Catalogue > Search

MIDSENTENCE, filmed over five years inside a county jail, lays bare larger truths about incarceration, institutional authority, confinement, shame, guilt, and power dynamics between those in and out of uniform.

Erik Levine was born in Los Angeles, California in 1960. He has exhibited widely in the United States and Europe, most recently at Ludwig Forum Aachen with a solo survey exhibition of his videos from the past 15 years. His work includes video, sculpture, and drawings, and is in the public collections of the Whitney Museum of American Art, Museum of Contemporary Art, Los Angeles, Walker Art Center, Hirshhorn Museum and Sculpture Garden, and Des Moines Art Center, among several others. He has received numerous awards including a Guggenheim Fellowship and three Pollock–Krasner Foundation awards. In addition, he’s received two grants each from the National Endowment for the Arts, the New York Foundation for the Arts, the New York State Council on the Arts, and the Massachusetts Cultural Council, as well as grants from Awards in the Visual Arts, Nancy Graves Foundation, and the Jerome Foundation.

In the midst of the recent revolution in Egypt, Beduins in Israel get updated on the latest news from their car`s radio, in what seems to be the middle of nowhere. Suddenly a bus load of Polish "holyland" pilgrims fill the landscape, posing with Beduin`s camel and taking pictures.

Born in Tel Aviv, Israel, lives in New York 1998 PostGrad- Electronic Imaging Duncan of Jordanstone College of Art, Dundee 1997- BA Camberwell College of Art, London . Won the Dumbo Arts Festival NYC best open studio award in 2010; Won the 2008 Young Israeli Artist Award, The Hamburg Film festival low budget jury award 2006, Took part in the Berlinale Talent Campus in 2006. Took part in various international artist residencies in the USA: New York 2009-2010, 2011, Florida 2001,Connecticut 2011; In France: Le Havre 2011; in Austria: Vienna 2005, Linz 2003, and in Italy Milan 2007. Solo exhibitions include at: Nicelle Beauchene NYC 2010, Habres+Partner Gallery Vienna 2009; Tavi Dresdner Gallery Tel Aviv 2008; Rosenfeld Gallery, Tel Aviv 2004; Haifa Museum of Art 2004.

Filmed in Maison de l`Armateur, One of the few houses in Le Havre, France that remained in tact after the city was almost completely destroyed in the allied bombings of 1944. The tower like mansion is a kind of museum. A woman, the curator, is rigorously organizing objects. All kinds of dishes, globes, shells, sculptures, paintings, taxidermy animals, maps, ship models etc... There is something obsessive about her preciseness and the time she invests in placing each item. It is clear that despite the objects useful proposes, they are not being used, lifeless. The more she organizes them, the more she kills them. The work is about a nostalgia to a world that no longer exists, and perhaps never did. The house is built like a spiral, where each floor has more and more rooms, full of treasures that all tell the story of western colonialism, particularly French 19th century bourgeoisie objects, with curiosity cabinets full of exotic oddities from faraway conquered lands. The woman seems to have a special relationship to the objects. Her love and care for the objects, also express her love of the culture she belongs to. The film makes references to suspense movies, such as Hitchcock Vertigo. And the soundtrack is based parts of Bernard Hermann?s Psycho soundtrack.

Born in Tel Aviv, lives in New York Levy?s solo exhibitions include World Order, Center For Contemporary Arts, Tel Aviv (2012); The Wake/ Silent Among Us, Loop Fair, Barcelona (2012); Wild Thing, Nicelle Beauchene Gallery, NYC (2010); and Dreams & Disasters, Habres+Partner Gallery, Vienna, Austria (2009). Her group exhibitions include Unnatural, Bass Museum of Art, Miami (2012); Art and Social Activism, Nicholas Cohn Art Projects, Long Island City, NY (2012); Magic Lantern: Recent Acquisitions in Contemporary Art, Israel Museum, Jerusalem (2012); Lush Life, Invisible-Exports Gallery, NYC (2010); and Trembling Time: Recent Videos from Israel, Tate Modern, London (2010). Levy was awarded residencies by the LMCC in 2012, Omi International Arts Center (2011), the I-Park Residency Program (2011), and the Institut Francais/Triangle Arts Association (2010), and received the Young Artist Award by the Ministry of Culture and Sport, Israel (2008). She received her B.A. from Camberwell College of Art and her Post Graduate Diploma from Duncan of Jordanstone ? College of Art, Dundee University.

