. His works, films and texts focus on the visible or invisible margins and those who inhabit them. A consideration that led him to explore the field of institutional psychotherapy (La chambre de Paul, 2022) or to follow European borders from Paris to the island of Lesbos in Greece (Algèbre, 2019).

When night falls, the city exists only in halos. Vigil or guardian, you must keep watch among the shadows, confusing tiredness with sleep, night after night, scrutinising the darkness even if it means opening a breach in it and stirring the invisible.

Pierre Lefrançois Vérove was born in 1989 and lives in Montreuil (France). He studied at the national school of art of Paris-Cergy before joining Le Fresnoy, National Studio of Contemporary Arts in 2021. His works, films and texts focus on the visible or invisible margins and those who inhabit them. A consideration that led him to explore the field of institutional psychotherapy (La chambre de Paul, 2022) or to follow European borders from Paris to the island of Lesbos in Greece (Algèbre, 2019).

In a city, in the North, there is an explosion...

I'm a young artist graduated from a regional school in the North of France. In my creation I hesitate between doing nothing, poetry and fiction.

A super-8 filmstrip, shot in 2002 is weaved and transferred by craftsmen in mini-DV in order to be digitally composed. It was an attempt to create a new cinematic vision, to have access to another visible world from the visual and light. The viewer sees geometric and floral designs, according to the various levels of recomposition of the initial ribbon. Disjointed around an inaccessible center, "D-VIDE" blends directly into the minds of the spectators that animate it.

Born in 1977, Sylvain Legrand obtained an M.A. in Cinematographic and Audio-Visual studies at the Université de Paris 8. He currently works ?the world over? and continues to make personal cinema projects.

Visual reconstitution essay; a play on speeds of one, two, three, or four colored sticks hitting a disintegrated cube.

Sylvain was born in 1977. He has a master's degree in film from Université de Paris VIII. He tours the world without moving and makes small films.

ROUTE TO CAPE TOWN A picture and sound concept (Klangwerk), a sketch, a moving drawing. Streets leading to a town. Brief moments in the old center of Cape Town. Thoroughfares, People, pedestrians, brief flashes. Everything in motion; The people, the cars, the camera. Those who know the town and surrounding area will recognise the topography. All shots were taken out on the streets leading into the town but still, it is not a documentary; time is altered, camera takes are not linear. These are fragments of time. The film montage and the music allows the beginning to fall at the end and vice versa. Time frozen, parallel time. Motionlessness and movement combined. The rhythmn begins slowly, gathers speed, interrupted by panoramic shots. Concrete sounds become music,a sound becomes a Soundscape. A Sound Poem about a place surrounded in melancholie. Fleeting moments of people who we don´t meet and won´t get to know. It is the brief moment of encounter.What do we know of our fellow man? what does it mean exactly to know someone?, a place, a landscape, a feeling,an experience?. Memories. In the end everything is just a fleeting moment. Our most inner thoughts are written in ink on the tips of the waves of the sea. ROUTE TO CAPE TOWN is a short poem in black and white, in tones and shades, something secretive, something dark and sad lies within. It is filmed from inside a moving vehicle but in the very movement itself lies the stationary, the brief moment, the life of a fragment. The scenes are out of focus, dirty, sometimes mirrored in the windscreen. Our memories are not linear. A mosaic of sounds, pictures, impressions. What is hiding behind the faces of the people who glance in our direction as we pass by?. The film uses concrete pictures and sounds to form a rhythmical abstract poem. A couple of short moments from Cape Town South Africa-a foreign City in moments, that by the end-seem strangely familiar to us.

Born in 1967 in Breisgau, Germany. Involved primarily in Art Films, Contemporary music and writing texts for publications. Also active as; Author, Director, Cameraman and Editor. His films are shown in festivals, Art Cinema´s and Galleries both inside and outside of Europe. Over the last ten years he has organised; Festivals, Film Showings, Lectures and Film Introductions, focusing on the Classical AvantGarde. Thomas Gerwin (*1955) A classically educated Composer and Musicologist (Musikwissenschaftler), He came into contact early on with Electric Acustic Music.Since 1990 he has been intensely involved in Soundscape Composition and Radiophone Art. He is presently composing for concerts and the radio in his own studio using sound and video installations. His artistic space works draw from the New Media forms in Theatre, Dance, Film and Sculpture. He has won various international awards and grants and his performances and exhibitions are presented world wide. In 2001 Thomas Gerwin founded the?Gesellschaft für multisensoriale Kunst? (?Community for Multisensual Art?) and in 2002 ?The Berliner Lautsprecher-Orchester? (The Loudspeaker Orchestra?). Since 2003,he has been leading a series of Concerts (?Klangwelten?) in Der Unsicht-Bar (Invisible-Bar) in Berlin where he intepreted Ars Acustica in complete darkness with a small Loudspeaker Orchestra.

