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La danse à ses origines s?inspire du mouvement des astres dans le ciel. Immobile au milieu d?un studio de répétition, un danseur lit un extrait du traité écrit par Lucien de Samosate au 1er siècle. Trois opérateurs enregistrent la scène en tournant autour de lui dans un mouvement continu et circulaire.

Christian Merlhiot est né en 1963 à Niort. Il a suivi des études à l?École nationale des beaux-arts de Bourges de 1981 à 1987. Entre 1994 et 1995, il est pensionnaire à la Villa Medicis à Rome pour l?écriture d?un scénario qu?il adapte pendant son séjour et réalise son premier long-métrage : Les Semeurs de peste, sorti en salle en 2003. Christian Merlhiot a enseigné le cinéma et la vidéo dans plusieurs écoles d?art notamment à Angoulême, Nancy et Bourges. Il est actuellement responsable pédagogique au Pavillon, Laboratoire de création du Palais de Tokyo à Paris. Il est fondateur de pointligneplan, un collectif qui situe ses enjeux au croisement des arts plastiques et du cinéma. Érik Bullot a consacré à ses films un texte publié dans l?ouvrage collectif pointligneplan aux Éditions Léo Scheer (Fr-2002). Chez le même éditeur, un livre est consacré à l?ensemble de ses films, accompagné d?un texte de Fabien Danesi et d?une édition dvd de 3 courts-métrages (Fr-2003). Son film Silenzio, tourné au Japon en 2004, est sorti en salle au printemps 2006. Il a réalisé, avec Matthieu Orléan, un Atelier de création raphiophonique pour France Culture diffusé en février 2007. Cette expérience a aussi donné un film : Des Indes à la planète Mars, sélectionné en compétition française au Festival International du Film Documentaire de Marseille 2007 et sorti en salle en avril 2008. Son dernier film, Le procès d?Oscar Wilde, est sorti en salle en avril 2010.

Un danseur se remémore les gestes de la chorégraphie créée en 1913 par Nijinsky. Il décrit les mouvements de son corps dans la pièce puis travaille avec un notateur au déchiffrage de la partition chorégraphique. Il déchiffre enfin la dernière scène qu?il décrit en suivant les signes de cette notation.

The last twenty years have witnessed the displacement of a number of artistic borders. The relationships between cinema and video, cinema and photography, and fiction and documentary have not ceased to feed forms and attitudes. Worried about its support, its stakes, and its history, cinema has been one of these critical knots. These questionings are today particularly sensitive to the crossing of plastic arts and cinema by a traversing look of plasticians towards cinema and filmmakers towards contemporary art. It is at this crossing that "pointligneplan" has been finding its stakes, since 1998, by regularly setting up film programmings. Originally organized with the cooperation of the Research Group et cinemagraphic experiments by Christian Merlhiot, and joined by Pascale Cassagnau, Vincent Dieutre, and Érik Bullot in 1999, the programming "pointligneplan" regularly presents, at La fémis or during free hands in festivals and cultural institutions, an ensemble of singular works: filmmakers, artists, and plasticians question and redefine the new distributions of the world and of image.

Since 1988 Christian Merlhiot has produced 19 short and long films, including "Silenzio" in 200. But even if he is a filmmaker, he is also interested in contemporary art, a discipline not quite different from cinema. In 1998 he created "pointligneplan" with the help of the Grec (Groupe de recherches et d?essais cinématographiques), where he was a lecturer, and with the help of François Barat, his general director. A collective born from his desire, and that of other filmmakers, to make their own films and exchange experiences and viewpoints. It is an association created to reunite and distribute works otherwise dispersed in festivals, galleries, and museums, in the same place.

Petit duo en forme de duel sur les glaces de la banquise

From this desert and mountainous landscapes to the ice sheets diverting near the coast, it seems there is only one step for this man who, from the one to the other, keeps on walking and dancing. Without hastle nor rest, his moving is like a long and continuous event that we would just have to seize, an already ineluctable and invisible transformation.

Une petite communauté inuit de l?Arctique canadien. Nasri est venu rencontrer les habitants d?Igloolik, descendants d?une société de chasseurs aujourd?hui sédentaire. Dans ce village, il découvre que l?esprit des morts est indissociable du monde des vivants et comprend l?importance des noms hérités des ancêtres et transmis de génération en génération.