Creatures of the Lines is an artist film and collaboration with anthropologist Heather Anne Swanson. It explores how desires for economic growth and linear progress have produced straightened forms in England’s watery terrains and asks what risks are associated with the conversion of once-curvy and braided worlds into a linearised landscape. Drawing on their longstanding research interests and conversations exploring the risks to and in aquatic ecologies with freshwater scientists, the film explores how English waterscapes have been transformed via the construction of canals. As arteries of British Empire, canals linked Indian cotton fields to domestic textile mills, facilitating vast ecological transformations from monoculture agriculture in the colonies to industrial discharges in England’s waters, soils, and air– and thus serve as a key site for exploring often-overlooked histories of colonial capitalism and their material presences in contemporary worlds. Attempting to work from within muddy, submerged sites, rather than from grand narratives or “god’s-eye” viewpoints, the work begins inside canals, telling stories from within the lines. Making use of the open-ended sensibilities of ethnography and natural history, it raises questions about ecological transformations and their ties to infra/structures of global political economy.

Sonia Levy's inquiry-led practice considers shifting modes of engagement with more-than-human worlds in light of prevailing Earthly precarity. Her work operates at the confluence of knowledge practices to interrogate Western expansionist and extractivist logics. She is the 2023-2024 recipient of the European Marine Board artist-in-residence programme. She was the 2022 selected artist of the S+T+ARTS4Water residency hosted by TBA21 in Venice and the 2021 commissioned artist at Radar Loughborough and Aarhus University's "Ecological Globalization Research Group". She has presented her work internationally, including shows and screenings at Ocean Space, Venice; Museo Thyssen, Madrid; Museo CA2M, Madrid; Sainsbury Centre, Norwich; ICA, London; The Showroom, London; Goldsmiths College, London; BALTIC, Gateshead; ZKM, Karlsruhe, Art Laboratory Berlin; HDKV, Heidelberg; Centre Pompidou, Paris; Musée de la Chasse et de la Nature, Paris; Muséum d'Histoire Naturelle, Paris, Verksmiðjan á Hjalteyri, Iceland Whale Museum, Iceland; Harvard Graduate School of Design, Cambridge USA; NYU Gallatin, New-York, Paris. Her work has been published by MIT Press and Thames & Hudson.

We Marry You, O Sea engages with Venice and its lagoon “from below,” with the aim of focusing attention on the city’s submerged, life-giving, and altered bio-geomorphological processes rather than on its often-recounted political and military histories. Underwater filmmaking opens new ways of knowing the materialities of the Venice Lagoon and exposes a fractured and troubled environment that complicates mainstream historical narratives that start above the water’s surface. By attuning to the ebb and flood of the lagoon, we start sensing the interplay between land and water, life and decay, and the intimate processes shaping this environment. Noticing the kinds of life made possible in this damaged watery space compels us to delve into the ways it has been profoundly transformed. We Marry You O Sea as a Sign of True and Perpetual Dominion takes its title from the words uttered during the Venetian ritual The Marriage of the Sea, which was held annually on Ascension Day between the eleventh and eighteenth century. During the event, the Doge, the patriarch of the Venetian Republic, would wed the lagoon by casting a golden ring into the water, declaring dominance over the sea. The artist reframes Venice’s enduring relationship with its permeating waters by reflecting on this ongoing legacy of quests for mastery over watery environments. How, this work asks, might we imagine different futures for Venice if we begin to experience the lagoon as a lively place populated by manifold ways of living and dying? In the lagoon, a space requiring continuous modifications for human settlement, wetlands and infrastructures have long been intertwined. Venice’s consolidation as a trading hub and epicenter of naval advancement during the Middle Ages prompted major hydrological engineering to maintain the lagoon’s shallow depths for defense purposes. However, in the twentieth century, harrowing modernization transformed parts of the wetland into petroleum refineries and one of Italy’s largest container terminals as part of an effort to turn the lagoon into an industrial frontier. Urban anthropologist Clara Zanardi has described how these transformations spatialized class divisions in a new way, while also causing irreversible ecological degradation that has profoundly altered the lagoon’s lifeways. The film presents these histories of modernization by interweaving rare historical photographs from Venice’s Giacomelli Photographic Archive with submerged perspectives of the present conditions of the lagoon. The historical significance of these photographs is emphasized by the negative black-and-white reversal of the submerged perspectives, connecting past and present and unfolding futures within the lagoon’s contaminated waters. An original score, created by a chorus of human voices and underwater sound recordings, further emphasizes the links between submerged spaces and human domains. The composition captures the lagoon’s pulses and the impact of industries—from aquatic sounds drowned out by boat noises to the rhythmic poundings of industrial activity amid surging tides—as it gestures toward the profound interplay between human activities and the lagoon’s shallows.