Moving trough the world wide web means being exposed to a variety of content in a high tempo which does not always attract you, but can also seem revolting to you. The resulting emotional state of the user - a feeling of being overwhelmed and a certain unsteadiness - is the starting point of the work “66mio views“. The viewer is sitting inside a room filling installation. Head mounted displays enable him to be part of an immersive VR environment in which he faces irregular shapes and so called “non-player characters“ (NPCs). The shapes are textured with videos from common Image- boards (4chan, 9gag, ...) as well as viral YouTube videos. Their content is diverse and evokes not only positive emotions (e.g. videos of puppies), but also very negative emotions (e.g. so-called gore videos, videos of violence). In a self- developing rhythm of motion, the forms relate to the position of the viewer, move towards him, go through him and move away from him. Various NPCs from 3D-model databases approach the viewer and recite text-sequences from the videos in varying tonalities. This immersive installation understands the technical infrastructure (computercases, cables, ...) as an instrument which designs and shapes the space. It is being expanded with ropes as well as pictures and text fragments from the videos. Stacks of prints show extracts from the videos and thereby display their content transformed and adapted to an analogue medium. The visitors are invited to take these prints with them and transform the content once again by removing it from its original place. Keywords like connectivity/disconnectivity and comprehension/incomprehension as well as thinking about the digital space as an emotional shaping tool led to this installation which connects digital and analogue content in an abstract, fragmented way. (The installation was originally developed for a specific exhibition space in the basement of „Halle 14 - center for contemporary art“ in Leipzig. However, we can set up the installation with regards to any available space, as its dimensions are variable. At least one VR system, ropes and prints in different sizes are fixed.) Yannick Harter, Fabian Lehmann, 2019

Fabian Lehmann (*1988, Castrop-Rauxel, Germany) graduated at University of Applied Sciences, Bielefeld (2015) with degree Bachelor of Arts „Photography and Media“. Since 2016 he is studying „Media Art“ at the „Academy of fine Arts, Leipzig“ in the class „Expanded Cinema“ / Prof. Clemens von Wedemeyer and has studied „Fine Arts“ at „Bezalel Academy of Arts and Design“ in Jerusalem during an exchange semester. His artistic work focus on different communication systems and how digital techniques shapes the humanity and society. He had various exhibitions in Germany and Europe e.g. Hamburger Triennale der Fotografie (Hamburg), Gallery „Kunstpunkt“ (Berlin), Emscherkunst 2016 (Dortmund) Siva Galerija, (Zagreb) UG Halle 14 (Leipzig) Yannick Harter (*1990, Worms, Germany) is a trained productdesigner, who worked in branches like automotive industry and medical cybernetics. Since 2016 he is studying „Media Art“ at the „Academy of fine Arts, Leipzig“ in the class „Installation and Space“ / Prof. Joachim Blank and has studied „Visual Communication“ at „Latvias Art Academy“ in Riga during an exchange semester. His artistic practice oscillates around the intersection between art, science and society. He had various exhibitions in Germany and Europe e.g. Kaiserwerke (Gera), Gallery? „Kunstpunkt“ (Berlin), Obro?ców Stalingradu 17 (Szczecin), D27 (Riga), UG Halle 14 (Leipzig) Yannick Harter participated in several curatorial and educational projects and volunteered as artist assistant e.g. at Kunstverein (Leipzig), Neustadprojekte (Mainz), Latvian Center for Contemporary Art and Survival Kit 10.0 (Riga)

“The photo was taken using a painted board in Kuling Park on Lushan…” A woman is reminiscing about the story behind a photograph: it was a bright summer day in the 1980s. Her family traveled to Lushan to escape the heat. As her memory unfolds, we gradually come to see the forgotten history and that very photograph being damaged by water stain.

1985 Born in Nanchang, Jiangxi Province, An experimental animation artist with his hands on video arts, painting, installation, music and VJ performance also. In 2009 He got a master's degree in animation from Tsinghua University. In 2010, his film This is LOVE was shown at Ottawa International Animation Festival and awarded The 2010 Best Narrative Short. In 2013 his film Recycled was the Winner Grand Prix shorts - non-narrative at Holland International Animation Film Festival. In 2014 he is the Jury of Zagreb / Holland International Animation Film Festival. and he was the winner of 2014 asian cultural council grant. In 2017 he works in CalArts Experimental Animation program as Faculty. In 2018 he invited for New Academy Member for the Short Films and Feature Animation branch. In 2019 his first feature film Breathless Animals has been selected by Berlinale Forum.