CHRISTIAN MERLHIOT est né en 1963 à Niort. Il a suivi des études à l?École nationale des beaux-arts de Bourges de 1981 à 1987. En 1995, il est pensionnaire à la Villa Médicis à Rome où il réalise son premier long-métrage : Les Semeurs de peste, sorti en salle en 2003. Christian Merlhiot a enseigné le cinéma et la vidéo dans plusieurs écoles d?art notamment à Angoulême, Nancy et Bourges. Il est actuellement responsable du Pavillon Neuflize OBC, le laboratoire de création du Palais de Tokyo à Paris. Il est l?un des membres fondateur de pointligneplan. Érik Bullot a consacré à ses films un texte publié dans l?ouvrage collectif pointligneplan aux Éditions Léo Scheer (Fr-2002). Chez le même éditeur, un livre est consacré à l?ensemble de ses films, accompagné d?un texte de Fabien Danesi et d?une édition DVD de 3 courts-métrages (Fr-2003). Son film Silenzio, tourné au Japon en 2004, est sorti en salle en 2006. Il a réalisé avec Matthieu Orléan un Atelier de création raphiophonique pour France Culture qui est ensuite devenu un film : Des Indes à la planète Mars sorti en salle en 2008. Son film intitulé, Le procès d?Oscar Wilde a été distribué au printemps 2010. En 2011, il a séjourné à Kyoto et rapporté de ce séjour au Japon un film intitulé Slow Life. www.minorcinema.com

Lors de mon premier voyage au Japon en 1999, j?ai séjourné à Kanazawa une quinzaine de jours pour diriger un atelier avec les étudiants de l?école d?art. Le film que nous avons réalisé mettait en scène le déchiffrage de la langue française. Présenté ici, le journal qui accompagne ce film recense les situations qui échappent à ce projet en défiant les barrières de la langue et en rapprochant deux cultures que tout oppose de prime abord.

Dans le jardin d?une villa face à la Méditerranée, un homme travaille à la traduction arabe du procès d?Oscar Wilde. Sous la lumière d?un soir d?été et tout au long des nuits suivantes, les différents protagonistes du procès se présentent à lui. Il les incarne à tour de rôle et fait revivre les enjeux esthétiques et politiques de ce combat. Cette joute verbale apparaît alors comme la dernière oeuvre - féroce et précieuse - du dandy anglais.

Christian Merlhiot est né en 1963 à Niort. Il a suivi des études à l?École nationale des beauxarts de Bourges de 1981 à 1987. Entre 1994 et 1995, il est pensionnaire à la Villa Medicis à Rome pour l?écriture d?un scénario qu?il adapte pendant son séjour, réalisant son premier longmétrage : Les Semeurs de peste, distribué en salle en 2003. Christian Merlhiot a enseigné le cinéma et la vidéo dans plusieurs écoles d?art notamment à Angoulême, Nancy et Bourges. Il est actuellement responsable pédagogique au Pavillon, Laboratoire de création du Palais de Tokyo à Paris. Il est fondateur de pointligneplan, un collectif qui situe ses enjeux au croisement des arts plastiques et du cinéma. Érik Bullot a consacré à ses films un texte publié dans l?ouvrage collectif pointligneplan aux Éditions Léo Scheer (Fr-2002). Chez le même éditeur, un livre est consacré à l?ensemble de ses films, accompagné d?un texte de Fabien Danesi et d?une édition dvd de 3 courtsmétrages (Fr-2003). Son film Silenzio, tourné au Japon en 2004, est sorti en salle au printemps 2006. Il a réalisé un Atelier de création raphiophonique pour France Culture, diffusé en février 2007. Cette expérience a aussi donné un film : Des Indes à la planète Mars, sélectionné en compétition française au Festival International du Film Documentaire de Marseille 2007 et sorti en salle en avril 2008.

In 2009, Rachel Uyarasuk, elder of the Inuit community of Igloolik, evokes the ancestors whose name she received at birth. She explains how this transmission ensured their return among the world of the living.