Sonia Levy is an artist filmmaker with a Berber-Polish background. Her work, marked by site-specific and interdisciplinary inquiries, delves into the implications of Western expansionist and extractive logics, exploring how these forces manifest in the transformation and governance of hydrosocial worlds. Her practice aims to probe the thresholds that have shaped and influenced the conditions necessary for life to flourish.

The film is built from a sequence of photographs which I took at an abandoned house near the separation wall in Palestinian territory. The graffiti on the walls of the house indicates that the Israeli army had once occupied the site. Its just another ordinary day, the locals can not leave without permits and they are imprisoned like the sheep. But the children haven`t lost faith and are flying a black kite made from a plastic bag.

Born in Tel Aviv 1973 1997-1998 MA in Electronic Imaging at the Duncan of Jordanstone College of Art - Dundee, Scotland 1994-1997 BA in Graphic Design at the Camberwell College of Art, London. Currently lives in Israel, Creates in the field of digital photography, single channel video and video/multi media installations. Her work deals with notions of identity and borders. Home, belonging, and temporal architecture . Participated in artist residencies in Austria ,Finland and the US. She has had solo shows at the Haifa Museum of Art, Rosenfeld Gallery Tel Aviv, Digital art lab Israel. She has participated in various group shows including Tel Aviv Museum of Art, Smack Mellon NY, OK center for Contemporary art Austria, Jewish Museum NY and her videos were screened at various film festivals

`Backstory` introduces the remaining stars of rear projection, a technique prevelant in cinema until the development of green screen. In Backstory, Lewis invited the Hansard family, which has been instrumental in the provision and development of rear projection for hundreds of Hollywood productions over several decades, to tell (with humour and straight-laced directness) their own story of the heyday of the techniques and their decline and disappearance as they are replaced by new technologies and new tastes in visibility.

Born in Ontario in 1957, Mark Lewis is an artist who lives and works in London. Solo Exhibitions include: the Vancouver Art Gallery (Canada), Hamburger Kunstverein (Germany), Musée d?art moderne (Luxembourg), BFI Southbank (London) and Museo Marino Marini (Italy) Forte Di Bard (Italy) and Monte Clark (Vancouver, Canada). In 2009 Mark represented Canada at the 53rd Venice Biennale with his exhibition Cold Morning. His films have been shown at a number of international film festivals including; Rotterdam International Film Festival 2010 (The Netherlands), Toronto International Film Festival 2009 (Canada) and Berlin International Film Festival 2010 (Germany).

Mark Lewis was born in 1958 in Hamilton, Ontario. From 1989 to 1997 he lived in Vancouver becoming part of the burgeoning photoconceptualism scene of the Vancouver School. Much of his work focuses on the technology of film and the different genres which have been developed in over 100 years of film history. His films are often short, precise exercises on particular techniques. His films tend to look at contemporary cities, film history, and the way film has impacted ideas about everyday life—subjects, for instance, have included ice skaters at Toronto’s Nathan Phillips Square and a custodial worker at Vancouver’s 1500 West Georgia Street. In 2009, Lewis represented Canada at the Venice Biennale. Other exhibitions include shows at the Power Plant, the Vancouver Art Gallery, the Hamburger Kunstverein, BFI Southbank and the Art Gallery of Ontario. His work is in many collections including the National Gallery of Canada, the Museum of Modern Art and the Centre Pompidou. Lewis is also co-editorial director of Afterall, which produces a journal and books on contemporary art.

