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une femme et sa horde de paparazzis...

Fiona lindron vit et travaille à dijon, elle obtient son dnsep l?ENSA Dijon en 2006. Les vidéos, photographies et installations émanent de rencontres humaines et géographiques. Elles font référence au genre cinématographique mais ne livre aucune explication ni dialogue. Ces images sont le reflet de l?état mental des personnages, de son rapport fantasmé aux rencontres. Elle participe de 1998 à 2002 à des événements collectifs au Point éphémère, au Batofar, à Mainsd?oeuvre Paris(France), à l?emaf festival Osnabrueck (Allemagne). Le travail de fiona lindron a été montré au Wharf centre d?art contemporain Basse Normandie 2007 Hérouville st clair(France), au festival bandits-mages Bourges 2007(France), à Opticafestival 2007 Gijon (Espagne), à Nuitblanche 2007 Paris(France), au Oneminutefestival 2007 Araau(Suisse)... Elle réalise actuellement en résidence à bandits-mages un film fantastique tourné sur un navire dans l?Océan Indien.

Bricks are gathering and separating to form landscapes in endless motion and recklessly renewed.

Patrick Lindasay is born in Marseille in 1972, he is graduated from the Ensama then Ensad in 1997. Since 1999, he?s back in Marseille, where he works as graphite and typographist. Inspired by his childhood and his games, the game is the main theme of his work. He declines his colourful and funny universe on many supports: posters, illustrations, and animations? From 2001, he is interested in video in real time and takes part in many venues (Friche Belle de Mai, Marseille, Territoire électroniques, Fondation Vasarely, Festival Arborescence, Aix?) In 2005, he creates the Typophone, a sound and typographic experience.

A train passes by in spite of the fream-like smoke that comes out of.

Patrcik Lindsay is born in Marseilles in 1972 and is graduated form the Ensama then the Ensad in 1997. Since 1999, he lives in Marseilles, where he works as a graphic artist and typographer. Inspired by his childhood and his toys, le game is the main theme of his work. He declines his colored universe on many supports: posters, illustrations, animations? Since 2001, he is interested into video in real time and takes part in numerous events (Friche Belle de Mai, Fondation Vasarely, Festival Arborescence, Aix? In 2005, he creates the Typophone, a sound typography experience.

A lunar eclipse event on September 11, 2003, was documented and translated via the light-sensitive medium of Kodachrome film. In the 4th century BC, Aristotle founded The Lyceum, a school for the study of all-natural phenomena pursued without the aid of mathematics, which was considered too perfect for application on the imperfect terrestrial sphere. This film then, in the spirit of...

Jeanne Liotta lives and works in New York City where she makes films and other ephemera, including video and photography, and works on paper and live projection performances. She was represented in the 2006 Whitney Biennial with her 16mm 2005 film "Eclipse". Her work has screened at The New York Film Festival; KunstFilm Biennale, Cologne; The Pacific Film Archives, Berkeley; The Museum of Modern Art; and The Whitney Museum of American Art, among others. She is also a researcher and traveling lecturer for The Joseph Cornell Film Collection at Anthology Film Archives. Her latest project, 'Observando el Cielo' consists largely of 16mm time-lapse recordings of the night sky and encompasses a constellation of mediums in an Emersonian framework at the intersection of art, science, and natural philosophy. She also teaches widely, including at The New School and Pratt Institute in New York City, The San Francisco Art Institute, The Museum School in Boston, and is presently on faculty at the Milton Avery Graduate School for the Arts at Bard College.

Seven years of celestial field recordings gathered from the chaos of the cosmos and inscribed onto 16mm film from various locations upon this turning tripod Earth. This work is neither a metaphor nor a symbol, but is feeling towards a fact in the midst of perception, which time flows through. Natural VLF radio recordings of the magnetosphere in action allow the universe to speak for itself. The Sublime is Now. Amor Fati!