This film takes root in an extract from a report issued by the Military Intelligence Service and borrowed from Haruki Murakami?s Kafka on the shore. In this report called Rice Bowl Hill Incident a Japanese school teacher relates an unexplainable and nearly supernatural event that happened to her pupils as they were on a field trip in the mountains. The first sequence of the film shows a natural-setting reconstitution of the event elaborated according to the details given in the report. The second sequence of the film is none but the young woman?s narration of the facts. Filmed indoors, facing the camera, she relates the incident in front of a very unexpected Military Intelligence Service inspector.

Christian Merlhiot is a film maker. He has made ?mischief including fever? (1995), ?Voyage to the country of the vampires? (2001), ?Silenzio? (2005) and ?Indians to planet Mars? (2007). He is founder of a group which has set its stakes on mixing visual arts and cinema. Since 2002, He is responsible for the creative department of pavilion and laboratory of the Palais de Tokyo.

Kentaro has recently left his hometown. He lives in a village near Kyoto and works in a dyeing workshop. He also does occasional jobs for the villagers and looks after Yukiko, and old mischievious lady who says very little. The more people he meets the more he discovers new modes of living in which time flows differently. He starts to question his future and his role in this new community. On a sunny autumn day, he goes with Yukiko for a excursion to the forest?

Rapture (silent anthem) captures a teenage crowd caught in a slow-motion expression of quasi-religious fervour at a rock concert. Both a celebration of life and a look at the darker aspects of this zeal, the video takes a contemporary look at the human need for transcendence and communal ritual in unlikely places.

Angelica Mesiti was born in Sydney and studied at the College of Fine Arts, University of NSW. She works within the traditions of video, performance and installation and generates material through a range of approaches including staged situations, site specific performative acts, re-enactment and documentation. Her videos operate within a cinematic framework to offer fractured narratives that negotiate between primary experience and historical retelling. She uses performance as a way to embrace the present moment and several of her works focus on the dynamics of group activity as a form of social exchange.

"There`s an old man He tells a story In the best way That he knows Of a hill In the desert Where he can No longer go" Set in the Australian outback town of Broken Hill, The Line of Lode and Death of Charlie Day is a story about stories. Reflecting on how different knowledges of one place intersect and overlap, the artist uses video to play with the conventions of cinematic and folkloric storytelling. Three intersecting histories of the region form the backbone of the work: Indigenous understanding of the land, the development of mining in the area including its link to the foundation of Broken Hill, and the story of a local attraction, Mario`s Palace Hotel. These images note how stories are carried by people through generations, and that they are not so much histories set in the past, as an enduring set of relationships between land and people.

Angelica Mesiti 1976, Sydney Australia. Lives and works in Paris and Sydney. Angelica Mesiti is a video, performance and installation artist based in Sydney. Her works often explore the notions of alternative histories sought through layered and less voiced stories embedded within landscapes and urban environments. Her works attempts to discover the unseen possibilities of sites through displaced activities like performance, costume and music. Exhibiting regularly since 2000, Mesiti has had solo and group shows across Australia and overseas including; LOOP Video festival Barcelona 2008, O.K Video Festival (2005), National Gallery of Indonesia, Jakarta, Game On (2006) for the Next Wave festival, Gertrude St Contemporary Art Space Melbourne and the touring show PLAY: Portraiture and Performance in Recent Video Art from Australia and New Zealand, (2006) shown at The Performance Space Sydney, Adam Art Gallery New Zealand and Perth Institute of Contemporary Art. She was a founding member of the Sydney artists run Gallery Imperial Slacks during which time she curated the video publication Serial 7?s. She has been employed by the College of Fine Arts as a casual lecturer in the Time Based Art department since 2001. Since 2000 Mesiti has been a member of the collaborative group The Kingpins, who have exhibited and performed in museums nationally and overseas including the Kunstmuseum Zurich 2008, Musée d?Art Modern Paris 2007, The Palaise de Tokyo and Nuit Blanch-Paris 2006, Liverpool Biennial 2006-UK, Contemporary Art Centre- Vilnius, Lithuania and Zacheta National Gallery of Art- Warsaw 2006, Transmodern Age Festival, Maryland, Baltimore USA 2006, South Korea, 2004 Taipei Biennale,Taipei Fine Arts Museum, Super Delux Tokyo 2004.