Inspired by "Barefoot Gen", a manga by Keiji Nakazawa. Of this film, we will not see anything. A voice tells us the story. The voice of a young Japanese man, wandering around the mountains close to Hiroshima, sixty years after the war. The history of the A-Bomb through its representations, what it becomes through the eyes of this young man, and what it convokes in our imagination.

Christelle Lheureux is an artist and a filmmaker. Born in 1972, she lives in Paris and is represented by the "Blancpain Gallery"(Geneva) and "Play Film Production" (Paris). She teaches cinema at the École des Beaux-Arts in Geneva. Since 1997 she has been producing video-installations and films, which are exhibited in areas of Contemporary Art (Grand Palais, Palais de Tokyo, Musée d'Art Moderne in Paris, Espace Paul Ricard in Paris again, Castello di Rivoli in Italy, MAMCO in Geneva, Die Appel in Amsterdam, Pusan Biennale and Art Sonje in South Korea, Hiroshima Art Document in Japan...); and in movie festivals (Rotterdam International Film Festival in Holland, Festival International de Cinéma de Nyon in Switzerland, Festival International du Film Documentaire in Marseilles, Bangkok Experimental Film Festival in Thaïland, Vancouver International Film Festival in Canada...). She is carrying out several residencies in Asia (Villa Kujoyama in Japan, Siam City in Bangkok) and, according to her projects, collaborates with other artists, filmmakers, architects, or writers, both French and foreign, such as Apichatpong Weerasethakul (Thaï filmmaker) and Philippe Rahm (French architect).

C’est l’été en Normandie. Céline travaille sur un chantier de fouilles et en profites pour passer un week-end dans son village d'enfance, qu'elle n'a pas revu depuis longtemps. Ses recherches archéologiques se mêlent à des retrouvailles plus ou moins probables au fil de ses promenades.

Originaire de Normandie (France), Christelle Lheureux est cinéaste, artiste et enseignante. Elle vit à Paris (France) et enseigne à la Haute école d’art et de design de Genève (Suisse). Après une formation aux universités d’Amiens (France) et de Paris VIII (France), aux Beaux-Arts de Grenoble (France) et au Fresnoy – Studio national des arts contemporains, Tourcoing (France), elle réalise de nombreuses installations vidéo dans les années 2000, et participe à de nombreuses expositions, biennales et résidences d’art contemporain en Europe et en Asie. Dans les années 2010, elle réalise plusieurs courts et moyens-métrages primés dans des festivals de cinéma. Elle prépare actuellement "Le vent des crocodiles", son premier long-métrage avec Christmas in July (Julie Salvador), "Dans le ventre de la baleine", un moyen métrage en Thaïlande avec Kidam (François-Pierre Clavel), et termine "80 000 ans", un court métrage en diptyque.

This film is build around two stories that interlink. One, a TV soap opera. The other, the story of a young girl in her home of Saigon, watching TV. She is watching the story of a child searching for his father in the Mekong Delta and struggling through the independance war of Indochina. This story crosses the daily life of the yound vietnamese girl that the camera follows. The first story takes the step on the other, and reversly. The film plays with the distance and the overlaping of these two stories, confronting the collective communist (un)consciousness with the contempory daily life of the new emerging urbain life style.

Born in 1972, Christelle Lheureux has Art degrees from University Picardy, Paris VIII, Beaux-Arts and Fresnoy. She lives in Paris and is represented by Blancpain Gallery (Switzerland) and Artericambi Gallery (Italy). She teaches cinema at High School of Art & Design in Geneva and created Third Home Films with Antoine Segovia in 2006. She has created video installations and movies since 1997, which have been presented in contemporary art spaces (Grand Palais, Palais de Tokyo, Musée d`Art Moderne de la Ville de Paris, Espace Paul Ricard in Paris, Castello di Rivoli in Italy, MAMCO in Geneva, Die Appel in Amsterdam, Pusan Biennial & Art Sonje in South Korea, Hiroshima Art Document in Japan...) and in film festivals (Rotterdam International Film Festival, Visions du Réel in Switzerland, FID Marseille, Bangkok Experimental Film Festival, Vancouver International Film Festival... She did residency programs in Asia (Villa Kujoyama in Kyoto, Cite Siam in Bangkok, SOC in Saigon...) and collaborates with other artists, filmmakers, architects and writers, depending on their projects, as Apichatpong Weerasethakul (Thai filmmaker) and Philippe Rahm (architect).