Jeanne Liotta lives and works in New York City where she makes films and other ephemera. including video, photography, works on paper and live projection performances. Her latest project `Observando El Cielo` takes place in a constellation of mediums investigating the cosmic landscape at a curious intersection of art, science and natural philosophy. She was represented in the 2006 Whitney Biennial with her 16mm film Eclipse and her work been exhibited at The New York Film Festival ; KunstFilm Biennale, Cologne; The Pacific Film Archives, Berkeley; The Museum of Modern Art; and The Whitney Museum of American Art among others. She has been the recipient of awards from The Jerome Foundation, New York State Council on the Arts, and shared the Museum of Contemporary Cinema artist award with Taka Imura in 2006. She also lectures and maintains ongoing research into The Joseph Cornell Film Collection at Anthology Film Archives and teaches widely and variously, including The New School, Pratt Institute, The San Francisco Art Institute, The Museum School, Boston, and is presently on the faculty at the Milton Avery Graduate School for the Arts at Bard College.

A few simple techniques of the cinema--a direct quotation, a framed location, an actress in costume, a few cuts to the quick--conspire in a compact couple of minutes to produce an image replete with historical and geographic visibility, to wit:  an implied and uncontainable expanse of a landscape bought, sold and inhabited. An anti-landscape film and a one-two punch. -JL

Jeanne Liotta was born and raised in New York City. She makes film, video and other cultural ephemera such as works on paper , photographs, projection performances, and intimate installations. Her playful investigations into time, space, and perception itself, are manifested through the observation of various and contingent subjects: the cosmos, landscape, pure abstraction, the body in space, the cinema itself, or knowledge systems such as science and language. Her work encompasses a constellation of mediums often located at a lively intersection of art, science, and natural philosophy, exemplified by her award-winning 16mm films of the night skies Observando El Cielo (2007), Eclipse (2005) as seen in the 2006 Whitney Biennial, and more recently with installations such as Diagram Squared (2013) at Microscope Gallery in Bklyn NY. In 2011 Liotta was voted amongst the top filmmakers of the decade by Film Comment magazine and in 2012 received the Helen Hill Award from the Orphans Film Symposium. Her works have been exhibited at The New York Film Festival, Rotterdam International Film Festival, The Pompidou in Paris, MCA Denver, The Sharjah Biennial, Arthouse Jones Center in Austin, The Exploratorium SF, and the Cornell Astronomical Society at Fuertes Observaotory, amongst numerous others. She also maintains ongoing research into The Joseph Cornell Film Collection at Anthology Film Archives, has worked with public film materials from the New York Public Library for her garden series Firefly Cinema in NYC for over 15 years, and more recently has curated programs of moving image poetics for Counterpath Press in Denver CO. She has taught widely and variously, at The New School, Pratt Institute, The San Francisco Art Institute, The Museum School Boston, and is presently Assistant Professor of Film Studies at The Univ. of Colorado Boulder, as well as film video faculty for the Milton Avery Graduate School of the Arts at Bard College, NY.

Animated portrait of the eponymous television tower on the hill, guardian of fog and electronic signals in that earthshaking city by the bay San Francisco.

Jeanne Liotta splits her time between her hometown of New York City and Boulder Colorado where she is currently an Assistant Professor of Film.

The Girls Honour Guard training is taking place on a Saturday afternoon. Girls gather together, but we hear no giggling. They say: love your rifle, respect the elder members, and fraternize with your sisters. In the late 90s, the artist spent her high school days in a school with the best Girls Honour Guard in Taiwan. The 16 year old girls were convinced that to join the Honour Guard was an experience they would appreciate throughout their lives. To join is voluntary. What the viewer sees in this film is not about blind obedience; the performance is a regimented beauty.

Tsui-lun Liu was born in 1979 in Keelung, Taiwan. She studied history at National Taiwan University and Free University Berlin, and Fine Art at the Dutch Art Institute in the Netherlands, graduating with an MFA in 2006. Her work is shown in numerous screenings and participations internationally. She lives and works in Taipei, Taiwan.

"Shanghai Shanghai" presents Shanghai as it is conceived, imagined through models and virtual videos, and on the other side, it presents the reality of the city. This film develops three types of images: utopian, metaphorical, and documentary.