Future Perfect Continuous is an invitation to meditate, to listen closely, and to consider the greater meaning of small gestures. In this work, Angelica Mesiti creates a crease in time and in memory, while offering an anchor to a transcendent idea of community. Future Perfect Continuous is based on a game usually taught to children in a classroom setting as a community building or drama-warm-up exercise. It involves a simple series hands gesture like rubbing, snapping, clapping, slapping that when repeated by the group generate a sound performance that convincingly mimics the sound of a rainstorm. For this video the ‘rain-storm’ activity is performed by a diverse group of young adults in their 20s, at the start of their adult life. 'We can imagine them leaving home and entering society, forming new communities'(1). ‘In my work I often explore the idea of the individual and the collective and how gesture and sound can be used to express a cultural experience or moment. I am interested in how this innocent game of imitating nature could also represent a turbulence that is part of the present. The performers become the weather’(2). 1 Kathleen Ritter 2 Angelica Mesiti

Angelica Mesiti is a multi-disciplinary artist based between Paris & Sydney. Her practice combines performance with video, sound and spatial installation to create immersive environments of absorption and contemplation. Mesiti has long been fascinated by performance: as a mode of storytelling and a means to express social ideas in physical form. In recent years she has been making videos that reveal how culture is manifested through non-linguistic forms of communication, and especially through vocabularies of sound and gesture.There is a focus in her work on the unquantifiable social role played by music — and, by extension, sound in general — in our relationship with the world. Mesiti’s work is regularly shown in museums and biennales internationally. Her work ASSEMBLY was the official Australian presentation at the 58th Venice Biennale (2019).

The work of Messieurs Delmotte is situated somewhere between reality and imagination, somewhere between genius and dilettantism. Delmotte is distinguished by his dress code and facial appearance. He always presents himself in a two- or three-piece suit. His semi-long hair is another distinctive trait, overabundantly daubed with gel, combed flat against his head, and cut straight across at the bottom. The finishing touch, an exceedingly precise stripe down the middle, completes the geometric coiffure. Delmotte puts forth a character who dashingly barrages his audience with gestural discoveries that are as unpredictable as they are absurd. In all this merriment and nonsense lies the existential and poetic revolt of the work. It is always about interfering in a situation, about engaging an hilarious and heroic battle with the trivial object, a character of a given circumstance. In Delmotte's opinion, society is irrational and possesses an insufficient sense of fairness and common sense to dismantle the mechanisms of social conditioning that determine our existence. This explains his escape into the ridiculous, the absurd, and the moments of abandoning good taste as an outlet for that which refuses to do battle with society. The physical commitment of his own body as an instrument of unruliness plays a cardinal role.

Messieurs Delmotte was born in 1967. He studied at the Liège Saint-Luc Institute and he mainly focuses on photography, video, and 'performance'. His work sides with the best Belgian surrealist tradition, somewhere between reality and imagination, between genius and dilettantism. His videos have been shown at such places as the Museum of Modern Art Philadelphia, New York Underground Festival, and MUHKA, Antwerp.

My work is not a performance ? and actually even less of a good idea.? The videos by Messieurs ? or Monsieur- Delmotte spare nothing or no one and they trivialise anything that comes within his reach, including himself. His works are not self-portraits nor transpositions of the author in one or more imaginary characters. Maybe they can only be described as playful abdications of the subject, absurd and almost surreal one-acters. Dangling somewhere between reality and fiction ? or maybe these are even one and the same, exploding in a multitude of disengaged fragments. Delmotte, a self-declared poser, sneers at the institutionalised art world with his mischievous and surprising actions, trivial in content and simple in form. The results are uncomplicated and unvarnished, but also pure and most of all irresistibly charming. Or, as Delmotte puts it himself: "Je le fais, je ne sais pas pourquoi, mais je le fais!