?I always dream only of houses. Ruined houses to be put in order, new houses to furnish?? G. Truth is the telling of a falsehood. B.A.T.W.H.N.S.A.Y.H.B. ? Blessed Are Those Who Have Not Seen And Yet Have Believed revolves around a first research on the practice of truth and on the action of witnessing. The consistence of the human language, the eloquence of objects and of places, the resistance of things to abandonment, the breaking in of the present. It?s actually impossible to speak the truth, to be a witness form the outside. It?s neither possible to be a witness from within. It seems that this unfeasible position and this tension imbedded in the act of witnessing is to be neither simply within, nor outside, but, paradoxically, both inside and outside at the same time. An abandoned place and dreams are subject to the same rules. Therefore, in these places, it will not matter anymore to speak the truth.

Gaetano Liberti born in Rovereto in 1983 from a Croatian mother and Neapolitan father. In 2004, after finishing the Arts School in Trento, he meets Cesare Ronconi and Mariangela Gualtieri of Cesena?s Teatro Valdoca where he attends the High Training Course for the Actor ? organized by ERT and Teatro Valdoca ? and he begins a personal search on the use of the body, physical movement, voice and sound. Since 2005 he works as an actor, performer and videomaker collaborating with various active realities in the contemporary italian theatrical and artistic panorama (Teatro Valdoca, Motus, Vincenzo Schino, ?) In 2005 he created Brailleway, an identity by which he produces video works as a writer and director, and develops his artistic research in the field of performance, installation and other devices. At the moment part of his investigation focuses on the practice of truth, relics, false statements, intimacy and memory. THEATRE/ACTOR Teatro Valdoca ? Landscape with broken brother (2005); special projects (from 2005). Motus - Pre-paradise sorry now ? Piccoli Episodi di Fascismo Quotidiano ? (video) (2005); A place. [that again] (2006). Vincenzo Schino ? Opera (2006); Operette (2006-2007); Voilà (2008); Limite (2009). GROUP PROJECTS AND COLLABORATIONS PRIMAVERA 2009 ? with Muna Mussie ? for Teatrino Clandestino?s ?Candide? ? Bologna (2009) COLORE - with Sonia Brunelli, Leila Gharib, Luca Mattei, Muna Mussie, Irena Radmanovic - Fies Factory One - Dro (TN) (2008). CROSSING OVER ? with Luca Mattei, Muna Mussie, Irena Radmanovic - Torcito parco danza - Cannole (LE) (2008).

From the place we don?t know is an unknown chapter part of ?F ? Anthology of failure from a survey on the next desert?. There is no story. The subjects ? which are only subjects ? have no specific or particular experience. They have no past, they are given. The place where they exist is the place where nothing will never happen, and their being in that place defines and generate the failure of the story. Starting from this lack ? having not a story, unable to write it, unable to have a relationship with it, having not received it ? the camera fails its task. The camera is literally outrunned by the untiring running of the subjects without a history, a film without a story. ? I think of two people who run fast, they take a car and I think about a camera left alone, without subjects, outrunned.?

Gaetano Liberti born in Rovereto in 1983. In 2004, after finishing the Arts School in Trento, he meets Cesare Ronconi and Mariangela Gualtieri of Cesena?s Teatro Valdoca where he attends the High Training Course for the Actor, and he begins a personal search on the use of the body, physical movement, voice and sound. Since 2005 he works as an actor, performer and filmaker collaborating with various active realities in the contemporary italian theatrical and artistic panorama (Teatro Valdoca, Motus, Vincenzo Schino, Muna Mussie?) In 2005 he created Brailleway, an identity by which he produces filmworks as a writer and director, and develops his artistic research in the field of performance, installation and other devices. At the moment part of his investigation focuses on the practice of truth, failure, intimacy and the desert.

THRESHOLD I is the first part of three of the THRESHOLD video cycle about memories recovery. The condition in which I find myself now ? I believe it?s a mind attribute ? is that of forgetfulness, loss, always being at the beginning and having to ?pick up the rope?. To go ? put in order ? have to. To find a score of speeds which allows you to eliminate time and distance could only bring ? for definition, for formula ? to a failure. The threshold from which we observe things has neither location nor duration. The act of remembering always implies a failure and a birth. THRESHOLD I Subjective camera (me) Two places. Two homes. Two dear people. Two grandmothers. The nearness of the objects, things ? the distance from which we look at them. Here time does not exist As though everything is put in place and tidied up ? as happened at the beginning, in that darkness at the entrance ? with that carpet picked up continuously. Than the light which always puts things in place.