SCREENING (HD, 9 min, 2011, single screen) SCREENING is based on the association of screen-tests and auditioning, that is often attached as extra material on dvds. Five female characters of age 16-30, are filmed in a white studio. They are wearing ordinary clothes and at first sight it might look like they are filmed just as ?themselves? in front of the camera. After a while it becomes more obvious that they go in and out of, and are trying out different roles. The characters do not know that the camera is recording the whole time during the shooting, even when they are stopped in the middle of an act; this to create an interaction of acting, trying to act, or just being themselves. Feminine expressions are contrasted with masculine to generate friction and to enhance the collision of the characters? attempts to go into a role, failing and managing the role.

Kaja Leijon is born in Tromsø, 1980, and now lives and works in Oslo, Norway. She is educated at the National Academy of Fine Arts. During her education she participated in several exchange programs, among those at CalArts, US. Leijon works with film and photography. Leijon recently had a solo exhibition at Trøndelag senter for samtidskunst. Her films have been screened at international exhibitions and film festivals such as; National Taiwan Museum of Fine Arts, Kunsthalle in Mainz, Luis Adelantado Gallery, Videonale and Kasseler Dokumentar und videofest,

Wasteland ? synopsis: Wasteland is a film that consists of short episodes. The structure of the film gives impression of a loose narration, but the episodes have a common thread which becomes clearer throughout the film. The film investigates how our fantasy and imagination is affected by film, and how people in everyday life integrate images from fiction into their own lives. The film attempts to understand how preconceived conceptions influences the way we see and interpret our surroundings.

Kaja Leijon is born in Tromsø, 1980, and now lives and works in Oslo, Norway. She is educated at the National Academy of Fine Arts. During her education she participated in several exchange programs, among those at CalArts, US. Leijon works with film and photography. Leijon recently had a solo exhibition at Trøndelag senter for samtidskunst. Her films have been screened at international exhibitions and film festivals such as; National Taiwan Museum of Fine Arts, Kunsthalle in Mainz, Luis Adelantado Gallery, Videonale and Kasseler Dokumentar und videofest.

Répondant à l`invitation du Théâtre Jean Lurçat, Scène Nationale d`Aubusson, nous avons réalisé cette série d`images alternant vues de la ville d`Aubusson et portraits de ses habitants. Quelque part entre la carte postale, le diorama et la stéréophotographie, ces images dressent un portrait sensible de la ville d`Aubusson. L`ensemble se présente comme un diptyque établissant un aller-retour permanent entre la ville et ses habitants.

Architecte diplômé en 2001, Nicolas Lelièvre s`est rapidement tourné vers les pratiques de l`image. La vidéo et la photographie sont pour lui des moyens privilégiés pour interroger les rapports qu`entretiennent le temps et l`espace. Le projet Centres Horizons mené entre 2003 et 2008 avec le marionnettiste Renaud Herbin a notamment été l`occasion d`explorer différents territoires urbains parmi lesquels Berlin (Villa Médicis Hors Les Murs 2004), Buenos Aires, Montréal ou encore Saint-Jacques-de-la-Lande et Lisbonne. Son questionnement sur les perceptions et les représentations des espaces urbains prend des formes variées, entre photographie, vidéo et spectacle vivant. Parallèlement, Nicolas Lelièvre participe régulièrement en tant que vidéaste à des créations de spectacles de théâtre (Cie LàOù, Théâtre de l`Arpenteur,...) et de danse (Cie EnCore, Cie Jean-Pierre,...).

Derrière tout œuvre artistique, se cache un travail de recherche foisonnant, un parcours irrégulier fait d’avancées et de doutes. Mettant en perspective le travail de 2 artistes aux disciplines différentes, le film retrace ces moments d’improvisations, de répétition ou d’hésitations qui font partie intégrante d’une œuvre en devenir. Aux mouvements des danseurs hip-hop de la chorégraphe Anne Nguyen (artiste associé à Chaillot), se superpose une oeuvre musicale du musicien Les Gordon (du label Kitsuné), 2 univers qui, bien que différents, viennent se compléter pour créer une forme nouvelle et singulière. Qu’il s’agisse d’une pièce dansée ou d’une œuvre de musique, l’impression d’aisance et de maîtrise que suscite la découverte de l’oeuvre aboutie est toujours flagrante. Quel processus de création derrière cette sensation de fluidité, de perfection ? Comment, d’une matière brute et spontanée, naît l’oeuvre future ? C’est par cet angle que le film tente de capter et de retranscrire la genèse d’une création artistique, nourri par les séances de travail et de répétition des danseurs, autant que par la l’oeuvre musicale composée sur le mode de l’improvisation. Questionnement, tentatives, ajustements, répétitions... Autant d’étapes nécessaires que requiert la création d’un projet artistique, mouvement permanent oscillant entre la projection initiale de l’artiste et le projet en devenir, matière polymorphe et versatile. Miroir de cette genèse continue, le film finit par lui-même devenir objet de son propos.