Zhenchen Liu was born in 1976 in Shanghai. He received an MA in painting at the school of Fine Arts in Shanghai and a Master diploma from the "Ecole national supèrieur d?art de Nice" (Villa Arson). He works a lot on the subjects of "urban", "modernization", and "the problem with the development of China". Recently, he participated in the 1st Biennial of Chinese Contemporary Art in Montpellier, the 11th Biennial of the Moving Image" in Geneva, "Panorama7" in Tourcoing, the 7th International Manifestation of Electronic Video and Art, and the 35th New Cinema Festival of Montreal. He is currently in residency at the National Studio of Contemporary Arts of Fresnoy.

The five faces in this video were murdered on Chang An Ave. or Tiananmen Square on June, 4, 1989. They were as young as I was and from the most common families in China. Those pictures are from their gravestones. They were They imprinted the history with their young lives, and their families shouldered the tribulations and inequities with their weak shoulders in modern China. The small holes in the iron board in the video are Braille names of the people killed in the event, which were collected by the mother of one of the killed with great efforts in years. Most of the killed were young students and citizens. The black holes in the iron board were bullet holes in the young and faint faces, and everlasting wounds in the hearts of their family members and ordinary people in China. Feeling them is feeling the most heavy hurts caused by the power system to Chinese people generation after generation; regarding them is regarding their mothers in tears at every moment; ignoring them is covering the truth with pretences and idola and maintaining the false life in China. In uproarious China, the media are fabricating a flourishing age and history in a forcible way, while keeping extraordinarily silent about the event. The black holes try to break the iron-board-like propaganda, the public voice and the solemn slogans and history fabricated by the media with their autocratic right of speech. The dynamically changing Street A, so-called No.1 Street of China, is so faint in their eyes. The prosperity of the city that every bled and the busy steps of people in the city don?t change at all for the tribulations that happened. The video installation repeatedly shows the changing four seasons in the places where they were killed and buried. Time elapses quickly, and the broken memories and hurts make us more silent and helpless.

Liu Wei Born in 1965, P.R.China. Live and work in Beijing. Educational Background In 1992, graduated with bachelor`s degree in literature, as a design major, from the Department of Fine Arts, of China Central Academy of Drama. In 1995, completed his studies at the Symposium on the Relationship between Religion and Culture, hosted by the Philosophy Department of the Beijing University.

Product ( VIDEO ) LISHAN ‘ is a series of three 30-second pseudo-ads by re-situating the 3 electronic devices for personal healthcare and beauty(a Clarisonic facial brush, a Philips air flosser and a Braun epilator) and interrupting the normal working of the “œmachinesâ”. The videos, loosely following the structure and aesthetic of the original product commercials, are aesthetically pleasing and entertaining. Subsequently, It entails the seductive irony of interwoven relationship among several spheres of commercial aesthetics, techno-fetishism and narcissism in contemporary consumerism. This series of videos has once shown in a screening in SVA Theater and arranged to play in between other artists` work, which functioned as TV commercials in terms of form. It conveys the artistâ’s satirical commentary on the attention span and art production strategies.

Liu makes video-based work. Her highly personal artistic practice, with a constant approach of de/recontextualization and conceptualization, reflects the globalized cultural environment accelerated by Internet (Techno-culture, consumption culture, pop culture and so on). Liu graduated from MFA Photography, Video and Related Media at School of Visual Arts. She has exhibited her work in both China and the US including Vacuum Gallery, Beijing(2017); Poor Image Art Center, online(2016); Rabbithole, New York; Flux Factory(2016); Fei Gallery, Guangzhou(2015); Shenzhen New Media Art Festival at The Value Factory(2014); Jinji Lake Art Museum, Suzhou(2014); Today Art Museum, Beijing(2014) and etc.