Gaetano Liberti born in 1983 from a Croatian mother and Neapolitan father. In 2004, after finishing the Arts School in Trento, he meets Cesare Ronconi and Mariangela Gualtieri of Cesena?s Teatro Valdoca where he attends the High Training Course for the Actor and he begins a personal research on the use of the body, physical movement, voice and sound. In 2005 he sets up BRAILLEWAY and begins a personal artistic investigation using the video media into script and direction. Currently he?s working on the incapacity to reminisce, on the backward movement, on silence and on the concepts of device and eternal. Since 2005 he works as an actor, performer and videomaker collaborating with various active realities in the contemporary italian theatrical and artistic panorama.

«In this glass air bubbles do not trace any world map.» «It seemed so, at first sight but then?» (from Storm dialogues) FIRST SYNOPSIS Two people (two voices) ? in a hotel room using an unknown language ? are talking about the making of a film. LAST SYNOPSIS Two people (two voices) ? in a hotel room using an unknown language ? are talking about the film that we are watching. They are wondering if a storm could kill. Three ?true images? of three real storms that have been filmed by somebody are interrupting, suspending, breaking up. It feels as if someone is falling down, but the fall is not visible. The characters are trying to reconstruct some kind of truth starting from words, conversations, questions and answers: the language. Their gaze ? in a long subjective shot ? is constantly returning images of crossing over in an endless shifting between the inside and the outside. Storm seems to exist close to something ? a window, a word, the film itself ? neither inside nor outside, constantly swinging between what is happening (or not) inside or outside the room, inside or outside the speech, in the objectivity of the (etymological) rule or in the uncertainty of the insight. (Storm is an unknown chapter part of ?F ? Anthology of failure from a survey on the next desert?.)

Gaetano Liberti. Filmmaker, performer. He collaborates and has worked with various contemporary realities in the Italian and international theatre and the artistic panorama. In 2005 he created Brailleway, an identity by which he produces filmworks, performances, installations and research on new devices. At the moment part of his investigation focuses on the filing systems of the instant, the boundaries of the cinema-device, the remembrance and the frame.

"How Do We Know What We Know?" The journalist in the studio talks to the special correspondent who couldn?t get into the conflict zone that is the topic of the news report he put together out of amateur footage. Just a few years ago, one still heard it said that the media decided when a conflict started: it began the moment journalists arrived on the scene. The rapid growth in the amount of images shot by the protagonists themselves, in combina- tion with their almost immediate broadcast, has modified this equation. Do we still need journalists? Images are the tools and weaponry of warfare. In itself this is not new, but what is undoubtedly new is the way their sources have multiplied. Now, then, is a propitious moment for examining the work of ?classical? journalism, the kind that relies mostly on rarely contested reports from the field by war correspondents. The entire edifice around this media coverage already seems a little out of touch and may soon be left behind: special correspondents, TV crews, satellite trucks, hotels full of war correspondents, news flashes and breaking news, the news show?s dramatic jingle... What is a ?good? image of conflict? Where are they made and how will they be made tomorrow? How can we critique them with other images? Media production and dissemination create systems in which we are caught and to which we contribute more or less voluntarily. What we can try to describe are the details of these systems, sometimes benign in appearance, as a way of thinking about them and perhaps of loosening their grip.

Emanuel Licha is an artist and filmmaker based in Paris. His work focuses on public space and architecture, leading to a reading of the features of the urban landscape as so many social, historical, and political signs. His recent projects investigate the means by which traumatic and violent events are being looked at, and are shown as films and video installations. emanuel-licha.com