Yoann Lelong, né en 1985. Après avoir étudié la physique quantique au cours de son cursus universitaire, Yoann Lelong s’est progressivement tourné vers la création artistique en se formant au California Institute of Arts et en collaborant avec le pionnier du mouvement No wave New Yorkais, Amos Poe. Le travail de Yoann Lelong émerge d’une vision du monde où tous les éléments sont reliés et interagissent entre eux. Chaque élément est, pour lui, une abstraction issue d’une totalité de mouvement fluide (telle la notion d’holomouvement). Il adopte ainsi une approche centrée sur l’individu pour ensuite en dégager une structure systémique en s’intéressant aux interactions qu’un individu peut avoir avec un lieu, une ambiance ou d’autres personnes. En 2013, encouragé par Alain Cavalier, Yoann Lelong réalise le film PERSON(A). Il s’agit de 23 portraits entrelacés (dont ceux de Benoit Forgeard, Amos Poe et Lola Bessis). En 2014, il rejoint l’expédition Tara Méditerranée, dans le cadre d’une résidence artistique qui donnera lieu à l’installation vidéo PerceptConcept. En 2015, Yoann Lelong a réalisé des projets sur le thème de la transidentité et de l’insertion des personnes réfugiées en collaboration avec l’association Singa. En 2017, il prépare une nouvelle œuvre en relation avec le centre de pédopsychiatrie de l’hôpital La Pitié Salpêtrière.

Angela et Marius, deux jeunes étudiants, ont accompagné un jeune migrant lors de son arrivée en France. A travers leur récit, nous découvrons le périple de Bangoura, jeune guinéen ayant fui son pays lorsqu'il avait 17 ans. Sur une production musicale composée de samples (notamment extraits de musiques traditionnelles issues de différentes immigrations françaises), l'œuvre questionne la manière dont chacun de nous se réapproprie un fait, un événement ou un récit en en abolissant son contexte, son passé, sa connaissance et sa mémoire collective. Ainsi, la vidéo propose au spectateur de s’approprier l’histoire de Bangoura en reprenant son récit à la manière d’un karaoké. De cette manière, le récit relaté offre de multiples interprétations et peut aussi bien symboliser une génération de migrants cherchant à survivre, critiquer une société capitaliste ou les instituions, décrire le portrait d'une jeunesse française ou encore interroger la connaissance que nous avons de l’immigration française.

Artiste plasticien diplômé de l'ENSAM, Yoann Lelong trouve son inspiration dans la danse, la recherche scientifique et la problématique de l'exclusion. Il explore la vidéo comme moyen de retranscrire une réalité transcendée, mêlant la poésie réaliste de ses sujets à une réalité sociale fragmentée. Son passage par l'Ecole Normale Supérieure de Cachan le forme à la physique quantique, point de départ d'une démarche artistique qui irrigue l’ensemble de ses travaux, et donne à ses œuvres une lecture sous-jacente plus métaphysique. De sa collaboration avec Amos Poe, pionnier dumouvement new-yorkais No Wave, naît PERSON(A), installation vidéo où s'entrelacent vingt-trois portraits filmés au 16mm. Une œuvre poétique où les éléments se distinguent, se répondent, puis se fondent dans un flou indistinct. Cette 1ère œuvre illustre dès lors le rapport distancié qu’entretient Yoann Lelong au réel et qui le pousse, à chaque nouvelle création, à saisir l'instant sans filtre et sans interprétation pour retranscrire et sublimer les sujets à l'état brut. Les sujets deviennent matière, le tout rejoignant le tout. A l'issue d'une résidence artistique à bord du voilier Tara Méditerranée en 2014, il crée PerceptConcept, à l'image du mouvement ondulaire et répétitif de l'expédition maritime : les gestes de l'équipage épousent le va-et-vient de la mer, au rythme de sons mécaniques ou organiques. Par la suite, il s'interrogera sur l'essence d'une création et plus particulièrement sur ce qui en fait son unicité en collaborant avec la chorégraphe Anne Nguyen et le musicien Les Gordon (2015). Le mouvement gestuel et sonore apparaît ainsi dans le travail de l’artiste comme une composante clé de toutes ses créations. La recherche de l’unicité à partir de fragments épars constitue, pour l’artiste, un cheminement permanent, un questionnement métaphysique qui explore, chaque fois, un nouveau terrain de création, tantôt attaché à une réalité sociale, tantôt abstrait.