A Day to Remember 13min On June 4th, I went to Peking University, the place where the incidence was originated from, and Tian?anmen Square, the place where the incidence occurred. I took with me a camera and a few simple questions, repeated them to those who I met and recorded down the whole day?s encounter. People reacted to my question with blank face or dodging words, or just shied away. The blood and life sixteen years ago have been forgotten and faded way, leaving behind helpless silence and blank memory. As it remains a taboo in today?s China, people don?t talk about it openly for their own sake; or they are reluctant to recall it to live in reality. Many young people even don?t know about it for this topic has been covered and forbidden for years. Sixteen years have passed. Mother?s hair has turned gray; beloved ones have dried up the tears. Glorious as forever on this first street of China, silence prevails. Silence, forgetting and deliberate covering, people?s memory turns into a vacuum. The bygones twisted into a blurred picture, true memory gone, illusion remains.

Liu Wei Born in 1965, P. R. China. Live and work in Beijing. Educational Background In 1992, graduated with bachelor`s degree in literature, as a design major, from the Department of Fine Arts, of China Central Academy of Drama. In 1995, completed his studies at the Symposium on the Relationship between Religion and Culture, hosted by the Philosophy Department of the Beijing University.

A laid-off worker pretends to go to work as usual but goes on an excursion to the mountain by his own.

Zhouanqi Liu 8/30/1994 Director/Screenwriter/Production Designer/Photographer 346 West 84th St #2F, New York, 10024 NY zl2734@columbia.edu (929) 319-6622 Education ? Beijing Film Academy Screenwriting 2012-2016 ? Columbia University Directing 2018-2021 (thesis film shooting year stage) Experience ? 2013.8-11 Chinese post-rock band ’48V’ 8-city China Road Show as photographer ? 2014.10/2015.10 13&14st ‘ISFVF’ International Student Film and Video Festival of Beijing Film Academy as subtitle translator ? 2015.6-2015.11 Chinese rock band ’Omnipotent Youth Society’ 13-city China Road Show as photographer ? 2016.2 Peking University ‘Preparation for Entrance’ Campus Activity Feature Film (No.5 the Summer Palace Road) as screenwriter ? 2016.4-2016.8 Musician prof. Guo 9-city China Road Show as photographer ? 2017.2-5 Info&Updates Studio China First Exhibition ‘Grand Coupes’ as curation&music production in Beijing&Shanghai ? 2017.6 Beijing 1st ‘Vintage Fair’ advertising video as art director ? 2017.8-10 The Door music company experimental advertising video as screenwriter ? 2017.11-2018.4 School of Visual Arts graduate student thesis documentary ‘The Wanderer’ as the self ? 2018.4-2018.8 Jing Wang photo exhibition on Beijing Three Shadows Art Center ’Goodbye, Paris’ as technician( darkroom film processing&hand coloring)

On another day, a group of policemen guard the outskirts of a city. There is no one else on the streets. They wait for an order to go into action. However, that order never comes and a state of confusion and disorientation begins to take hold off them, until they forget what they were doing there.

So far his works have toured several international film festivals and contemporary art spaces such as FICVIÑA, Minsk, Curtocircuito, Riga IFF , Tabakalera Donosti or La Fábrica de Armas in Oviedo. "The Coming Insurrection" was selected as a project in the Focus Script 2022 of the Cannes Film Festival, and was also a beneficiary of one of the Visual Creation Grants of Matadero Madrid, having its international premiere in the Busan International Short Film Festival. Also, he is codirector of "A suburban mythology" (2024, an hybrid film premiered at Documenta Madrid. He is currently editing several projects and developing of his first feature film, "Laguna El Ministro".