MIRAGES focuses on a mock Iraqi village in the middle of the Mojave desert in California. Conceived and used by the US Army for the training of the troops before being deployed in Iraq, this village was built and is operated by Hollywood professionals. The extras playing the roles of the inhabitants are hired among members of the Iraqi diaspora in the US. This training facility is an optical device. It is used not only to train soldiers for combat, but also as a device to guide their gaze. It familiarizes them with the ?reality? of Iraq, as it is fictionalized by the Army and Hollywood. Soldiers are trained to recognize the enemy, to differentiate the ?good people? from the terrorists and taught that every Iraqi is a potential terrorist. It is also used as a narrative tool to produce a war utopia, through operations of framing and the training of the viewer via the media which are welcome to cover the activities of the facility. The 2-channel video MIRAGES shows images of the camp and interviews of those who work behind the scenes: the set designer, the make up artist, the pyrotechnic artist, as well as actors and extras, all evoking their perception of the reality they`re helping to create. The role played by `war journalists` is also brought up in sequences showing the apparatus helping them to produce the right images.

EMANUEL LICHA lives and works in Paris and Montreal. After earning a Master?s degree in urban geography, he pursued his education in visual arts at Concordia University in Montreal, followed by a post-graduate diploma at the Ecole nationale des beauxarts de Lyon, France, in 2001. His work focuses on public space and architecture, leading to a reading of the features of the urban landscape as so many social, historical, and political signs. His recent projects investigate the means by which traumatic and violent events are being looked at, and are shown as video installations. Recent solo shows include: Why Photogenic?, SBC Gallery, Montreal; War Tourist, LOOP 09, Barcelona; R for Real, galerie Cortex Athletico, Bordeaux; Une autre fête au même instant brille dans Paris, Canadian Cultural Centre, Paris; Agnes & Bruce, Ex-Teresa Arte Actual, México; Nothing Less, Nothing More, Just Transformed, Careof, Milan; In & Out, Galerie B-312, Montreal and YYZ, Toronto. His work has also been exhibited at: NGBK, Berlin; Art Gallery of Ontario, Toronto; Parsons The New School for Design, New York; Musée d?art contemporain de Montréal; University of South Florida Contemporary Art Museum, Tampa; Israeli Center for Digital Art, Holon; MACBA, Barcelona; Fabbrica del Vapore, Milan; Frac Franche-Comté, Besançon; HartWare MedienKunstverein, Dortmund; Witte de With Center for Contemporary Art, Rotterdam; Galerie im Taxispalais, Innsbruck; Tirana Biennial; Steirischer Herbst, Graz; Sarajevo Centre for Contemporary Art; Stiftung Binz39, Zürich; Montreal Biennial; Musée d?art moderne de la Ville de Paris. His work is part of various private and public collections, including: MACBA (Museu d?art contemporani de Barcelona); Musée d?art contemporain de Montréal; Fnac (Fonds national d?art contemporain), Paris; Frac Franche-Comté; University of South Florida Contemporary Art Museum. Emanuel Licha is Assistant Professor at the Ecole nationale supérieure d?architecture de Paris-La Villette. He is a PhD candidate at Goldsmiths College, University of London. www.emanuel-licha.com

?Il Sonno? features a series of fascinating aerial views of the Mount Vesuvius and the surrounding landscape. The aerial sequences shot in flight during a journey that starts at Naples?s chaotic suburban periphery, located only six miles from the summit of the volcano, and rising to the magnificent crater spiraling along the mountain?s upper flanks. An ascending path that, after over flying the ragged surface of the urban areas, ends up at the top of the volcano. The sound captures fragments of radio broadcasts, speeches, music and interferences ? in a parallel narration that becomes a comment on the flow of images. Ligorio`s multifaceted research on spatial microcosms, here highlights the sprawl of unplanned housing that was illegally constructed after the volcano?s last eruption in 1944, contrasted with the uninhabitable desert of solidified magma that slopes down the other side. The artist?s interest in the transformations of landscape (and her aim to analyze how the landscape can influence habits and lifestyle by being modified by them), with ?Il Sonno? points to the risks taken by human settlements that deliberately ignore the threatening unpredictability of a still-active volcano, which in 79 AD destroyed the neighboring towns of Pompeii and Herculaneum. In ?Il Sonno?, Ligorio envision the human ability to adjust to hostile, even extreme, natural conditions.