Messieurs Delmotte (°1967) studied at the Liège Saint-Luc institute and he focuses mainly on photography, video and ?performance?. His work fits in with the best Belgian surrealist tradition, somewhere between reality and imagination, between brilliance and dilettantism. In his videos he translates his unbridled boyish pranks, his sneers at the institutionalized art world in one-man actions, as simple as they are absurd, as reflections of the schizophrenic identity of the artist. His video work was presented, among others at the Museum of Modern Art Philadelphia, the New York Underground Festival and the museum for contemporary art MUHKA (Antwerp).

The work of Messieurs Delmotte is situated somewhere between reality and imagination, somewhere between genius and dilettantism. Delmotte is distinguished by his dress code and facial appearance. He always presents himself in a two- or three-piece suit. His semi-long hair is another distinctive trait, overabundantly daubed with gel, combed flat against his head and cut straight across at the bottom. The finishing touch, an exceedingly precise stripe down the middle, completes the geometric coiffure. Delmotte puts forth a character who dashingly barrages his audience with gestural discoveries that are as unpredictable as they are absurd. In all this merriment and nonsense lies the existential and poetic revolt of the work. It is always about interfering in a situation, about engaging an hilarious and heroic battle with the trivial object, a character of a given circumstance. In Delmotte`s opinion, society is irrational and possesses insufficient sense of fairness and common sense to dismantle the mechanisms of social conditioning that determine our existence. This explains his escape into the ridiculous, the absurd, the moments of abandoning good taste as an outlet for that which refuses to do battle with society. The physical commitment of his own body as an instrument of unruliness plays a cardinal role.

In the eye of the spectator the work of Messieurs Delmotte (BE 1967, formerly Monsieur Delmotte) often seems bizarre, absurd or trivial, but to Delmotte his surrealist videos and installations of and with trivial actions are an absolute necessity. His shorts, focussing on obsessive behaviour and compulsive initiatives, make out a long series of attempts to pass beyond the limitations of reality, often with a cartoonlike outcome. Delmotte?s work has been shown, among others, at the Museum of Modern Art in Philadelphia, the New York Underground Festival, MUHKA (Antwerp) and Museo Reina Sofía (Madrid). He lives and works in Liège.

An experiment using digital photography, Nightlight is a study of the nights and lights along the Charles River in Boston, Massachusetts. This piece is made up entirely of still photographs, sequenced together to appear in motion. By making subtle adjustments between each photograph taken, the lights of the city seem to come to life.

Born in New York State, Chris is currently living and making films in Boston, Massachusetts.

"La règle du jeu" is part of a series of 8 videos called "Errances". These videos examine the relationship between man and landscape. Each project takes as a starting point a physical displacement, the discovery of a place previously unknown. The artist uses his body as a subject, a silhouette evolving in space, deciding on precise centring, fixed shots, and landscapes to be crossed. We could say that these videos revolve around nothing, a void, and that each video is the result or the narration of the encounter, the experience of these foreign spaces. A young woman is running along some bushes, then hides, as if being pursued. She is attempting to escape, a shot rings out and makes her stop. Playful slaughter, child's game, the camera shoots its victim.

Mathilde Mestrallet, studied Decorative Arts in Strasbourg, France. Her video projects examines man's place in landscape and his relationship to it. She is interested in the different routes that a given site proposes. The videos develop around simple scenarios and productions: a repetition of an action in a place; steps; strolls; and games. The lived experience, the real encounter with the landscape, the relationship to the space as an unknown piece of land, as a foreign place, and territories of possibility are the starting points of each video project. Between 'no man's land' and labyrinthine architecture, the various actors evolve in these oversized spaces.

,,,So it all passes, like wind, like shadows and smoke.

Barbara Meter started filmmaking in the late seventies. She has made mainly experimental films but also documentaries and narratives. She has taught film in Groningen, Holland, and at the San Francisco Art Institute. She has curated many screenings of experimental films which were unique for Holland, where she lives and works up till now.

Constant moving of wheels, threads and sprockets in a homage to the medium of film.

Barbara Meter (1939) attended the Dutch Film Academy in 1963. She makes films since the 70s: documentaries, feature films - mainly experimental. Meter was co-founder of Electric Cinema, in the early 70s a bastion of Dutch experimental cinema; and Stichting Lighthouse in the 80s. At present she also works as a curator of film programs, teacher and free-lance lecturer on film.