Thanks to the rise of mining, post-communist Mongolia was the fastest growing economy in the world in 2012. However, the poor were not profiting from the booming industry, and climate change plus overgrazing were leading to vast desertification. According to Mongolian shamanistic belief, the earth and sky are connected. Violation of nature by men provokes the anger of the ruling spirits or the ‘masters of the land’ and leads to drought and pestilence. How does the population relate to its ancestors when desires threaten to upset the cosmic balance? The film opens with images shot in Baganuur and Nalaikh, once the largest coal mines in Mongolia. Fixed camera images of workers in the shadow of gigantic machines alternate with desolate landscapes and downtown Ulaanbaatar by day and by night. Intermediate texts cut the medium long shots. The first excerpt originates from the Hungarian poet Ferenc Juhasz. In 1957, under the influence of LSD, he experienced the painful initiation of a shaman. The second excerpt comes from a song by the shamaness Kyrgys Khurak. It deals with the evocation of lurking greed and inequality that might destroy nature – an aspect that implicitly refers to the climate crisis. (Ive Stevenheydens)

The long-term projects of photographer and filmmaker Jan Locus study the complexity of worldwide, socio-political issues. His books include Mongolia, De Bewegende Stad and Devoted. His films have been screened at IFFR Rotterdam (NL), DokFest Kassel (DE), Internationale Kurzfilmtage Oberhausen (DE), Rencontres Internationales Paris/Berlin (FR/DE), Asolo Art Film Festival (IT), Split International Festival of New Film (HR) and FIFA Montreal (CA) among others. He lives and works in Brussels.

Intruders explores the boundary between science fiction and reality, investigating themes of reverse colonization, ecology and human environmental impact. The film offers an introspective reflection on the Western fascination and fear of extraterrestrial entities. In an elongated pan, mountain landscapes and misty images of animals are presented in an ethereal, ghostly way. Locus does not use conventional film footage, but found footage online hunting videos and black and white photographs of UFO observations from the 1950s and 60s. Although these images reveal their origins through their grainy texture, Locus removed the UFOs from these photos to seamlessly merge the remaining landscapes. The phenomenon of unforeseen animal death, often reported in UFO sightings, serves as a metaphor for human influence on nature. Locus intertwines photography with video to create a complex narrative that emphasises the ambiguity of reality and fiction. The film reflects on ‘intruders’ in nature, inspired by dystopian visions of the future and challenges the viewer to consider the complex and often disturbing relationships between humans, technology and nature.

Spanning the mediums of film, photography, and sound, his work often addresses landscape as a tool for the creation of national and social identities, focusing on environments altered by extraction and industrialization. In his latest work, he explores the tension between found footage, still photography, and the moving image, emphasizing the ambiguity of our perception of reality and fiction. His films have been presented at numerous international festivals, including the International Film Festival Rotterdam (IFFR), the International Short Film Festival Oberhausen, Rencontres Internationales Paris/Berlin, Le FIFA – International Festival of Films on Art (Montreal), Kasseler Dokfest, Asolo Art Film Festival, Stuttgarter Filmwinter, CROSSROADS Film Festival (San Francisco), ANTIMATTER Media Art (Victoria), Festival ECRÃ (Rio de Janeiro), PROYECTOR Plataforma de Videoarte (Madrid), SPLIT Film Festival, ONION CITY Experimental Film Festival (Chicago), BISFF Beijing International Short Film Festival, and Flight / Mostra Internazionale del Cinema di Genova among others. Locus lives and works in Brussels.

There are things - stupid things - which the artist has always wanted to do, just to see if she could, just to see what it would feel like. "Why Always Instead of Just Sometimes" is a selection of 12 short works.

Deirdre Logue was the Executive Director of the Images Festival of Independent Film and Video and currently holds the position of Executive Director at the Canadian Filmmakers' Distribution Centre in Toronto. Deirdre is perhaps best known for her series of short handmade performance films entitled "Enlightened Nonsense" completed in 2000.

A young boxer is fighting his first significant spar: obstructed by his mother, and attempt of corruption by his adversary's father, he finds in himself, and in the love for a girl met on the beach, the spirit to react.

Francesco Lomastro has been working on audiovisual and movie production since 1993, making his way up to first-assistant director and production director. As a director he has shot several video-clips, one documentary, and a television programme on a national network (LA7). "Four days that I love you" is his first fiction short film. He is currently working on a video linked to an installation and is writing a feature film.