Born in Brindisi, Italy, Deborah Ligorio studied in Bologna, Milan and Paris. Among the most recent grants and prices: in 2008 she received the Premio Giovane Arte - 15a Quadriennale di Roma, in 2004 the Special Prize ITALRE-GAI and she was a finalist for the Querini-Furla Price. In 2003 she was in the MAK Schindler Artist and Architects in Residence Program, Los Angeles e received tow prices from the Senatsverwaltung für Wissenschaft Forschung und Kultur, in Berlin. Here work is being exhibited in the contemporary art biennials? MANIFESTA 7 and Sharjah Biennial 8 and in several institutions and art foundations: Signal - Malmö, Bürofriedrich - Berlin, Villa delle Rose - Bologna, DeAppel Filmmuseum - Amsterdam, Foundation Sandretto ReRebaudengo ? Turin, Link project - Bologna, Palazzo della Triennale ? Milan- as well as in public spaces, artist?s studios and web projects. She currently lives and works in Berlin.

"Many cities or countries have a distinct malaise. They are places that could be Portugal, so sunk in a painful longing of the past, and where each tension of the present is only the tip of an iceberg that is explained in successive retreats that can go straight until origin of the species, at least. This feeling common to many latitudes is often presented as a diagnosis, a denial of a painful present as opposed to the desire to return to a glorious past." Pedro Penim

Jorge Jácome was born in Viana do Castelo (Portugal) in 1988 and spent is childhood in Macau. He completed is degree in cinema in 2010 at Escola Superior de Teatro e Cinema and in 2016 graduated with ‘felicitations du jury’ from Le Fresnoy - Studio national des Arts Contemporains. His work is based on a strongly intuitive and sensorial process resulting in films made of narrative drifts, unexpected relationships and unusual encounters. His short films have been shown at film festivals in Portugal, Spain, France, Germany, Slovenia, Poland and Israel, and in retrospectives at the New Bedford Whaling Museum, Palais de Tokyo, Maison Européenne de la Photographie, CalArts - California Institute of the Arts and at Georgetown University.

En 1964, quand Philippe de Broca tourne L?homme de Rio, Brasília est un vaste chantier. Avant d?abriter les hautes classes sociales recherchées, la ville doit composer avec une population indésirable mais indispensable, les constructeurs. Appelés aussi « candagos », cette population immigrée représente 55% de la population active, mais il n?est pas question pour le gouvernement qu?elle s?installe durablement dans le District fédéral. Aussi est-elle logée directement sur le chantier ou dans les villes satellites. La vidéo Os candagos est tirée d?un extrait de L?homme de Rio qui se déroule à Brasilia. Outre la dimension burlesque du film original, ce passage offre un point de vue exceptionnel sur la ville en 1964. La séquence est retravaillée image par image ; Belmondo y est effacé ainsi que toute trace de vie. Par ce geste j?ai voulu fondre les notions de matérialité et d?utopie en un même mouvement pour questionner les enjeux de la réalisation d?un projet tel que Brasilia. Les traces laissées par le processus d?effacement révèlent a fortiori une certaine présence ; celle des acteurs et des ouvriers. Le vent et la poussière règnent. Brasilia, point d?orgue du modernisme, devient ville fantôme.

Né à Montereau (77) en 1978, titulaire d?un Diplôme Supérieur d?Arts Appliqués (Ecole Boulle, Paris, 2002) et d?un DPLG (ENS Malaquais, Paris, 2007), Guillaume Linard-Osorio questionne dans son travail la notion de projet et les outils de représentation du réel. L?acte de déconstruction et l?acte de construction y sont des processus similaires qui permettent de révéler les fondements de notre environnement, la face cachée, l?insondable parfois. Ses compositions, quel que soit le medium utilisé, s?apparentent à des formes architectoniques libérées de toute fonctionnalité ou à des matériaux bruts, en attente de mise en forme. Sa production se situe en quelques sortes dans l?épaisseur même du décor. Partant d?une confrontation du monde des images à celui de la matière, son travail oscille entre documentation du réel et fiction pour finalement s?encrer dans un territoire insolite, à mi-chemin entre mécanique et illusion. S?intéressant davantage aux conditions de l??uvre qu?à l??uvre elle-même, Guillaume Linard-Osorio perçoit le monde physique comme un système d?objets dont les connexions seraient redevenues conceptuelles. Dans son travail l?interprétation vacille, les objets cohabitent avec leur fantôme, le temps est suspendu, étiré, parfois inversé, rien est accompli. Tout reste en puissance.