In this work, Valeriano Lopez makes an assessment of historical aspects that perpetuate themselves, starting with the celebrations that incorporate customs and folklore. The video displays the Toma de Granda, a celebration that is held every beginning from the balcony of the town hall where a municipal councillor addresses the city with the slogan, "Granada for the venerable Catholic Kings and Queens", while the banner is brandished and the national hymn plays. The filming results in a complete anachronism of this triumphal tone and in the imposition of a quintessence associating Spanish with a Catholic fanaticism. In this work, modelled on the different takes of the celebration, operates a sequence shot of the Archbishop's sermon based on the unity of Spain. The act appears like an exaltation of Spanish nationalism which has its ironic counterpart in this work with the subtitling in Catalan.

Valeriano Lopez is a Spanish artist who in his works principally resorts to video, the language of video games, or publicity, products of a society of consumption, to attract the attention of viewers to problems such as immigration or the differences that are intentionally established to push away the third world. His irony reflected on these phenomena produce a critical reflection on the cultural stereotypes and introduce doubt in the spectator. He dissolves the frontiers of artificial separation constructed for the Occident with the sole motive of protecting himself from this "other" that he fears, and with the objective of justifying the xenophobic and racist behaviours that translate themselves in established systems to control the population that has emigrated from countries that are either poorer or in the developmental process.

The film follows for two years a group of NYC subway dancers. In the trains, at home, at the rehearsal location, at the events organized by their commutity. The film portraits five individuals as well as the dance community they are part of, the city and the society they are living in. Despite obstacles, social backgrounds and racism, they are determined to succeed and fight against an illusional meritocratic system.

Rafaela Lopez (b. 1988, Paris) is a visual artist working in New York and Paris. Her work deploys between videos, performances, sculptures, drawings and collaborative projects. She is interested in marginalized creative practices, the pop cultures and our socio-cultural backgrounds. Each of her projects searches for a specific language, adapted to the implicated communities and questions the social role of art. Rafaela Lopez studied at Royal College of Art (London), Villa Arson (Nice) and Ecole Nationale Supérieure des Arts Décoratifs de Paris. In 2015, she is awarded at Art-O-Rama (Marseille), in 2017 by Mécènes du Sud (Montpellier / Sète), in 2020 she is nominated for Prix Sciences Po for contemporary art (Paris), in 2021 she is awarded by the Fondation des Artistes and in 2022 she is the laureate of the Social Practice Arts Prize, organized by the Centquatre, Calouste Gulbenkian Foundation and Rotschild Foundation. She has exhibited in various venues such as Wassaic Project (Wassaic, NY, 2022), NY Greek Consulate (NY, 2020), FLAX (Los Angeles, 2018), Fondation Louis Vuitton (Paris, 2018), Palais de Tokyo (Paris, 2017), Centre National d’Art Contemporain de la Villa Arson (Nice, 2012, 2014, 2017), Studio Voltaire (London, 2015), Camden Art Centre (London, 2015), Flat Time House (London, 2014, 2015). She has been a resident artist at FLAX (2018, Los Angeles), Villa Arson (2017, Nice), Laboratoires d'Aubervilliers (2017, invited by Grace Ndiritu), Villa Lena (2015, Palaia) and Casa de Velazquez (2014, Madrid). Rafaela Lopez is the former president of DOC!, an independent art space located in North Paris.

A voice describes the relationship between two young neighbours and their encounter with a mysterious woman that reveals an augury about future times.

Luciana is an Argentinian born film director and photographer . Her main area of interest has been always the visual language. She started from an early age taking several courses on analogue photography and Super 8 film. She obtained her BA in Image and Sound Design at the University of Buenos Aires and a MA in documentary film directing at ULHT, SZFE and LUCA School of Arts as a scholarship student. She has directed several short films that have been featured in international film festivals such as BAFICI and FIDBA in its competitive section and selected by Berlinale Talents BA as director. In 2019, she attended Biographical Documentary Theatre Course with Gudrun Herrbold at UDK awarded with a fellowship and in 2021, she was chosen to participate as a jury at ELIA Academy (European League of Institutes of the Arts). Nowadays, she is based in Brussels working on both personal and commissioned projects.